DUOLOGUE
November 7

The title Duologue reflects both the literal and metaphorical dialogue at the heart of this program. The pairing of violin and cello creates a musical conversation — sometimes playful, sometimes dramatic, sometimes profoundly intimate. From Boccherini’s refined elegance to Sollima’s modern innovations, from Paganini’s dazzling fireworks to the soulful depth of Cassadó, the program explores the vast expressive world of the violin and cello duo.

L. Boccherini (1743– 1805)
Duo No. 2 for Violin and Cello

A prolific composer and virtuoso cellist, Luigi Boccherini helped establish the cello as a solo instrument during the Classical period. His duos for violin and cello reveal his gift for lyrical melodies and refined craftsmanship. The second duo highlights the complementary roles of the two instruments: the violin sings with elegance and lightness while the cello provides depth and warmth, creating a graceful interplay that reflects the balanced ideals of 18th-century chamber music.

N. Paganini (1782–1840)
Duo for Violin and Cello, MS 107 No. 2

Famed as one of the greatest violin virtuosos in history, Paganini was also an accomplished composer who often wrote works to showcase dazzling technical feats. In this duo, the violin and cello engage in an exhilarating musical duel. The Allegro opens with vibrant energy and brilliance, full of rapid passages and dramatic exchanges. The Rondo brings a dance-like character, featuring playful rhythms and virtuosic flair. Together, these movements display Paganini’s signature showmanship while giving both instruments a chance to shine.

F. Kreisler (1875–1962)
Recitativo and Scherzo for Violin Solo, Op. 6

A legendary violinist and composer, Fritz Kreisler was renowned for his warm tone and expressive style. This brief work contrasts two distinct characters: a Recitativo, introspective and improvisatory in feel, followed by a Scherzo, lively and sparkling with rhythmic vitality. Written as a virtuosic showpiece, it encapsulates Kreisler’s charm and technical brilliance while giving the violin a moment to speak entirely on its own.

Giovanni Sollima (b. 1962)
Trazom

Giovanni Sollima, an Italian composer and cellist, is celebrated for his imaginative and eclectic works that bridge classical tradition and contemporary innovation. Written for violinist Clarissa Bevilacqua, Trazom — “Mozart” spelled backwards — is a playful homage to the great composer, filtered through Sollima’s modern sensibilities. The piece dances between past and present, combining humor, rhythmic vitality, and surprising twists, making it a vibrant dialogue across centuries.

E. Schulhoff (1894–1942)
Duo for Violin and Cello

Schulhoff, a Czech composer, was part of the avant-garde movement of the early 20th century. His music blends classical structures with jazz rhythms and Eastern European folk influences. The second movement, Zingaresca, bursts with wild energy and fiery dance rhythms. Inspired by Romani musical traditions, it features rapid exchanges and virtuosic interplay, celebrating folk vitality while pushing both instruments to their expressive limits.

E.F. Dall’Abaco (1675–1742)
Capriccio No. 1 for Cello Solo

A composer of the late Baroque period, Dall’Abaco wrote works that balance contrapuntal skill with Italian lyricism. The Capriccio No. 1 is a solo cello piece that allows the instrument to explore its full range of colors and textures. Rich in ornamentation and expressive freedom, the piece provides a moment of quiet reflection, highlighting the cello’s voice in its most intimate and unaccompanied form.

G. Cassadó (1897–1966)
Suite for Cello Solo

A celebrated Spanish cellist and composer, Cassadó was a student of Pablo Casals and known for works infused with Iberian color and vitality. The final two movements of his Suite for Solo Cello offer striking contrasts: the Intermezzo is lyrical and reflective, while the Danza Finale bursts forth with rhythmic drive and virtuosic flair, embodying the fiery spirit of Spanish dance traditions.

Giovanni Sollima (b. 1962)
Ako umram il zaginam

Taking its title from a traditional Balkan song, Sollima’s Ako umram il zaginam (“If I die, if I perish”) is a deeply expressive work that draws on insistent, folk-inspired rhythms. Its music balances a sense of rooted national identity with an irresistible urge to move, inviting listeners to feel both its gravity and its vitality. This interplay of depth and dance-like energy makes the piece an ideal bridge into the program’s grand finale.

G.F. Handel (1685–1759) / J. Halvorsen (1864–1935)
Passacaglia for Violin and Cello

The concert concludes with Halvorsen’s celebrated reimagining of a theme by Handel. In this brilliant arrangement, the violin and cello engage in a dynamic conversation, exchanging virtuosic passages over a repeated bass line. The Passacaglia is both dramatic and exuberant, blending Baroque grandeur with Romantic-era brilliance, making it a fitting finale that unites past and present through the interplay of two powerful musical voices.