Cotik transposes the first five suites up a fifth to keep the relations between the violin strings G-D-A-E the same as on the cello C-G-D-A ; they are also an octave higher. Suite No. A Baroque bow is used, with resonant synthetic strings that are slightly softer than those Cotik regularly uses.
Dumas and Koester formed the duo when studying in the Historical Performance program at Juilliard and specialize in the interpretation of early repertoire. An exact contemporary of J. Bach, Graupner was virtually forgotten after his death, but recent groundbreaking work on his autograph sources at the University of Darmstadt has led to a revival of interest.
They are absolutely charming works, given beautifully articulated performances in a richly resonant recording. Every now and then a CD of such outstanding quality comes along that it leaves you struggling for words. The seldom-heard Respighi Sonata in B Minor p. Both draw particularly fine playing from the duo. In McIntosh and Vanhauwaert read through the violin sonatas of Bologne to pick one to film and became so enamoured of them that they decided to record all three for an album.
Each of the sonatas β No. Dynamics and articulations in the printed edition are minimal and often inconsistent, with the duo here consequently employing ornamentation consistent with the style of the period in excellent performances. The two say that they thought the three pieces would make a wonderful program.
They were right. String Quartet No. The five movements differ widely in pacing, with the fifth unexpectedly fully tonal and melodic. Ligeti wrote nothing further for string quartet, although there were advanced plans for two additional quartets commissioned by the Arditti and Kronos ensembles.
