Cindy Moyer, violin
with Daniela Mineva, piano; Greg Granoff, harpsichord; Kira Weiss, cello.
Sonata in F Major for Violin and Continuo , HWV 370 by Georg Frederick Handel
Sonata in A Major for Piano and Violin, Op. 12, No. 2 by Ludwig van Beethoven
Andante più tosto allegretto
Sonata in G Major for Piano and Violin, Op. 78 by Johannes Brahms
Vivace non troppo
Allegro molto moderato
Sonata in D Major for Solo Violin, Op. 115 by Sergei Prokofiev
Theme and Variations
Beethoven Sonata for Piano and Violin No. 2
The first sonata could almost be a particularly grandiose work of Mozart, but the robust humour in the second is far more Haydnesque. One of the only times Beethoven evokes the traditional ‘roles’ of the two instruments is to cock a snook and turn them on their head in op. 12 no 2."
pianist Daniel Tong (Feb. 2014)
Brahms Sonata for Piano and Violin No. 1
"Brahms’ three violin sonatas are all extraordinary masterpieces that occupy their own rarefied world of elegant construction, romantic sweep and exquisite beauty. The designation of “Sonata for Piano and Violin” significantly expresses the equal partnership of both instruments in this chamber music for two. While the violin often sings first and foremost, Brahms frequently switches the parts giving theme and accompaniment a deeper sounding through new sonorities and “inverted” textures. The two parts generally imitate, echo and intertwine for a balanced chamber unity with ample lyricism and virtuosity for both players.
Kai Christiansen, Earsense
"Composed in the high summer of his creative career after the completion of the Symphony No. 1 and the Violin Concerto, Brahms' Violin Sonata in G major is a gloriously lyrical work with long-breathed melodies rather than terse themes, and expansive extrapolations rather than concise developments. It is also one of Brahms' most tightly structured and cogently argued works, with a degree of formal integration rare in his works. The dotted rhythm of the opening movement's first theme dominates the second theme of the central movement and all of the closing movement, and the second theme of the central movement returns in the central section of the closing movement.
The sonata is in three movements: Vivace ma non troppo, Adagio, and Allegro molto moderato. The opening Vivace, significantly slowed by its modifying ma non troppo, is a sweet-tempered movement in sonata form with two lyrical themes. The central Adagio is in ternary form, with a heartfelt main theme full of double and triple stops in the violin. The closing Allegro molto moderato starts with a direct quotation from the opening of Brahms' Regenlied, Op. 59/3 (Rain Song), a melancholy minor-keyed song recalling the long-lost days of youth. In the Violin Sonata, Brahms likewise starts it in the minor, but with the return of the theme of the Adagio, he returns the music to the consoling tonic major of the sonata. The work ends with a warm, sunset coda of great beauty."
James Leonard, AllMusic
Prokofiev Sonata for Solo Violin
“It was significant that he should return, after so many years, to writing for the solo violin; seemingly unconvinced of the utter futility of formalist experimentation, he renewed his youthful striving to express genuine human emotions, choosing for this effort one of the most singing of all musical instruments.”
Israel V. Nestyev, author and biographer
"Sergei Prokofiev composed his last work for violin in 1947, the Sonata for Solo or Unison Violins, Op. 115. .. This work was written exactly at the point in Soviet history when its government launched official attacks on many composers including Prokofiev, and was never performed during Prokofiev’s lifetime.
The Solo Sonata proves to be an excellent example of Prokofiev’s late compositional style, which strove for a more direct and simple musical language. .. Because he was a pianist, Prokofiev’s writing for the violin often imitates pianistic percussive and rhythmic qualities, yet it also exploits and highlights the lyrical, singing qualities of the violin.
The Solo Sonata is musically charming, sonorous, and challenging, yet remains the least recorded or performed of all of Prokofiev’s violin works... The Sonata, nevertheless, offers great musical satisfaction and pedagogical value, clearly reflecting Prokofiev’s late compositional style in its form, melody and harmony. As seen in the Solo Sonata and throughout the Soviet period, melody and lyricism became the most important aspects of his music. In any scenario, the Solo Sonata is an intriguing and mysterious piece of music, musically and historically unique, and a valuable example of Prokofiev’s late compositional style for the violin." Joanna Steinhauser, doctoral thesis.