Pisendel — Mulsant • Hélène SCHMITT, violon
Available on november 8, 2018
• Sonate pour violon seul
• Sonate de concert N°2 op.45
• Suite de concert op.50
HÉLÈNE SCHMITT, violin
The solo violin, senza basso, has constantly inspired countless composers from the 17th century to our time. The solo violin repertoire is the heir to the canzone, the poem, the capriccio, the fantasy, and the recitativo. From the 17th century the violin aspired to virtuosity. That century's passion for the violin initially raged in Italy and Germany, countries that produced the first great masters of the instrument.
The violin virtuosoJohann Georg Pisendel (1687-1755) whilst accompanying his protector, the Elector of Saxony Frederick Augustus II (later King of Poland) on a grand tour of Europe, visited Italy where met Vivaldi, who would become his friend and teacher, dedicating several sonatas and concertos to him. The Sonata for Solo Violin in A minor stands beside the works of Heinrich Ignaz Franz Biber (1644-1704) and J.S. Bach in the hierarchy of composition for the instrument in the baroque era.
The art of Florentine Mulsant is both of its time, accepting the artistic influences of the 20th school of French music, and nurtured by that of centuries past. The two works for solo violin which feature in this recital share a heritage of genres from the 16th and 17th centuries, and are dedicated to the violinist Hélène Schmitt. In the Concert Sonata n°2, op.45 and the Suite for Solo Violin, op.50 (composed in 2013), Florentine Mulsant feeds her inspiration with the liberty inherent to baroque aesthetic principles. Her personal exactitude brings together the melodic and thematic relationships of the works.