Citerna, Chiesa di San Francesco
Enrico Bronzi cello
Pierpaolo Maurizzi piano
JOHANN SEBASTIAN BACH Chromatische Fantasie und Fuge BWV 903
reproduction for cello and piano by Ferruccio Busoni
LUDWIG VAN BEETHOVEN Sonata for cello and piano n. 5 in D major op. 102 n. 2
JOHANNES BRAHMS Sonata for cello and piano n. 1 in E minor op. 38
Bach, Beethoven, Brahms and the art of fugue connect three gems of the chamber music repertoire.
The starting point could only be the Kantor from Leipzig, master of the fugue with his chromatic Fantasia and fugue written for harpsichord, but also available in a cello and piano adaptation or piano only adaptation by Busoni.
The work dates back to the same years of the first book of The well tempered clavier: it’s around 1720-1730 and Bach wanted to show all the available tonal resources made possbile by the equal temperament.
Beethoven in 1815 introduced the principle of baroque polyphony into the classical style: this is how op.102 was born and in particular the second Sonata , the real manifesto of this “style”, not only for the fugue in four parts at the end of the piece but also for the polyphony which is spread all over the piece.
At the end we have the lovely Sonata op. 38 by Brahms of 1862-1865 with explicts alllusions to the themes of Bach’s Art of fugue.