They are major figures of European culture, authors of monumental works: Beethoven, with the Symphony No. 9 and the Missa Solemnis; Haydn, with the oratorio The Creation and the “London” Symphony; Mozart, with the opera Don Giovanni and the Requiem; Rossini, with the operas William Tell and The Barber of Seville. But what happens when each composer’s music is stripped down to minimal resources? A violin and a double bass are enough to hold our attention for a good while, contemplating unmistakable traits, as though we were looking at a small exhibition of sketches revealing essential elements. Beethoven’s duo was originally composed for clarinet and bassoon, probably still in his youth, in a light, almost dance-like register. It paves the way for Haydn’s crystalline discourse, still carrying Baroque echoes. Next comes Mozart’s apparent ease, in a duo composed during a family visit to Salzburg, at a time when he was already enchanting Vienna. Finally, we hear the duet Rossini composed in London, at the height of his fame, for a soirée graced by the celebrated double bassist Domenico Dragonetti.
Cordas a Dois
Solistas da Metropolitana
L. v. Beethoven Duo N.º 2, WoO 27 (arr. F. Proto)
J. Haydn Sonata em Sol Maior, Op. 8/5 *
W. A. Mozart Duo em Sol Maior, KV 423 *
G. Rossini Dueto *
* (arr. D. Tzonkova e E. de Conca)
Diana Tzonkova violin
Ercole de Conca double bass
