Musical transcriptions consist of adaptations of pre-existing scores so that they can be played by different instruments. In the Baroque period this was very common. J. S. Bach made several transcriptions of Vivaldi’s concertos. Already in the 19th century, Liszt played symphonic repertoire alone on the piano. But the cult of originality caused this practice to lose ground. In the past, transcriptions allowed, on the one hand, musical works to reach a wider audience and, on the other, to rediscover them through signature recreations. Today, the first intention is guaranteed by recordings. It is the second that leads the Metropolitan Soloists to recover here two Sonatas in Trio by Haydn, originally written for two violins and double bass, and a Mozart duo, written for violin and viola. The only work on this program originally intended for violin and double bass belongs to Rossini; a true sonata with three movements. In the second movement the operatic influences are clearly perceived, as if it were an aria accompanied by the pizzicato of the double bass.
Violin & Double Bass
J. Haydn Sonata in E Flat Major, Op. 8/4
J. Haydn Sonata in G Major, Op. 8/5
W. A. Mozart Duo in G Major, KV 423
G. Rossini Duet in D Major
Diana Tzonkova violin
Ercole de Conca double bass