Violinist Violetta Suvini and pianist Sofia Sacco showcase three contrasting works: Ravel’s youthful Sonate Posthume, Beethoven’s maverick Sonata No. 4 in A minor, and the folkloric idiom of Janáček’s Violin Sonata.

Unpublished until 1975, decades after Ravel’s death, this charming early work comprises only a single movement, and is thought to be a sketch written for Fauré’s composition class as Ravel’s first exploration of sonata form. It conveys a light, youthful feeling through its explorative melodies, and demonstrates Ravel’s early skill in constructing luminous, shifting harmonies. 

Beethoven’s early sonatas are noted for involving the violin in a more equal partnership with the then-dominant fortepiano. Though the 4th Sonata is often overshadowed by the ‘Spring’ Sonata (No.5), the former marks “a notable advance in dramatic style over its predecessors” (Heeney). Described by Lockwood as “the wayward stepchild among Beethoven’s violin sonatas”, its quick changes of mood, condensation of form, strides towards unorthodox modulations, and unexpected rhythmic qualities, leave a strong impression.

“Janáček’s music is steeped in the folk music idioms and speech patterns of his Moravian homeland: he claimed “the whole life of man is in folk music”. This composer’s material follows closely the inflections, cadences and rhythms of the Czech language.” (Markow). His unique musical expression can be heard in the rhythmic and melodic fragments which are repeated and juxtaposed between the violin and piano. The second movement ‘Ballade’ was written first as a stand-alone piece, before finding its place as the lyrical heart of this sonata.