The sonata, one of the most important musical genres of Classicism and Romanticism, had its origins in an earlier period – the Baroque – and developed from the canzona, which was again a translation of vocal compositions onto instruments. Although these important transformations at the turn of the 17th century occurred primarily within Italian music, Zbigniew Pilch and Marta Niedźwiecka – interested in the violin version of the sonata – will present early repertoire from various European countries at the Forum Musicum.

The artists will begin the concert with a composition from the second volume of Dario Castello’s Sonate concertante in stil moderno. Despite its small size, the work is distinguished by its internal contrasts in terms of the means used and the musical moods, a characteristic feature of Castello’s technique. He also demanded considerable skill from violinists, which may not have appealed to everyone in his time, as he explained in the introduction to one of the reeditions of the collection: “Although these sonatas may initially seem difficult, their spirit will not be damaged by repeated performance, and it is precisely through this that one can become so proficient in playing them that they become the easiest pieces." In Elizabethan England, constant repetition did not diminish the value of the melody known as Lachrimae. Composers of the time widely used John Dowland’s work in their own works, including those for the violin. Johann Schop’s Pavane serves as an example of such inspiration. Thomas Balthazar was an important figure in the Anglo-German cultural connections of the time. This outstanding violinist, originally from Lübeck, arrived in London in the winter of 1655/56 and subsequently revolutionised English violin playing. During the concert, we will hear his variations on the popular ballad John, Come Kiss Me Now. Philipp Friedrich Böddecker’s modest instrumental output is particularly significant in Germany. The sonatas from his Sacra partitura collection are considered among the first works from this region in the form of sonata.

Compositions by musicians with ties to Poland will also be featured. The violinist Aldebrando Subissati, who served for a time at the court of King John II Casimir, wrote unusual, intriguing sonatas composed of two metrically contrasting sections – musicologist Piotr Wilk attributes this to his isolation from the leading cultural centres in Europe. The violinist Carlo Farina, born in Mantua, played in the municipal orchestra in Gdańsk from 1636 to 1637. His sonatas suggest he achieved true mastery of his instrument. La Desperata is one of his most demanding works to perform. To conclude the festival concert, the artists chose a piece associated with Wrocław: a sonata by the little-known 17th-century composer Henricus Litzkau, preserved in the collections of Wrocław University Library.