J. S. Bach: Six Sonatas for Violin and Harpsichord, BWV 1014-1019

Sonata in E major, BWV 1016: Adagio ma non tanto

RV 589 12. Cum Sancto Spiritu

Barocco Splendore

J.S. Bach Prelude and Fugue a moll, BWV 543, Fugue

Giovanni Battista Pergolesi: Sinfonia in F major. Béla Pukánszky - cello, Erzsébet Dombiné Kemény - piano. 14.11.2024. Excerpt from the concert at the University of Szeged.  
Giovanni Battista Pergolesi (originally Draghi) (1710-1736) was a Neapolitan composer who followed in the tradition of his predecessors, writing mainly vocal works for the stage and church. Some of the works previously attributed to him are forgeries, and many of the 'Pergolesi pieces' were written after the short-lived composer's death. However, the Sinfonia in F major for cello and continuo is undoubtedly an authentic Pergolesi work (as evidenced by the composer's handwriting and the watermark on the manuscript paper). In this case, the movements are Comodo, Allegro, Adagio and Presto. The final movement of the piece may be familiar to those familiar with 20th century music from the music for the dance play Pulcinella, composed by Igor Stravinsky in 1920 for the Paris Russian Ballet conducted by Sergei Gyagilev. Gyagilev persuaded Stravinsky to base his ballet music on Pergolesi's melodies. In Pulcinella, Stravinsky rearranges the original F major Sinfonia Presto movement for trombone and double bass solo - in a unique 20th century style with its 'rough' scales and 'rough' fricatives.

Giovanni Battista Pergolesi_Sinfonia_PB_DE_14.11.2024

11. Bach: Suite no. 2 In D Minor, BWV 1008 · Minuet I & II / Gavriel LIpkind, cello

Antonio Lucio Vivaldi: Stabat Mater

Stabat Mater RV 621: Pro Peccatis Suae Gentis. Andante

Ivan Sobolev - Chopin Variations Waltz In B Minor Op. 69, No. 2

Clair de Lune: Piano Music by Beethoven, Chopin, Brahms, Debussy, Scriabin, Rachmaninoff

3 Intermezzi, Op.117: No. 1 in E -Flat Major

Waltz of the flowers - sad romantic piano l

Over the years, the international press referred to him with an impossible blend of titles. A "Jaw-dropping" "Demonical" "exception-cellist", “Maverick” and "Iconoclastic Thinker", a "Rockstar of the cello" and a "nano-musician" are only a few examples.

Indeed, on the one hand Lipkind treats the moist subtle nuances in every note with infinite love and quiet attention forcing the listener to differentiate and participate in the re-creation of the piece. On the other hand his carefully designed interpretation is often performed with the “unbridled panache of a rock artist” [Irish Times].

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11. Bach: Suite no. 2 In D Minor, BWV 1008 · Minuet I & II / Gavriel LIpkind, cello

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