Dussek: Violin Sonatas, Vol. 3 Julia Huber & Miriam Altmann

• Jan Ladislav Dussek (1760 - 1812): Violin Sonata, Op. 69 No. 1 in B Major, CrawD 240:
• 1 Dussek: Violin Sonata, Op. 69 No. 1 in B Major, CrawD 240: I. Molto allegro con Fuoco 09:24
• 2 Dussek: Violin Sonata, Op. 69 No. 1 in B Major, CrawD 240: II. Les soupirs, adagio Cantabile 04:24
• 3 Dussek: Violin Sonata, Op. 69 No. 1 in B Major, CrawD 240: III. Rondo. Allegretto non Troppo 06:33
• Violin Sonata, Op. 69 No. 2 in G Major, CrawD 241:
• 4 Dussek: Violin Sonata, Op. 69 No. 2 in G Major, CrawD 241: I. Allegro Espressivo 10:41
• 5 Dussek: Violin Sonata, Op. 69 No. 2 in G Major, CrawD 241: II. Rondo. Andantino con moto - Allegro 09:28
• Violin Sonata, Op. 4 No. 3 in F Minor, CrawD 39:
• 6 Dussek: Violin Sonata, Op. 4 No. 3 in F Minor, CrawD 39: I. L'Amante disperato. Poco Presto 11:09
• 7 Dussek: Violin Sonata, Op. 4 No. 3 in F Minor, CrawD 39: II. Tempo di minuetto - Trio 03:39
• Total Runtime 55:18

Info for Dussek: Violin Sonatas, Vol. 3

Over the course of his long and eventful career, Dussek composed 38 violin sonatas – or rather sonatas for the keyboard, accompanied by the violin – and the partnership of Julia Huber and Miriam Altmann is acquiring impressive credentials and critical praise as they gradually uncover them for the first time.

This is one excellent album, noted the Fanfare reviewer of Volume 1 (96385). ‘Julia Huber and fortepianist Miriam Altmann give wonderful renditions. Each plays off of each other, with clarity, technical acumen, and a good sense of phrasing… You ought to have this as an integral part of any collection of chamber music of the period.’

Volume 2 (96588) was received with equal enthusiasm: ‘This is an outstanding continuation of the series… done with style and verve by Julia Huber and Mariam Altmann… Well worth getting.’ Volume 3 presents a contrast of sonatas from the beginning and near the end of Dussek’s life. Even the early Op.4 No.3 Sonata, however, shares the qualities of the mature Dussek noted by one contemporary reviewer: ‘Dussek's strength in composition lies in the idiosyncrasy, the novelty, the striking, brilliant quality of his rich invention, and, as far as the development is concerned, in the fire and the intimacy which his works seldom lack.’

Fire and intimacy: what else would we expect from a wide-ranging opening movement subtitled ‘L’amante disperato’ (The forlorn lover), with playing indications such as Amoroso and Lamentabile and dynamic indications from triple piano to triple forte?The sonata’s argument is concentrated in the piano part, with the violin marked as ‘ad libitum’, whereas the two Sonatas Op.69 show more of a partnership, albeit still led from the keyboard in the manner of works in the same genre bv Mozart and (until the ‘Kreutzer’) Beethoven.

Both Op.69 Sonatas take the listener on a gripping narrative through typically bravura piano writing and unexpected turns of incident. No.2 is unusually structured in two expansive halves, while the quick outer movements of No.1 are separated by a songful Adagio subtitled ‘Les soupirs’ (The Sighs’) no doubt for the appreciation of Dussek’s French audience.

Julia Huber, violin
Miriam Altmann,fortepiano

Julia Huber-Warzecha
erhielt ihren ersten Geigenunterricht von ihrer Mutter. Nach dem Studium bei Walter Forchert erhielt sie ihre erste Anstellung als Geigerin beim Orchestre Philharmonique de Luxembourg, während sie gleichzeitig ihr Interesse an Alter Musik durch das Studium der Barockvioline bei Mary Utiger aufrecht erhielt. Im Jahr 1997 wurde sie Preisträgerin des Internationalen Locatelli-Wettbewerbs Amsterdam.

Im Jahr 2000 beschloss sie, sich ganz der freiberuflichen Tätigkeit als Barockgeigerin zu widmen und arbeitet seither - neben einer vielseitigen Tätigkeit als Kammermusikerin - mit dem L'Orfeo Barockorchester, der Neuen Düsseldorfer Hofmusik und La Stagione Frankfurt als Konzertmeisterin und Stimmführerin.

Julia Huber-Warzecha spielt eine Geige der Mantua-Schule, ca. 1680.

Booklet for Dussek: Violin Sonatas, Vol. 3