Richard Strauss marks a final climax of the Classic-Romantic period, and simultaneously its conclusion. His Sonata op. 18, which he wrote in 1887 at the age of 23 and dedicated to his cousin Robert Pschorr, demonstrates the influence of the composers he venerated: Mozart, Mendelssohn, Schubert and Schumann. Yet, within this early work one recognizes orchestral colorings, sonority and an absolutely unique harmonic sophistication. Strauss, by this time the musical director of the Munich Hofoper, was already moving in the direction of symphonic composition. The opening movement, “Allegro ma non troppo” that still follows sonata-allegro form, is nonetheless very comprehensive. The two main themes are modified and deviated in the most extensive of melodic figures. The frequently open choice of key, as well as the effervescent upswing in the violin part, bestow this movement with an element of forward propulsion. In conjunction with the piano part, it exhibits orchestral dimensions. In the slow “Improvisation”, Strauss conveys the extent of his sensual virtuosic elegance and musical colorings. The expressive beginning theme in Ab major is a passionate continuous brush stroke of triplets reminiscent of Schubert. The subsequent middle movement is a wonderfully light and sparkling Grazioso. Together they reveal distinctive originality and creativity. The fulminate “Finale” builds upon the gloomy and moody introduction in Eb minor. This turbulently escalating beginning in the piano part reminds one of the famous opening of “Don Juan”. With the return of dramatic features in the movement, the influence of Schumann is also recognizable. Overall, it is the violin part that is structured predominantly on virtuosity, whereas the piano is responsible for orchestral tone density and vastness.

Johannes Maria Staud’s “Towards a brighter hue” (2004) was introduced to me as a commissioned piece during the semi-finals of the ARD 54. International Music Competition in 2005. At first sight, it was clear to me that this composition would require thorough study in order to grasp the full meaning of its meticulous notation. It was obvious that I would be spending a great amount of time researching, probing and realizing the unique capabilities that the piece demanded of my instrument. On one hand, I was challenged by the distinct features of the violin and the possibility of pushing both the variations and boundaries of playing techniques to their limits. On the other, I strived for my own personal, interpretive and artistic freedom, within the rather strict dynamic and meter instructions given by the composer. Ultimately, there was still the concern of the merciless microphone, which changed the impact of the work yet again. – After a brief introduction, “Towards a brighter hue” picks up one short motif and develops it. This persists throughout the first two thirds of the work. Laden with forward driving sextuplet patterns at break neck speed, increasing in dynamics and proximity, and with extroverted fortissimo explosions, this section requires both virtuosity and athleticism from the performer. This renders the introverted atmosphere of the final part as even more of a surprise. The timbres climb increasingly higher, woven by micro intervals and trill passages that ultimately ebb away into the brightest nothingness.