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Sonatas and Follia<div> Amandine Beyer, violin</div><div> Pierre Hantaï, harpsichord</div><div><br></div><div> <strong>On the agenda:</strong></div><div> Arcangelo Corelli</div><div> Sonata in F major op. 5 No. 1</div><div> Sonata in D minor op. 5 No. 12 “Follia”</div><div><br></div><div> Antonio Vivaldi</div><div> Sonata in D major RV 10</div><div> Sonata in C major RV 3</div><div><br></div><div> Johann Sebastian Bach</div><div> Sonata in E minor for violin and continuo BWV 1023</div><div> Sonata in G major for violin and continuo BWV 1019</div><div><br></div><div><br></div><div> Just as much as vocal music, the instrumental repertoire experienced a meteoric rise in the 17th and 18th centuries, propelled by immense virtuosos who were also exceptional composers. The importance of Arcangelo Corelli, legendary violinist and father of the sonata, cannot be overstated. A generation later, Antonio Vivaldi produced works of diabolical difficulty, yet also of irresistible melodic and rhythmic allure. Another genius, undoubtedly the greatest of all, acknowledged this Italian supremacy while sublimating it in his own incomparable style: Johann Sebastian Bach.</div><div><br></div><div> Two immense musicians resurrect this essential chapter in the history of music: Amandine Beyer, a violinist acclaimed everywhere for the beauty of her sound and a virtuosity that is never demonstrative, reunites with a long-time collaborator, Pierre Hantaï, undoubtedly one of the great masters of the harpsichord.</div>