Baroque-Modern Duo Tales
V. Tchumburidze, S. Tchumburidze

Veriko Tchumburidze, violin

Sofiko Tchumburidze, violino

G. P. Telemann (1681-1767)

Suite for Two Violins in D major, TWV 40:108 “Gulliver’s Travels”

H. I. F. von Biber (1644-1704)

Passacaglia in G minor

N. Milstein (1904-1992)

Paganiniana

J. S. Bach (1685-1750)

Partita No. 1 in B minor BWV 1002

Georgian composer

Surprise piece

C. Gardel (1887-1935)

Por una Cabeza (arrangement for two violins by A. Hadelich)

45’ | Ingresso 8 €

Two Georgian sisters, Veriko and Sofiko Tchumburidze, and two violins of rare timbral sensitivity move effortlessly across centuries of music. The concert is situated between the two strands Trame in Equilibrio and Looking Forward: on the one hand, the challenge of repertoire and tradition, on the other, a gaze projected toward the future.

The programme is a deliberately daring journey. It opens with Telemann and the Suite Gulliver’s Travels, inspired by Swift’s novel: the Lilliputians take shape in light, staccato gestures, while the Brobdingnagians emerge in weighty, solemn phrases, in one of the earliest major experiments in programmatic music. This is followed by the Passacaglia from Biber’s Rosary Sonatas, a solo violin piece of intense meditation built on a repeating bass line that acts as the spiritual axis of the entire sonic architecture. With Milstein’s Paganiniana, virtuosity becomes both homage and reinvention of Paganini’s Caprices, while Bach’s Partita No. 1 in B minor brings the discourse back to the rigour of the baroque dance: each section unfolds into its “Double,” in a refined play of variation and reflection that suggests polyphony. At the centre of the programme, a surprise piece by a contemporary Georgian composer introduces a new voice, a bridge between tradition and the present.

The closing work is Por una cabeza by Carlos Gardel, in Augustin Hadelich’s arrangement for two violins: the world’s most famous tango becomes a finale suspended between elegance and drive, bringing the warmth of Buenos Aires to the stage as the final destination of a journey across three centuries of music.

Testo a cura di Federica Mastantuono e Bianca Cimmino