Béla Bartók: 44 Duos for Two Violins

Say the Song


Studio
1h 15’ without intermission

Performed by:

Annelie Gahl
Sascha Bota

Piros alma leesett a sárba,
(A red apple fell in the mud.)
Ki felveszi, nem veszi hiába,
(Whoever picks it up won’t regret it,)
Ki felveszi, nem veszi hiába.
(Whoever picks it up won’t regret it.)
Én felveszem, kimosom a sárból,
(I pick it up and wash it out of the mud,)
Elbúcsúzom a régi babámtól,
(I say goodbye to my old love,)
Elbúcsúzom a régi babámtól.
(I say goodbye to my old love.)


These were the lines Bartók Béla overheard in 1910, sung by the Hungarian-Romanian nurse Lidi Dósa from Chibed, Transylvania. This brief encounter left an indelible mark on Bartók, sparking a groundbreaking realization: an entire orchard of musical treasures lay hidden in the Transylvanian hinterlands, yet to be explored and largely unknown to the world.
Bartók's tireless ethnomusicological work gifted us a collection of more than 10,000 songs, many of which were reluctantly sung into the needle of his phonograph by hesitant peasants. Not only did they view the machine as monstrous, but they also needed encouragement to sing – hence Bartók's persistent plea: "Say the song!"
We are thrilled to present a compelling concert program that highlights the revolutionary nature of Bartók Béla's 44 Duos for Two Violins. This work not only redefines the violin repertoire but also celebrates the vibrant essence of folk music. Our concert promises an immersive experience, intertwining live performance with rich visual and auditory elements. The duos will be performed on gut strings, bringing an authentic, earthy sound that enhances the folk origins of Bartók's music.
This concert features two talented violinists performing Bartók’s 44 Duos on gut strings, emphasizing the rhetorical and expressive quality of the sound. Bartók’s innovative approach merged classical composition techniques with the raw, authentic sounds of Eastern European folk music. His field recordings remain a profound testament to these rich musical traditions. Performing these duos on gut strings allows for a more nuanced and evocative interpretation, resonating deeply with the folk roots that Bartók so passionately sought to capture.
The performance will be enriched by a video sequence that complements the four-part structure of Bartók's 44 Duos. Historic videos, snippets of Bartók’s field recordings, and photographs taken by the composer himself will be woven into a dreamlike visual aesthetic. These elements will appear and disappear, evoking remembrance, reverberation, and a vibrant connection to the songs we "say" – a tribute to the timeless beauty of folk music.

ANNELIE GAHL

Annelie Gahl has gained international acclaim for her solo recordings, which blend classical and baroque repertoire with contemporary works for solo violin. The Strad Magazine praised her debut as "auspicious and exciting," while Salzburger Nachrichten described her performances as "splendidly focused violin artistry." The German magazine Ronde called her album Melodies and Harmonies, which won the Austrian Broadcasting Company’s Pasticcio Prize, "possibly the most beautiful Cage recording in many years."

Gahl is the recipient of the Anton Bruckner Prize and the Paula Boleszny Prize. As a soloist, she earned widespread admiration for the Austrian premieres of Armanda Maier Röntgen’s Violin Concerto (1875) and Ethel Smyth’s Concerto for Violin and Horn (1928). She has also performed a diverse repertoire, ranging from Vivaldi and Beethoven to Steve Reich, with ensembles such as Camerata Salzburg and the Kammerphilharmonie Salzburg, in venues including Salzburg, Linz, and the Wiener Musikverein.

Her deep commitment to contemporary music informs her dynamic and versatile work. A regular guest with Klangforum Vienna, Gahl’s creative solo programs often combines music with dance, literature, and visual arts, leading her to many international festivals.

In addition to her regular work with Camerata Salzburg and Concentus Musicus, Gahl has been invited to serve as the first concertmaster of Wiener Akademie and RSO Wien. A passionate chamber musician, she has collaborated with renowned artists such as Benjamin Schmid, Ivry Gitlis, Valentin Erben, Lukas and Veronika Hagen, and Michael Kofler.

Grateful to her teachers Paul Roczek, Ernst Kovacic, and Shmuel Ashkenasi, and having had the opportunity to work closely with Sandor Vegh and Nikolaus Harnoncourt, teaching has become a major focus in her career. Gahl holds a violin professorship at the Universität Mozarteum and regularly gives masterclasses and chamber music coaching in Austria, Israel, Greece, Germany, Moscow, and China.


SASCHA BOTA

Newly appointed by the Oculi Ensemble and joining the professorial staff of Trinity Laban in September 2022, Sascha has quickly become one of the most sought-after viola players in London. Since relocating to the UK in 2017, he has been in high demand as a soloist, chamber musician, and guest principal with symphony and chamber orchestras. In 2018, Sascha joined the Navarra String Quartet, and in 2021, he became co-leader of the viola section in the Britten Sinfonia.

In the spring of 2022, Sascha performed as a soloist at major venues such as the Musikverein in Vienna, Concertgebouw in Amsterdam, Prinzregententheater in Munich, and Konzerthaus Berlin, alongside Antoine Tamestit and the Akademie für Alte Musik Berlin. As a chamber musician, Sascha contributed to the Naxos label’s release of Edward Gregson's complete string chamber music and performed internationally with the Navarra Quartet. He also appeared as a guest principal with the London Philharmonic Orchestra and the Orchestra of the Age of Enlightenment. His future projects include the release of Schubert’s complete trios on gut strings, a busy touring schedule with his quartet, a recital at Wigmore Hall, and numerous performances with the Britten Sinfonia.

Sascha has performed as principal player with Aurora Orchestra, London Mozart Players, Academy of Ancient Music, English Chamber Orchestra, Philharmonia Orchestra, and the Romanian Chamber Orchestra, a project close to his heart. He frequently collaborates with renowned chamber musicians such as Anthony Marwood, Jonathan Stone, Katya Apekisheva, Adam Walker, Richard Lester, Guy Johnston, and Tim Posner, and has appeared at prestigious festivals including Aldeburgh, Peasmarsh, and West Wicklow. Sascha has also served as artistic director of the Weesp Chamber Music Festival near Amsterdam for the past nine years, curating eclectic programs featuring guest artists like Adam Walker, Annelien Van Wauwe, and Matt Hunt.

Strong influences on Sascha’s musical development include violinist Rainer Schmidt of the Hagen Quartet and composer György Kurtág. He has since performed with notable musicians such as Thomas Zehetmair, Benjamin Schmid, Leonidas Kavakos, and members of the Hagen Quartet. As a former member of the Mozart Quartet Salzburg, he toured Europe performing Mozart’s complete string quartets.

Sascha has often performed as a soloist with the Philharmonic Banatul in Romania, most recently in Enescu’s Concert Piece in a unique arrangement for symphony orchestra. In the upcoming season, he will premiere a commissioned work for viola and orchestra by Romanian composer Sabin Păutza. His past solo performances include appearances with the Australian Chamber Orchestra, Zurich Chamber Orchestra, and others, in venues such as Madrid's Auditorio Nacional, Zurich’s Tonhalle, Lucerne’s Kunst- und Kongresshaus, the Sydney Opera House, and Melbourne Recital Centre.

In 2007, Sascha won the audition for Principal Viola of the Zurich Chamber Orchestra. Prior to this, he was a member of Camerata Salzburg (2006–2012), working closely with Roger Norrington and Leonidas Kavakos. Sascha later joined the Australian Chamber Orchestra, where he was co-principal viola from 2012 to 2015 and acting principal viola from 2015 to 2017. During his time with the ACO, he played a significant role in curating chamber music programs and educational initiatives. He also performed on a rare 1610 Gio Paolo Maggini viola, on loan from the orchestra, for two years before relocating to the UK.

Sascha regularly performs with gut-stringed ensembles, appearing as co-principal viola with Orchestre Révolutionnaire et Romantique, Le Poème Harmonique, and the Academy for Ancient Music Berlin. He has worked with conductors such as John Eliot Gardiner, Louis Langrée, Sir Roger Norrington, Philippe Herreweghe, and René Jacobs, and is a founding member of the Schubert String Trio London.

Beyond classical music, Sascha is dedicated to jazz and other forms of improvisation. He frequently performs with his father, bassist Johnny Bota, as well as guitarist James Kitchman and pianist Bruno Heinen. Sascha has appeared at jazz festivals across Europe, including the EFG London Jazz Festival with the J. Kitchman Quartet. As part of ACO Underground, he has shared the stage with shout poet Marcie O’Neal, cellist Giovanni Sollima, and composer Jonny Greenwood.

Sascha plays on a 1639 M. Albani viola made in Bolzano, a baroque Pawlikowski instrument, and an NS Design 5-string electric viola with various pedals.