Telephone: +44 (0)20 8668 3360
Standard concerto repertoire is augmented by shorter works e.g.
Beethoven Romances
Mozart Adagio, Rondo in C, Rondo Concertant
Bruch Adagio Appassionato
Tchaikovsky Sérénade Mélancolique, Meditation, Melody, Scherzo
Berlioz Rêverie & Caprice
Dvorak Romance
Glazounov Grand Adagio from Raymonda
Massenet Meditation
Sarasate Introduction & Tarantelle
COMPLETE CYCLES
Bach 6 solo sonatas and partitas, 8 accompanied sonatas
Beethoven 10 sonatas + variations
Brahms 3 sonatas + scherzo
Dvorak sonata, sonatina, short pieces
Elgar sonata + short pieces including out-of-print
Fauré 2 sonatas + short pieces
Grieg 3 sonatas
Mendelssohn 2 sonatas
Prokofiev 2 sonatas + five melodies
Schubert 4 sonatas, fantasy, rondo
Schumann 3 sonatasADDITIONAL SONATAS AND SHORT PIECES
Bartok, Bolcom, de Falla, Franck, Gershwin, Granados, Hubay, Kodaly, Kreisler, Mozart, Mussorgsky, Paganini, Piazzolla, Rachmaninov, Ravel, Sarasate, Clara Schumann, Strauss, Stravinsky, Szymanowski, Telemann, Villa-Lobos, WieniawskiNATIONAL GROUPS
Programmes can include groups of works that are:
- Russian, Spanish, French, English, Viennese, gypsy, jazzSample programmes
- Gabriel Fauré Romance Opus 28
Hector Berlioz Rêverie and Caprice Opus 8
Gabriel Fauré Sonata no.1 in A major Opus 13
Edward Elgar Chanson de Matin Opus 15 no.2
Chanson de Nuit Opus 15 no.1
Mot d’Amour Opus 13 no.1
Bizarrerie Opus 13 no.2
J.S. Bach Sonata no. 3 in E for violin and keyboard BWV1016
- Clara Schumann 3 Romances
Wolfgang Amadeus Mozart Sonata in Bb K.454
Sarasate Romanza Andaluza
Habanera
De Falla Spanish Dance
Richard Strauss Sonata in Eb Opus 18
These unusual events, lasting anywhere from one hour to full concert-length, have been presented widely in the UK and US, including Lincoln Center and Wigmore Hall, as well as in France, Germany, Israel and Russia. Consisting of a performance preceded by a lively exploration of the music, Ruth Waterman guides new and sophisticated listeners alike into and beyond the notes, fostering a more profound and vital engagement with the culminating performance.
This is not music history or facts or anecdotes, although these are often scattered about: rather she selects aspects of the composition that currently fascinate her, illustrating constantly, comparing recordings of other violinists, and exploring how different composers achieve their effects as well as how different ways of playing will transform meaning and emotion.
She has performed most of the recital repertoire in this way, including the major romantic works and the complete cycles of Bach, Beethoven, Schubert and Schumann sonatas.
A series of two or more events provides the opportunity to survey the complete violin sonata output of one composer e.g.:
two concerts – Fauré or Mendelssohn
three concerts - Brahms or Schumann
four concerts - Schubert
five concerts - Beethoven
six concerts - solo works of Bach
" The Andante movement brought this large, rapt audience very near to tears."
New York Times
"These are instinctive, exuberant, visceral
performances by someone with a complete standard technique (just listen
to her thrilling bariolage in the second movement of no.2), but whose
musicality and taste are far above the standard, and whose terpsichorean
rhythm is of the elect… Waterman is an experience no Bach-lover
should miss."
Fanfare Record Review
“ I love concocting unusual programmes. As in a good piece of theatre,
there should be subtlety as well as drama; contrasts in style and texture
and intensity as well as a natural progression and unity. Ideally, a concert
should be an organic experience.”
Ruth Waterman
"Ruth Waterman distinguished herself by giving
an intriguing talk on the problems of Bach interpretation, complete
with demonstrations
of contemporary dance steps, as well as performances of musical examples
on both violin and piano."
The Strad
“Each musical composition creates its own world. The world of a
great composition is so inspired and complex and allusive that a lifetime
of study may not reveal all there is to hear.”
Ruth Waterman
"The large audience was eating out of her hand… Waterman’s
delight in Beethoven’s quirkiness, his capacity to surprise,
challenge and animate, proved infectious and involving… Bridges
were being built."
The Strad
© 2003 Ruth Waterman
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