Beethoven’s violin sonatas are a cornerstone of the classical repertoire, performed countless times on concert stages worldwide. However, most modern performances follow Beethoven’s notations with strict adherence, potentially limiting expressive possibilities. Our project,  Beethoven Reimagined, seeks to explore alternative ways of interpreting these works by delving into historical performance practices and applying these insights to enliven realisations with dramatic impact and variety.

Historically, musicians of this period were expected to play with far greater flexibility in terms of tempo rubato and rhythmic freedom . Early editions of Beethoven’s sonatas, along with accounts from contemporaries, also reveal that the use of performance practices such as portamento, arpeggiation and ornamentation can be used to enhance expressiveness and character.

We aim to rediscover this sense of expressive freedom and reintroduce it into modern performances. Ultimately, this research repositions Beethoven’s violin sonatas not as static museum pieces, but as living, evolving works of art.

By bridging the gap between historical practices and modern performance, Beethoven Reimagined promises to offer a fresh and vibrant perspective on these beloved masterpieces – — reimagined for today.

As part of this project, Jacqueline performs on a Nicolo Amati violin dating from the mid-17th century. This instrument is on kind loan from Peter Biddulph.

Jacqueline is delighted to be able to work on this project and present these Sonatas together with pianist and historical keyboard specialist Artem Belogurov.

Artem Belogurov (Piano) – Professor at Utrecht Conservatory, co-director of Ensemble Postscript, and research project Romantic Lab

Artem Belogurov is equally at home at the modern piano, harpsichord, clavichord and the many varieties of historical pianos. His repertoire ranges through four centuries of solo, concerto and chamber repertoire. Artem’s recent performances include concerto appearances with Concerto Köln in Lincoln Center, New York and at the Library of Congress, Washington. As a soloist and chamber musician, and founding member of ensemble Postscript, Artem has performed at a number of international festivals, among them Festival Montréal Baroque, Festival Oude Muziek Utrecht, and Musica Antiqua Brugge. He is particularly interested in research relating to Romantic performance practice and enjoys experimenting with and reviving forgotten expressive devices. He has recorded for BIS, Piano Classics, Berlin Classics, Challenge Classics and TRPTK.