Bach's Long Shadow Francisco Fullana

• Eugène Ysaÿe (1858 - 1931): Sonata for Solo Violin, Op. 27 No. 2 “Jacques Thibaud”:
• 1 Ysaÿe: Sonata for Solo Violin, Op. 27 No. 2 “Jacques Thibaud”: I. Obsession 02:54
• 2 Ysaÿe: Sonata for Solo Violin, Op. 27 No. 2 “Jacques Thibaud”: II. Malinconia 02:19
• 3 Ysaÿe: Sonata for Solo Violin, Op. 27 No. 2 “Jacques Thibaud”: III. Danse des ombres 04:26
• 4 Ysaÿe: Sonata for Solo Violin, Op. 27 No. 2 “Jacques Thibaud”: IV. Les furies 03:37
• Johann Sebastian Bach (1685 - 1750): Violin Partita No. 3 in E Major, BWV 1006:
• 5 Bach: Violin Partita No. 3 in E Major, BWV 1006: I. Preludio 03:45
• 6 Bach: Violin Partita No. 3 in E Major, BWV 1006: II. Loure 03:57
• 7 Bach: Violin Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau 03:01
• 8 Bach: Violin Partita No. 3 in E Major, BWV 1006: IV. Menuets I & II 03:50
• 9 Bach: Violin Partita No. 3 in E Major, BWV 1006: V. Bourrée 01:30
• 10 Bach: Violin Partita No. 3 in E Major, BWV 1006: VI. Gigue 01:54
• Isaac Albéniz (1860 - 1909): Suite Española No. 1, Op. 47, B. 7:
• 11 Albéniz: Suite Española No. 1, Op. 47, B. 7: No. 5, Asturias (Leyenda) [Arr. P. Loiseleur & F. Fullana for Violin] 06:29
• Francisco Tárrega (1852 - 1909):
• 12 Tárrega: Recuerdos de la Alhambra (Arr. R. Ricci for Violin) 04:04
• Fritz Kreisler (1875 - 1962):
• 13 Kreisler: Recitativo & Scherzo-Caprice for Solo Violin, Op. 6 04:48
• Eugène Ysaÿe: Sonata for 2 Violins in A Minor, Op. Posth.:
• 14 Ysaÿe: Sonata for 2 Violins in A Minor, Op. Posth.: I. Poco lento, maestoso - Allegro fermo 11:01
• Total Runtime 57:35

Info for Bach's Long Shadow

Spanish-American violinist Francisco Fullana has taken the Partita No. 3 in E by J.S. Bach and built around it a programme of interlinked yet contrasting works, resulting in an original and intricately constructed album. J.S. Bach’s output has had a far-reaching impact, casting the Long Shadow that gives this album its name. Fullana uses gut strings, a baroque bow and historically informed ornamentation for his performance of Bach’s E minor Partita, creating a pared-down, immediate interpretation. Ysaÿe was inspired to write his Op. 27 Sonatas after hearing Bach’s Sonatas and Partitas. Yet whereas Bach’s music demands restraint from the performer, Ysaÿe’s encourages virtuosity. There is darkness in this Sonata, too, and Fullana performs the work with electrifying energy. Fritz Kreisler’s Recitativo & Scherzo was dedicated to Ysaÿe, and Fullana feels a special kinship with Kreisler: he plays Kreisler’s first Guarneri violin, the 1735 ‘Mary Portman’ Guarneri del Gesù. The recital culminates in Ysaÿe’s Sonata for Two Violins. Ysaÿe wrote the work to perform with Queen Elisabeth of Belgium, who gave her name to a violin competition that was most recently won by violinist Stella Chen, Fullana’s duo partner on this album.

Francisco Fullana, violin
Stella Chen, violin

Francisco Fullana
A native of Mallorca in the Balearic Islands of Spain, Francisco Fullana is making a name for himself as both a performer and a leader of innovative educational institutions. A recipient of the 2018 Avery Fisher Career Grant, he has performed as soloist with orchestras such as the Münchner Rundfunkorchester, Spanish Radio Television Orchestra, Argentina’s National Orchestra, Venezuela’s Teresa Carreño Orchestra, and numerous U.S. ensembles including the Saint Paul and Philadelphia Chamber Orchestras, the Buffalo Philharmonic, and the Vancouver, Pacific, Alabama, and Maryland Symphony Orchestras. He has worked with such noted conductors as the late Sir Colin Davis, Gustavo Dudamel, Alondra de la Parra, Christoph Poppen, Jeannette Sorrell, and Joshua Weilerstein.

In 2018 Orchid Classics released Francisco’s acclaimed debut recording Through the Lens of Time, which includes Max Richter’s 2012 composition The Four Seasons Recomposed—performed with the City of Birmingham Symphony Orchestra under Carlos Izcaray—along with other 20th century works exploring connections with the baroque era, by Alfred Schnittke, Salvador Brotons, and Isang Yun. Fullana’s love for the sound of gut strings has blossomed into an artistic partnership with the Grammy Award winning baroque ensemble Apollo’s Fire, both in performance and in the recording of Spanish and Italian baroque music.

Active as a chamber musician, Francisco is a performing member of The Bowers Program at the Chamber Music Society of Lincoln Center, and has participated in the Marlboro Music Festival, the Musicians from Marlboro tours, the Perlman Music Program, the Da Camera Society, and the Moab, Music@Menlo, Mainly Mozart, Music in the Vineyards, and Newport music festivals. His musical collaborators have included Viviane Hagner, Nobuko Imai, Charles Neidich, Mitsuko Uchida, and members of the Guarneri, Juilliard, Pacifica, Takács, and Cleveland Quartets.

Born into a family of educators, Francisco is a graduate of the Royal Conservatory of Madrid, where he matriculated under the tutelage of Manuel Guillén. He received Bachelor’s and Master’s degrees from The Juilliard School following studies with Donald Weilerstein and Masao Kawasaki, and holds an Artist Diploma from the USC Thornton School of Music, where he worked with the renowned violinist Midori.

In 2015 Francisco was honoured with First Prize in Japan’s Munetsugu Angel Violin Competition, as well as all four of that competition’s special prizes including the Audience and Orchestra awards. Additional awards include First Prizes at the Johannes Brahms and Julio Cardona International Violin Competitions, the Pro Musicis International Award, and the Pablo Sarasate Competition.

Francisco is a committed innovator, leading new institutions of musical education for young people. He is a co-founder of San Antonio’s Classical Music Summer Institute, where he currently serves as Chamber Music Director. He also created the Fortissimo Youth Initiative, a series of music seminars and performances with youth orchestras, which aims to explore and deepen young musicians’ understanding of 18th-century music. The seminars are deeply immersive, thrusting youngsters into the sonic world of a single composer while inspiring them to channel their overwhelming energy in the service of vibrant older styles of musical expression. The results can be galvanic, and Francisco continues to build on these educational models.

Francisco Fullana performs on the 1735 “Mary Portman” ex-Kreisler Guarneri del Gesù violin, kindly on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

Booklet for Bach's Long Shadow