It’s not often that you can say that a commission, or set of commissions, fills a genuine hole in the repertoire. However, that’s precisely what Fenella Humphreys has bestowed upon the musical world with ‘Bach 2 the Future’
Gramophone Magazine Editor’s Choice
Take one motivated and talented young British violinist, inspired by the solo violin music of J.S. Bach, and mix with some of the best British composing talent of today and the result is: Fenella Humphreys’ “Bach 2 the Future”. Fenella came to performing Bach’s masterpieces in their complete form relatively recently, but was frustrated by a lack of solo works to perform alongside them. A Kickstarter and remarkable fundraising drive ensued, and Fenella has been able to commission six incredible new works by Adrian Sutton, Sally Beamish, Cheryl Frances-Hoad, Gordon Crosse, Piers Hellawell and Sir Peter Maxwell Davies. Bridging the connection between Bach and the new works are iconic works of the unaccompanied repertoire, from the virtuosic fireworks of Ysaye and Paganini to the charm of Fritz Kreisler and the contemplation of Biber. The new works have been recorded by Fenella across two critically acclaimed discs for Champs Hill Records. The second of these releases received BBC Music Magazine's 2018 Instrumental Award.
Suggested Programmes:
Fritz Kreisler- Recitativo & Scherzo Caprice
J.S. Bach - Ciaconna from Partita no. 2 in D minor BWV 1004
Peter Maxwell Davies - Sonatina for Violin Alone
Paganini - Caprice no. 24
Interval
Cheryl Frances-Hoad - Suite no. 1
J.S. Bach - Partita no. 3 in E major BWV 1006
Eugene Ysaye - Solo Sonata no. 2 op. 27
Cyril Scott - Bumble-Bees (1928)
Heinrich Biber - Passacaglia (1676)
Sally Beamish - Intrada e Fuga
Eugene Ysaye - Solo Sonata no 3 op. 27
Interval
J. S. Bach - Partita no. 1 in B minor BWV 1002
Adrian Sutton - Arpeggiare Variations
Heinrich Wilhelm Ernst - Grand Caprice op. 26 on Schubert’s Erlkönig
Fenella is grateful to the many people who have supported the project financially, through Kickstarter and fundraising concerts. Thanks also to Arts Council England, the Cruach Trust, the Nicholas Boas Trust, the RVW Trust, the PRS for Music Foundation, the Fidelio Charitable Trust, the Ida Carroll Trust, and the Ambache Trust for making the project possible.
 
