Acquiring fame is difficult, but remaining famous is even harder. How many young musicians have we heard about who appear suddenly, sweep us off our feet, but then disappear again without a trace? Others come along to take their place. Only a few manage to hold on – and Kristóf Baráti is one of them. Bursting onto the scene in 1997 with third place in the Queen Elisabeth Competition in Brussels, he has since become an increasingly frequent concert performer, is a regular guest abroad, and has a contract with a German record label. What is his secret? Perhaps that he is willing to take chances. After all, who risks their neck by recording Bach’s sonatas and partitas for solo violin, considered among his trickiest works, not to mention Paganini’s violin concertos? Only a violinist who is both technically and musically beyond reproach would dare. The world of these latter two composers accurately reflects the strengths of this musician, now in his mid-thirties: namely a deep sense of musicality and sparkling virtuosity, which is perhaps all that is required. Baráti has since also recorded Beethoven’s complete sonatas for violin and piano, proving that the spirit of chamber music is at least as much his own as the skill of a soloist. There are few such talents in the world, and this dual ability is a mark of the greatest. This concert will feature Baráti accompanied by Enrico Pace, the pianist who received invitations from Maurizio Pollini to perform at the Salzburg Festival and from Leif Ove Andsnes to appear at his own chamber music festival. This programme of works by composers beginning with the letter “S” features two of the finest pieces from the established repertoire, but interestingly also contains a juvenile sonata by Richard Strauss, who was born 150 years ago, as well as four pieces from the turn of the 20th century by the Czech Josef Suk, both of which provide a dash of modernist colour.