Davies Symphony Hall, San Francisco Symphony, April 19, 2026 – There is an art to making a program. A performer in recital or a symphony needs to have a plan that will hold the program together. Joshua Bell’s recital had a idea, an organizable reason for this piece before the next one. This could be heard and applauded through the entire concert, and that includes the perfect artistry that was present in all that Bell played. Shai Wosner was the perfect partner with Bell. They reach each other in the space between piano and violin.

 A Violin Sonata in A major,  D. 574, written by Franz Schubert, 1817, has an on and off pattern that one movement fits the energetic and spritely tune and rhythm, but the music becomes more caring and melodic. They alternate their turns as the second movement brings us a Scherzo, Presto, which could easily accompany the puffy clouds on a clear, sunny day. The third movement, Andantino, switches  new harmonies and still touches the bright, lovely, walking rhythm of the beginning Allegro moderato. By the time Schubert reaches his finale, there is more music, rhythms over rhythms, surprising the listeners to the sudden search of music going this way and then another way. It is a grand musicale with energy and good cheer.

Edvard Grieg’s Violin Sonata No. 3  in C minor, Opus 45, is something wonderful which no one I spoke with at the performance had ever heard before. Grieg does slip around with stories and sounds that are special for Norwegian nationalism. And yet, his one piano concerto is majestic. The first time I heard it, I could not identify its composer. I guessed at Tchaikovsky, but it was Grieg’s. Of Grieg’s three Violin Sonatas, the C minor is the one that is played in symphony halls everywhere. This sonata has emotion and power; it hits our hearts. The first movement, Allegro molto ed appassionao, is in stormy, wind blown, trouble. However, Grieg has restraint. He delivers the emotion. It is real, but he knows the torment. It has a little suggestion that he is the force that moves the storm. He creates the feeling of looking at colors in the sky and seeing images. He brings in syncopations. The second movement, Allegretto espressivo alla Romanza, rejoices in melodies and rhythms from Norwegian folk dances. The third movement, Allegro animato, makes both piano and violin fire up the finale. The musicians must play with their most virtuoso energy, and they did.

Joshua Bell’s plan for the order of the pieces is now active. Wait for Prokofiev. Each selection on the program builds on the previous one.

Violin Sonata No. 2 in D major, Opus 94a, Prokofiev was out of Russia to play his music elsewhere. He went back to Russia because he received promises of artistic freedom. It did not happen that way. Soon after he was back home, Stalin’s Terror killed and imprisoned millions of citizens. Then, Germany invaded Russia. An immense tragedy, it is estimated 27 million were killed. The dreadful situations certainly invaded Prokofiev’s work. The music of the Violin Sonata No.2 had actually been transcribed from his Flute Sonata in D major, Opus 94. The great violinist, David Oistrakh, told Prokofiev to make the flute sonata into a violin sonata. Prokofiev described the new music for violin: “sonata in a gentle, flowing classical style.” The description left out the occasionally sarcastic sounds. The Moderato opening movement is made of lyrical but forceful music. The Scherzo allows the piano to enter a waltz which also has strenuous, secretive emotions. For the third movement, Andante, the instruments become the place where opposites hide their thoughts. The sonata ends, Allegro con brio, with a finale that overcomes some of the sarcastic, secretive messages and allows a thrilling joy.

Maurice Ravel wrote Violin Sonata No. 2 in G major from 1922 to 1927. Ravel was depressed and had a block keeping him from finishing it. The violinist who was meant to premiere the sonata, in 1922, could not play it in 1927 as she had developed arthritis and retired. The composer, George Enescu, played the violin. Ravel had the Blues as part of the sonata. It is a terrific sonata. I could hear opening measures of Gershman’s music. The rhythm made it hard to sit still. The Allegretto opens the Sonata, the Blues: Moderato are the heart of Ravel’s creative, new music, and the Perpetuum mobile: Allegro. Ravel was down with the blues and found the way out: Celebrate!

Joshua Bell uses his body to make his violin play for him. His approach is visible. He perfected his technique and in each moment he makes music perfectly to his ear and ours.