Programme Notes - Alexandra Wood
Mozart
- Sonata in F major K.376
Allegro
Andante
Rondeau: Allegretto grazioso
This
Sonata in F belongs to a set of six sonatas for violin which Mozart composed in
Vienna in 1781, and was dedicated to his piano student Josephine von Aurnhammer.
Within the course of the thirty-two sonatas written between 1784 and 1788, we
see a gradual change in the musical relationship between the two instruments.
The earliest sonatas were little more than piano sonatas embellished by the
violin part. (In some instances the violin part can be omitted altogether
without significant musical loss.) However, with the composition of the 1778 and
1781 Sonatas, we see the violin fully sharing the thematic material with the
piano and both instruments performing a 'duo' role.
The
first movement of this Sonata in F major is full of excitement and drama,
clearly showing the dialogue style between piano and violin. The second movement
is beautifully crafted lyrical movement with each instrument sharing the main
theme; and the work finishes with a sparkling Rondo.
Arvo
Pärt - Spiegel im Spiegel
Arvo
Pärt was born in Estonia in 1935 and graduated from Tallinn Conservatory in
1963. Characteristics of his music are boldness and clarity with a strong
richness of invention. In his early years Part was mainly associated with the
composition of music for film and television, but a collection of short works
for piano and an early String Quartet showed the influence of Prokofiev and
Shostakovitch. With the composition of his First Symphony he showed new
directions and influences with strict serial writing. Later works have seen Part
composing in many styles, including old polyphonic forms in the 1970's - as in
the Third Symphony.
In
1978 he wrote the popular miniature Spiegel
im Spiegel, and of his unique sound world, he wrote: "The complex
and many faceted only confuses me, and I must search for unity. I have
discovered that it is enough when a single note is beautifully played. I work
with few elements. I build with the most primitive materials. It is then that I
find peace."
Debussy
- Violin Sonata
Allegro
vivo
Intermede
Finale
Towards
the end of his life Debussy composed three Sonatas, one for cello and piano
(1915), one or flute, viola and harp (1916) and his violin sonata (1917). Each
work is in three movements, and each displays, in a different way, the
composer's desire to free himself from the influence of the Germanic style of
romanticism. The voice is his own, and the presentation of thematic material is
not rigidly bound by conventional forms.
Written
while on a seaside holiday, Debussy had already been diagnosed with cancer by
the time of this Violin Sonata's composition. The constant fight with pain may
have contributed to the work's sparse clarity and occasional restrained
austerity. But the composer reflected to a friend at that time: "I would
like to hatch something fantastic; something devilish but vivacious with much
sweetness and light around it!"
It
is clear that, in this Sonata, much of this desired characteristic has been
subtly integrated with Debussy's beautifully elusive and emotional world.
Brahms
- Sonata no 1 in G
Vivace
ma non troppo
Adagio
Allegro molto moderato
It
has been said that Brahms' accompanied Sonatas for violin, for cello and for
clarinet served something of the same purpose on Brahms creative life as the 32
Piano Sonatas did in Beethoven's. Each provided the composer with the
opportunity of exploring an intimate medium for the experiment and development
of form, texture and mood. Written in the summer of 1879 at Portschach on Lake
Worth, the Violin Sonata opens with a gorgeous and sensuous melody setting a
mood which is largely sustained throughout the work. The rhythmic and metrical
structure if this first movement (Vivace)
is complex, and with the continuous ebbing and flowing of different phrase
lengths, the movement is given an emotional power and drive. The beautiful
thematic material in the following Adagio
is recalled again in the powerful last movement (Allegro ma non troppo) together with extensive quotes from two of
Brahms' op.59 songs: Regenlied
(Rain-song) and Nachtlang (Echo).
The
violinist Joseph Joachim advised Brahms on technical matters in the violin part,
just as he had done with the Violin Concerto the previous year. The Sonata's
first performance was given by a certain Joseph Hellmesberger in November 1879
to immense popular acclaim.
Wieniawski
- Polonaise Brilliante op.21 in A major
Anton
Rubinstein called Wieniawski "without doubt the greatest violinist of his
time!" Certainly, among the
violinists in the generation after Paganini, Wieniawski must be ranked alongside
the best. This Polish-born musician was one of the last figures of the 19th
century violin virtuoso tradition, and his strong Polish nationalism and is
evident in his compositions for the instrument. His main additions to the
repertoire are two Violin Concertos, the second of which, a minor masterpiece in
D minor, is full of romantic colour and expression. Wieniawski's Polonaises
and Mazurkas show astounding
technical brilliance, and the A major
Polonaise we hear tonight combines this exciting virtuosity and fun with a
lovely romantic colouring doubtless born within the culture of his Slavonic
background.
Programme Notes prepared by Peter Case for South Holland Concerts