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

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