Four Centuries of Great Music July 16, 2022 Four Centuries of Solo Violin Music Episode 2

Composed in 1924, Paul Hindemith’s Sonata for Violin Solo No. 2, Op. 31, contains not only the sort of blocky, angular writing for which Hindemith is well known, but also demonstrates the composer's lyrical and expressive side.

In the first movement melodic materials unfold in such a fluid fashion as to draw attention from the piece's symmetry and repetition. A recurring motive begins in the upper range and leisurely descends through a series of steps and small leaps before rising again in a kind of slow, tidal fashion. For a brief moment in the middle, this tranquil atmosphere is interrupted by rhythmic double stops, but the tidal motion then resumes, inflected with chromatic alterations and mysterious whole-tone scales.

The second movement proceeds at a careful pace as well, but frequent dissonant double stops, a more angular melodic contour, and ventures into the extremities of the instrument's upper range lend it a more uneasy and dramatic mood.

The third movement provides a stark contrast to the restrained pace and texture of the first two. It is entirely rendered in pizzicato, with cleverly stratified layers of melody and accompaniment and carefully crafted counterpoint that testify to Hindemith's familiarity with the physical possibilities of the instrument itself (he was an expert violinist and violist himself). His broad harmonic palette is apparent as well, the march-like interplay between "bass" notes and offbeat chords lending order to intractable chordal trajectories that skirt the edge of tonality.

The fourth and final movement is constructed as a series of variations on a theme by Mozart. The tune is presented in a simple manner but the variety and complexity of the variations make this the most substantial movement of the entire sonata.

Bela Bartok’s Sonata for Solo Violin was commissioned by Yehudi Menuhin, to whom it was dedicated and who premiered it in New York on 26 November 1944.  It is in 4 movements

The first movement Tempo di ciaccona is essentially a sonata-form movement written somewhat in the style of a chaconne. It is full of typical Hungarian folk intervals and harmonies. T

he second movement, Fuga begins with a four-voice fugue on a pulsating, staccato melody. After a section where the melody is accompanied quietly with fast running notes, it returns as a series of chords, alternately played with the bow and plucked in inversion. Nevertheless, it is not a strict fugue, as every episode introduces new material to the subject.

The third movement, Melodia begins with a lyrical melody, stated alone and in all different registers of the instrument. It continues in sixths, octaves, and tenths, accompanied by trills and tremolos.

The Fourth movement, Presto alternates between a very quiet, fast, bumblebee-like passage played with a mute, and a cheerful melody. Bartók originally wrote the rapid passages in quarter-tones, but many violinists choose to perform a version, suggested by Menuhin, that only uses the standard 12 notes of Western classical music. Three contrasting themes appear throughout this movement, all of which re-appear in the final coda.

The Solo Sonata presents violinists with many difficulties and uses the full gamut of violin techniques: several notes played simultaneously (multiple stops), artificial harmonics, left-hand pizzicato executed simultaneously with a melody played with the bow, and wide leaps between pitches.

Arthur Honegger was born in France to Swiss parents and although considered himself as Swiss he live most of his life in Paris and fought in the French resistance in World War II.  His Sonata for Solo Violin in D Minor,  was composed in 1940 but because of the war it was not published until 1948.

The Partita for solo violin, composed especially for violinist Tim Fain in 2011, comprises seven movements, which (with the exception of the ‘Opening’) are grouped neatly into alternating pairs of songs, dances and chaconnes. The near absence in some movements of Glass’s trademark triadic ostinatos and scale passages will come as a surprise to some, maybe a relief to others; however, a minor-key darkness and intensity typical of the composer is sustained throughout. The fiery ‘Dance 2’ probably comes closest to ‘default’ Glass,

In the midst of the Covid 19 pandemic sound continuously resonates. A sob, a cry, a laugh, a whimper, a guffaw, a sigh and all the many types of joyful outbursts that are intrinsic to the human experience.  It is my hope, that in a listening or performance rendering of this piece, we are reminded that opposites exist for a reason, that any ending, no matter how painful, is a new beginning, and that the unwavering vastness of human spirit is what holds us together as a collective humanity, regardless of dire circumstance. Hope is not dependable, but the thought of it is there for the taking, whenever one might dare to ask...I wish you strength, faith and a limitless sense of hope. –Matana Roberts