DEBUT - The Violin Sonatas

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DEBUT

The Violin Sonatas

César Franck | Edvard Grieg

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BRUNO MONTEIRO - Violino

JOÃO PAULO SANTOS - Piano

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PROGRAM NOTES

Having played an extremely important role in the development of the French music of the late XIX century, César Franck (1822-1890) distinguished himself as a composer thus exerting a decisive influence on the following generations of musicians, who later excelled within the French musical domain.

When he was young, Franck studied at the Paris Conservatoire, where he became an organ teacher from 1872 onwards. Until that date he had been working as an organist at the Saint Clotilde Basilica. During his organ classes, and several times against the will of his colleagues, he would teach his students, a group which included sounding names such as Vincent d´Indy, Ernest Chausson, Gabriel Pierné, Henry Duparc and Louis Vierne, how to compose.

From his entire compositional universe, the Sonata for Violin and Piano in A Major was the piece that reached the highest level of popularity. Composed in 1886 for his long date friend, the famous Belgian virtuoso Eugène Ysaÿe, this piece was offered to him as a wedding present and interpreted for the first time during the ceremony, which took place in Arlon, on September 26th and later at the Circle Artistique de Brussels, on December 16th of the same year, immediately receiving a warm welcome by both the audience and the specialised critics.

The vast majority of its popularity is based on the perfect structural form, the cyclic form and thematic style and, mainly, on the overdone lyricism, which were typical characteristics of the French romantic music. Another singular trait is the fact that the piano does not present itself as a mere accompanying instrument but rather appears “the same in the difference”, as it develops a musical discourse along with the violin. 

The first movement, Allegretto ben moderato, is characterized by the poetic and dreamy sense, expressed in the introduction’s extreme lyricism. Nevertheless, and contrasting with the classical sonata, the two main themes are clearly delineated, the first one being for the violin and the second one for the piano, and do not fall on the romantic strategy of thematic exchange; the musical narrative expresses itself through the independence of both instruments.

The second movement, Allegro, as opposed to the first one, shows an intense, dramatic, robust and passionate Franck, although the refined lyricism, the poetic and declamatory sense are not left behind inherent to his style, examples of which are blatant on the second theme interpreted by the violin after the introductory section, the tempo changes which take place as the musical discourse evolves and the section prior to the tempestuous ending which concludes the movement.

Sentimental extremes mark the third movement, Recitativo-Fantasia: Ben Moderato. Robert Jardillier considered this movement “One of Franck’s boldest creations”. The reminiscences of the opening theme form of the first movement are obvious, but at this point they are inserted in an even more intimate environment, with melodic lines of extreme serenity and fantasy, yet once again contrasted in certain sections with states of virility and drama. This movement manifests the emotional duality in which Franck lived at that peculiar moment of his personal life.

Allegretto poco mosso, the fourth and last movement, is a magnificent summary of the whole piece, alluding to the previous movements. The thematic reciprocity between the violin and the piano is an eminent presence. Throughout the movement, violin and piano entail a dialogue in a canon shape, until the main section, where the piano, by means of a solo rich in counterpointistic harmonies and complex chords, prepares terrain for the heroic intervention of the violin. After the repetition of the movement’s opening theme, the Sonata ends with a brilliant coda in A major.

Born in Norway in 1843, Edvard Grieg studied at the Leipzig Conservatory, in Germany, and early established himself in Copenhagen, after a short stay at his homeland.

Grieg knew little of Norwegian popular music until he made contact with violinist Ole Bull, in the summer of 1864. A year later, the influence of Rikard Nordraak and his nationalist view of music were determinant for the author’s compositional path. Theatrically, he collaborated with names such as Ibsen and Bjørnson.

He passed away in 1907, having divided his life between his concert career and compositional activities, although he undoubtedly stood out as the most important Norwegian nationalist composer of the XIX century. 

The explosive Sonata for Violin and Piano in C minor Op.45 was the last of the three sonatas for violin written by Edvard Grieg. It is, beyond the shadow of a doubt, the most breathtaking of the cycle. The composer himself considered it “turned into wider horizons”.

Written during the fall of the same year as the one by Franck, in Troldhaugen, it was finished in January of the following year. Its world première happened in December 10th, 1887, at the Gewandhaus in Leipzig, by the hands of the violinist Adolph Brodsky, accompanied at the piano by the composer himself. Since that moment it was acclaimed around the world as one of the author’s most relevant productions.

Differently from the other two preceding sonatas, this particular one is characterized by the intensity, tragedy, virtuosity and melancholy. It embraces the romantic aesthetics completely: from the chosen tonality (C minor) usually associated with the sense of Pathos, to the use of rhythmically ferocious themes and conductors of sequential patterns.

The first movement Allegro molto ed appassionato is divided into two repeated parts which bear a distinctive character: the first one has a military tone, marked and violent, which then contrasts with the grand line and lyrical character of the second one. The second part finally integrates the reminiscences of the material used in the beginning of the piece and concludes with a coda written in prestíssimo. 

In the second movement, Allegretto espressivo alla Romanza, nature is evidenced through simple and poignant melodies, contrasted with sections of lively rhythms entirely linked to the folklore spirit typical from his native country.

The last movement, Allegro animato, bears with it the affirmative character of the first movement and is divided into two repeated parts: the first one with a marked and deciso sound also comprises an intermediate part of pure and sincere lyricism. The second one presents reminiscences of the material used in the beginning and ends with a short coda in C minor written in prestíssimo.

Bruno Monteiro

DEBUT

The Violin Sonatas

CÉSAR FRANCK (1822-1890)

Sonata para Violino e Piano em Lá Maior

Sonata for Violin and Piano in A Major

1 Allegretto ben moderato 06’27’’

2 Allegro 08’19’’

3 Recitativo-Fantasia: Ben Moderato 07’18’’

4 Allegretto poco mosso 06’17’’

EDVARD GRIEG (1843-1907)

Sonata para Violino e Piano em Dó menor Op.45

Sonata for Violin and Piano in C minor Op.45

5 Allegro molto ed appassionato 09’09’’

6 Allegretto espressivo alla Romanza 06’56’’

7 Allegro animato 07’42’’

Total: 52’26’’

Ref.: NUM 1154