Violin Sonata No. 2 (Violin and Piano)

Notes ◽  
1969 ◽  
Vol 26 (2) ◽  
pp. 356
Author(s):  
Thomas Warburton ◽  
Samuel Adler
Keyword(s):  
Violin Sonata ◽  
Violin And Piano

scholarly journals Violin sonata fis-moll by Paul Natorp in the context of genre development

2021 ◽  
pp. 189-194
Author(s):  
Шаоин Го
Keyword(s):  
Russian Language ◽  
Practical Significance ◽  
Musical Language ◽  
Musical Identity ◽  
Violin Sonata ◽  
German School ◽  
History Of ◽  
Points Of View ◽  
Violin And Piano ◽  
Active Formation

Исследуется творчество композитора-философа Пауля Наторпа, фигура которого в русскоязычном музыкознании практически не представлена. Отдавая себе отчет в том, что его творчество может вызывать интерес с самых разных точек зрения, мы фокусируем свой научный интерес на Сонате fis-moll для скрипки и фортепиано, созданной в период активного формирования новых художественных течений в музыке начала ХХ века. На примере произведений так называемого «второго ряда» Соната fis-moll может служить довольно ярким примером процессов обновления музыкального языка, в том числе на основе переосмысления классического наследия. Музыковедческий анализ Сонаты для скрипки и фортепиано fis-moll осуществляется в опоре на историко-стилевой метод и интертекстуальность. Доказано, что, будучи созданной в русле традиций Бетховена, Шумана и Брамса, Соната fis-moll для скрипки и фортепиано отмечена самобытностью и оригинальностью. Теоретическая значимость работы определяется заполнением лакуны в истории становления жанра скрипичной сонаты в немецкой композиторской школе. Практическая значимость связана с возможностью обогатить скрипичный репертуар за счет знакомства с камерным жанром, представленным в творчестве немецкого музыканта-философа. This work is dedicated to the work of the composer-philosopher Paul Natorp, whose figure is in practice not represented in Russian-language musicology. Realizing that P. Natorp's work can arouse interest from a variety of points of view, we focus our scientific interest on the fis-moll Sonata for violin and piano, created during the active formation of new artistic trends in music at the beginning of the twentieth century. Using the works of the so-called “ second row” as an example, the fis-moll Sonata can serve as a vivid example of the processes of updating the musical language, including on the basis of rethinking the classical heritage. The musicological analysis of the fis-moll Sonata for violin and piano is based on the historical-stylistic method and intertextuality. It is proved that, being created in line with the traditions of Beethoven, Schumann and Brahms, the fis-moll Sonata for violin and piano by P. Natorp is noted for its musical identity and originality. The theoretical significance of the work lies in filling a gap in the history of the formation of the violin sonata genre in the German school of composition. Practical significance is associated with the opportunity to enrich the violin repertoire through acquaintance with the chamber genre presented in the works of the German musician-philosopher.

Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke

Tempo ◽  
2002 ◽  
pp. 2-10
Author(s):  
Dmitri Smirnov
Keyword(s):  
Soviet Union ◽  
String Quartet ◽  
Final Part ◽  
Avant Garde ◽  
Violin Sonata ◽  
Edison Denisov ◽  
Alfred Schnittke ◽  
Violin And Piano ◽  
First Time

The Second Violin Sonata for violin and piano (1968), subtided Quasi una Sonata, is one of Alfred Schnittke's most popular works, and it is one of my personal favourites among his pieces (alongside his First Symphony, First String Quartet, First Hymn, Second and Third Violin Concerti, Three Madrigals, etc). I discovered Schnittke's music in April 1969 at an underground concert given in the Gnessin Institute in Moscow by Alexei Lyubimov (piano), Boris Berman (piano), Lev Mikhailov (clarinet) and a few string players. This half-forbidden concert, organized by Alexander Ivashkin, was all that remained of a whole festival, which had been cancelled at the last moment by the authorities. The concert was split into three parts, the first two of them dedicated to the music of the Soviet avant-garde, with compositions by the likes of Edison Denisov, Tigran Mansurian, Valentin Silvestrov, Viktor Ekimovsky and Kuldar Sink etc. At the end of the second part there was a perfonnance of Schnittke's Serenade for five musicians. This very cheerful and fanny piece, entangled with hundreds of short quotations, sounded very different from the rest of the program. The final part of the concert contained works of Schoenberg, Berg and Webern, played for the first time in Brezhnev's Soviet Union.

Sonata for Violin and Piano by Vladimir Martynov

10.34690/18 ◽  
2019 ◽  
pp. 6-21
Author(s):  
М.И. Катунян
Keyword(s):  
20Th Century ◽  
14Th Century ◽  
Violin Sonata ◽  
Violin And Piano

Скрипичная соната Владимира Мартынова (1973) парадоксальна во многих отношениях. Сам композитор характеризует ее как парадокс: «Это додекафония плюс минимализм. Еще в музыкальном училище я был очарован гокетом Машо, его минимализмом. Я имею в виду, что там что-то происходит и в то же время ничего не происходит». Симптоматично, что к названным направлениям ХХ века прибавился гокет XIV века. Парадоксальна серийная техника: Мартынов трактует ее настолько индивидуально, что она то вызывает ассоциацию со средневековым контрапунктом на cantus firmus, то сближается с 12-тоновыми техниками Хауэра и Рославца. И при этом остается строжайшей додекафонией: «В ней ни одной свободной ноты». В работе с серийной техникой сформировались особенности композиторского облика Мартынова, сложилась его творческая позиция, отразился круг музыкальных приоритетов, познаний, интеллектуальных и гуманитарных интересов. The Violin sonata of Vladimir Martynov (1973) is paradoxical in many ways. The composer himself characterizes it as a paradox: This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machauts hoquet, its minimalism, I mean that something happens there and nothing happens at the same time. It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the strictest dodecaphony: There is not a single free note in it. On the serial technique, the features of Martynovs composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.

Spinner's Violin Sonata – Why op. 1?

Tempo ◽  
1987 ◽  
pp. 68-73
Author(s):  
Calum MacDonald
Keyword(s):  
Violin Sonata ◽  
Violin And Piano

Leopold Spinner composed his Sonata for Violin and Piano at the age of 30, in Vienna, in late 1936, while Studying with Webern. It was performed in Vienna on 22 November of that year under the auspices of the Austrian Section of the ISCM. In 1940—having in the meantime been forced to emigrate to this country—he made a slightly revised version of the work, which seems to have remained unheard until this year.

scholarly journals Features of the embodiment of the genre of sonata for violin and piano in the works by Gabriel Fauré (on the example of Sonata № 2, in E Minor, op. 108)

2021 ◽  
Vol 59 (59) ◽  
pp. 157-170
Author(s):  
Zhanna Dedusenko
Keyword(s):  
Harmonic Component ◽  
Early Period ◽  
Role Playing ◽  
Musical Language ◽  
Frequent Change ◽  
20Th Century Music ◽  
Violin Sonata ◽  
Gabriel Faure ◽  
Sound Image ◽  
Violin And Piano

Background. The article reveals the genre-style, form-building and dramatic features of G. Fauré’s Sonata No. 2, in E Minor, op. 108. It is determined that this work, in contrast to his first sonata in A Major op. 13, written in the early period of the composer’s life and embodying romantic elation and inspiration, belongs to the late period of G. Fauré’s work, which is distinguished by a complex harmonic and polyphonic writing, sophisticated form and dramatic content characteristic of the early 20th century music and the First World War. The purpose of this article is a characteristic of genre-stylistic and compositional-dramaturgical features of G. Fauré’s Sonata for violin and piano № 2, in E Minor, op. 108. Results. The Second Violin Sonata by G. Fauré, in contrast to the First, has a different dramaturgy and is built on the principle of dramatic antithesis. A special place – and this brings its logical patterns closer to Beethoven’s – is given to the sonata allegro of the first movement, the excitement and explosiveness of which contrasts not only with the lyrical Andante of the second one, in A Major, but also with the enlightened and carefree Allegro non troppo of the finale in E Major. The logic of the formation in the first movement is associated with the originality of the passage of musical events and has a spiral structure consisting of five turns. The musical image of the second movement’s theme is interesting, as it is born from the conjugation of several voices, combining the features of rhythmic variability. This gives the theme a special, truly French charm. There are several dynamic build-ups in the second movement throughout Andante, which shows the implementation of the wave dramaturgy principle. Rondo shows the freshness of musical colors and spontaneity of expression. The last refrain of this part is especially interesting from the dramatic, thematic and ensemble points of view. The general culmination of the Sonata takes place in the refrain. It includes the main intonational ideas and serves as a generalization of the key events of the composition. At the highest climax of Rondo the main and secondary themes from the first movement of the Sonata appear. Thus, the idea of concentric circles, which was noted in the sonata allegro, is implemented in the finale of the Rondo. Conclusion. The analysis of the Second Violin Sonata by G. Fauré allows us to speak not only about a special implementation of the form in this work, but, in comparison with the First Sonata, about a great variety of ensemble writing, marked by the polyphonization of texture. The timbre contrast of the violin and piano allows the composer to set off the emerging replicas, arrange them in different sound spaces, which may resemble the organ register. The loss of any “character” by the members of the ensemble is most consistently traced in the sonata allegro. Another regularity can be traced in the reduction of the background, which is supplanted by the thematization of the texture. This is emphasized by the frequent change of role-playing functions of the instruments and the multitude of ensemble details that ensure the mobility of the musical texture and its multidimensionality. In this Sonata G. Fauré shows a special sensitivity to the harmonic component of the musical language. This search for expressive possibilities of harmony subsequently becomes a distinctive feature of the modern French musical language, which affects the sound image of a chamber ensemble, leading to the interpretation of chamberness as a refined variability of sensations.

First Sonata for Violin and Piano

Notes ◽  
1953 ◽  
Vol 10 (3) ◽  
pp. 486
Author(s):  
Douglas Townsend ◽  
Robert Ward
Keyword(s):  
Violin And Piano

Ethnic Variations on a Theme of Paganini (Based on the 24th Caprice); Violin and Piano

Notes ◽  
1984 ◽  
Vol 41 (2) ◽  
pp. 376
Author(s):  
Jean Christensen ◽  
David Baker ◽  
Gary Smart
Keyword(s):  
Violin And Piano ◽  
Ethnic Variations ◽  
Variations On A Theme

Duo for Violin and Piano [1947]

Notes ◽  
1993 ◽  
Vol 49 (3) ◽  
pp. 1270
Author(s):  
Carl Anthony ◽  
Leon Kirchner
Keyword(s):  
Violin And Piano

The unheard voice and the unseen shadow

2018 ◽  
Author(s):  
Jeremy Cox
Keyword(s):  
Later Life ◽  
Federico Garcia Lorca ◽  
Francis Poulenc ◽  
Intensive Phase ◽  
Internal Conflicts ◽  
Violin Sonata ◽  
Guillaume Apollinaire ◽  
Natural Tendency ◽  
The Individual ◽  
The Relationship

The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.

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