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.

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.

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

Violin sonatas by Polish composers of the turn of the 20th century as an example of shaping emotions in music

2019 ◽  
Vol 1 (11) ◽  
pp. 87-108
Author(s):  
Tomasz Król
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
Physical Sense ◽  
20Th Century Music ◽  
Violin And Piano ◽  
Acoustic Phenomenon ◽  
Emotions In Music

In the article, the author analyses the influence of expressive elements on the listener’s experience based on sonatas for violin and piano composed by Polish composers at the turn of the 20th century. Music in the physical sense is an acoustic phenomenon where a listener is the recipient of the sound and emotions evoked by the music listened to. Musical awareness is also reflected in the progression of sounds that are interrelated in a special and original way. Functional concepts such the dynamics of the produced sound and sequences of sounds as well as their pace create a characteristic feature of the work. The author presents arguments in favour of the emotional reception of works by Polish composers.

scholarly journals Ascending Music: Meaning and Expression in the Chamber Music of Brian Cherney

2019 ◽  
Vol 37 (1) ◽  
pp. 83-98
Author(s):  
Taylor Brook
Keyword(s):  
Chamber Music ◽  
Musical Language ◽  
Chamber Works ◽  
Expressive Meaning ◽  
Violin And Piano ◽  
The 1960S

This article investigates the musical language of Brian Cherney, applying the idea of musical topics as a strategy for analyzing the extramusical content of his music. The idea of musical topics, traditionally applied to works from the classical era, is expanded with a collection of topics that are specific to Cherney’s work. Focusing on a set of chamber pieces from throughout Cherney’s compositional output beginning in the 1960s, this article focuses particularly on the topic of “ascending music,” tracing its musical and expressive meaning through these chamber works. The article concludes with a topic-based analysis ofGan Eden,a 1983 piece for violin and piano, providing an example of how topics coexist and interact within a single composition.

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.

scholarly journals Solo piano compositions by Hsiao Tyzen in the aspect of performing problems

2020 ◽  
Vol 57 (57) ◽  
pp. 165-177
Author(s):  
NataliiaYuriyivna Sun
Keyword(s):  
Early Period ◽  
Complex Form ◽  
Auditory Presentation ◽  
Childhood Memories ◽  
Musical Culture ◽  
Frequent Change ◽  
Solo Piano ◽  
Piano Works ◽  
Hsiao Tyzen ◽  
Poetic Response

Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “Dragon Boat Festival”, op. 58 (1996), “Spirit of Taiwan” (1998), “Nana Oh’s Meditation” (1999), “The Angel from Formosa” (1999). This huge layer of music is not sufficiently studied in the performing aspect. The characteristic of the pianistic level of complexity of the compositions under consideration is given, technical and artistic difficulties are revealed. Objectives. The purpose of the study is to identify the main performing tasks in the solo piano compositions of Hsiao Tyzen. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Piano works of Hsiao Tyzen of an early period of art op. 37, 38 and 40, united in the general cycle “Poetic Response”, are devoted to religious themes and include melodies of religious hymns. Combining three diverse piano cycles, the composer builds a kind of complex form of cycles in the cycle. The influence of romanticism in the music of Hsiao Tyzen is felt in his interpretation of melody, harmony, rhythm, tempo and texture. Composers of the twentieth century, especially C. Debussy, influenced the piano compositions of the late period. Since the works created by Hsiao Tyzen have varying degrees of pianistic complexity, it seems important to determine the pedagogical significance of the uncomplicated piano repertoire and the performing tasks that the interpreter of concert compositions faces. The cycle “Memories of Home” op. 49, consisting of six miniatures, is dedicated to the composer’s childhood memories. The main tasks of the pianist in the “Ancient Taiwanese melody” from the cycle “Memories of Home”, op. 49 will be the auditory implementation and development of a touch of legato, the performance of melismatics, the observance of sound balance between hands, the ability to draw a long melodic line, cleverly using a finger swap and moving from one position to another. In the Prelude, the tasks of the performer’s main technical and artistic problems are to accurately reflect dynamic contrasts, the agility of transitions in various textured combinations, the sound realization of polyphony, precise articulation and coordination of small notes in passages. “Memory” requires the performer of the highly professional possession of legato, manifested in the combination of the upper voice of the chord musical fabric, flexible movement skills and an accurate sense of polyrhythmia. In the “Playground” you need to show imaginative imagination, while reflecting the variety of strokes and dynamics specified by the author. “Elegy” requires a deep soulful feeling from a performer, high-quality sounding of a melody, and the formation of long phrases. “Farewell Etude” op. 55 and “Toccata” op. 57 – detailed compositions saturated with romantic technique and imagery. The intonational filling of the plays reflects the national Taiwanese flavor. “Farewell sketch” was the last work of Hsiao Tyzen, written in the tradition of romanticism. The piece is based on the famous Taiwanese folk song “Four Seasons”. The composer places the melody in the middle register, framing on both sides with a luxurious romantic texture. “Toccata” is full of numerous techniques that are difficult enough not only to execute, but even to remember. Frequent change of textured formulas is especially difficult for a pianist, because in addition to the clever execution of a virtuoso texture, you need to keep an accurate rhythmic pulsation. This repertoire is intended for concert performance and requires a pianist of a high professional pianistic level and bright artistry. It requires scale of performance, absolute technical and sound knowledge of the texture, knowledge and auditory presentation of the characteristics of Taiwanese musical culture, and mastery of pedalization. Conclusions. Hsiao Tyzen’s solo piano compositions provide a better understanding of the work of contemporary Taiwanese composers. They are rightfully one of the most striking pages of Taiwanese musical culture and deserve further introduction into a wide international music audience. These works, in our opinion, have high artistic merits and are intended for a different contingent of performers. Their value as a pedagogical and concert repertoire is a vivid imagery, a reflection of the national principle, interesting compositional and sound solutions.

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.

scholarly journals Emmanuel Fauré-Fremiet, 1883-1971

1972 ◽  
Vol 18 ◽  
pp. 187-221 ◽  
Keyword(s):  
Violin Sonata ◽  
Gabriel Faure ◽  
Amateur Astronomer ◽  
Jeanne D'arc ◽  
Song Writing ◽  
Requiem Mass ◽  
Wax Models

The great musical composer, Saint-Saëns, was not only a musician but also an amateur astronomer of some note. Had his interest in astronomy which, incidentally, he shared with Marie, the wife of one of his favourite pupils Gabriel Fauré, been combined with an interest in astrology he could perhaps have witnessed on 29 December 1883, with the help of his beloved telescope and inventive mind, the birth of a ‘nova’ and recognized that it was destined to shine brightly in the biological firmament for a period of almost 88 years. It was on that day that Marie presented her husband Gabriel with a son, Emmanuel. At that time (1883) Gabriel Fauré was 38 years old and already a highly successful musician, organist and composer who has since been described as the greatest of French song-writers, even as the French Schumann. In addition to his song-writing he is also well-known for his Requiem Mass, his violin sonata written in 1876 and for various quartets, nocturnes and other works. His music, in the words of a musical critic, ‘is remarkable for its exquisite workmanship, vitality, refinement and a reticent delicacy*; and these are all qualities that he passed on to his first-born son who displayed them to the highest degree, though in other fields. Although Gabriel Fauré married late, the marriage proved to be a very happy one. His wife, Marie, was the daughter of a leading sculptor, Emmanuel Fremiet (1824-1910) who, having started his career as a maker of wax models in a school of anatomy, afterwards became famous throughout France for his sculptures, particularly of animals. Perhaps his best known pieces are the lively equestrian statue of Jeanne d’Arc in the Place de Pyramides near the Louvre and the horses in the fountain at the Observatoire near the Luxembourg Gardens. He himself had been inspired and directed towards sculpture by his aunt Sophie (1797-1867) who herself had married a famous sculptor (Rude, 1784- 1855).

Structural Dissonance Re-Imagined: The Finale of Elgar’s Violin Sonata, OP. 82

2020 ◽  
Author(s):  
Oliver Chandler
Keyword(s):  
Critical Reception ◽  
Cutting Edge ◽  
Musical Language ◽  
Violin Sonata

Abstract Contemporary critical reception of Elgar’s Violin Sonata in E minor, Op. 82 was divided: was this work old hat or modestly cutting edge? Study of the tonal intricacies of its finale can facilitate interesting answers to this question, which mediate between its implied extremes. The article focuses on Elgar’s unusual treatment of sonata form’s traditional harmonic pillars, arguing that he radically changed their surface contents while still attempting to guarantee their continued relevance as organizing presences at a level below the musical surface. Particularly important is his articulation of the finale’s structural dominant. The music that follows on from an abortive cadence in V at the end of the finale’s secondary theme area might be thought to ‘translate’ the dominant into a more modern kind of musical language; it can thus be perceived as a genuine structural dissonance once more, rather than as a consonant cliché.

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.

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