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    J.S. Bach: Rogram Otes

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    rohanfreak
    The program notes provide information on three works for viola: 1. J.S. Bach's Suite No. 2 in D Minor, BWV 1008, which is described as the most contemplative and mournful of the cello suites, with an emotionally intense prelude that echoes through the later movements. 2. Paul Hindemith's Sonata in F, Op. 11, No. 4, considered his masterwork for viola and piano, seamlessly blending rhythmic drive and rich melodicism through variations on a folk theme. 3. Elliot Carter's late work Figment IV, composed for violist Samuel Rhodes, explores the vast dynamic range of the viola

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    J.S. Bach: Rogram Otes

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    rohanfreak
    38 views2 pages
    The program notes provide information on three works for viola: 1. J.S. Bach's Suite No. 2 in D Minor, BWV 1008, which is described as the most contemplative and mournful of the cello suites, with an emotionally intense prelude that echoes through the later movements. 2. Paul Hindemith's Sonata in F, Op. 11, No. 4, considered his masterwork for viola and piano, seamlessly blending rhythmic drive and rich melodicism through variations on a folk theme. 3. Elliot Carter's late work Figment IV, composed for violist Samuel Rhodes, explores the vast dynamic range of the viola

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    Program Notes

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    The program notes provide information on three works for viola: 1. J.S. Bach's Suite No. 2 in D Minor, BWV 1008, which is described as the most contemplative and mournful of the cello suites, with an emotionally intense prelude that echoes through the later movements. 2. Paul Hindemith's Sonata in F, Op. 11, No. 4, considered his masterwork for viola and piano, seamlessly blending rhythmic drive and rich melodicism through variations on a folk theme. 3. Elliot Carter's late work Figment IV, composed for violist Samuel Rhodes, explores the vast dynamic range of the viola

    Copyright:

    © All Rights Reserved
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    Download as docx, pdf, or txt
    38 views2 pages

    J.S. Bach: Rogram Otes

    Uploaded by

    rohanfreak
    The program notes provide information on three works for viola: 1. J.S. Bach's Suite No. 2 in D Minor, BWV 1008, which is described as the most contemplative and mournful of the cello suites, with an emotionally intense prelude that echoes through the later movements. 2. Paul Hindemith's Sonata in F, Op. 11, No. 4, considered his masterwork for viola and piano, seamlessly blending rhythmic drive and rich melodicism through variations on a folk theme. 3. Elliot Carter's late work Figment IV, composed for violist Samuel Rhodes, explores the vast dynamic range of the viola

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    PROGRAM NOTES

    J.S. Bach Suite No. 2 in D Minor, BWV 1008


    (1685–1750)
    Perhaps the most contemplative, profound, and mournful of all of the Cello
    Suites: the second suite is notable for the rolling intensity of its prelude. The
    cathartic ache present in the theme, which resurfaces through the rest of the
    movement, ignites a resolute emotional fire that does not subside until the
    end of the suite. The fluidity of the Allemande and breathlessness of the
    Courante, lead to the funereal Sarabande. Sorrow and melancholy turn to
    fury in the first Minuet and Gigue. However, the true emotional core of this
    suite lies in the pastoral naïveté of the second Minuet – this simple
    exploration of D Major may be the true character of this work. Perhaps Bach
    was predating Proust, as it certainly seems like a melody of a memory and
    time long forgotten. Bach maintained a tight structural and thematic control
    over all of the movements of this suite: listen for how the most emotionally
    intense moments of the Prelude echo into the later movements of the suite.

    Most scholars agree that the cello suites were composed between 1717 and
    1723, while Bach was Kapellmeister in Köthen. This compositional period in
    Bach’s life was relatively secular, as Prince Leopold was Calvinist, and did
    not use music in his worship. Some of Bach’s most popular and powerful
    instrumental works come from this period: including the orchestral suites,
    the Sonatas and Partitas for solo Violin, and the Brandenburg Concerti.

    Paul Hindemith Sonata in F, Op. 11, No. 4


    (1896–1963)
    Considered the apotheosis of Hindemith’s mastery of classical forms, this
    first viola sonata in F major is a triumphant work that firmly cemented
    Hindemith as one of the greatest composers for viola and piano. The
    movements of the work are played without pause – and contain multiple
    variations on a theme stated in the start of the second movement.

    The first movement, titled “Fantasie,” is the freest in form and moves
    through nearly 10 different keys in less than 50 measures. After the theme
    moves through viola and piano and the violist declaratively plays through
    two cadenzas in C-major, the viola and piano, in a style akin to Debussy,
    start passing the theme rapidly back and forth. As the viola quietly sustains
    an F-sharp, Hindemith enharmonically moves from A# to Bb, and states the
    main theme (a Volkslied, or folksong) in an alternating meter of 2 and 3, thus
    starting the second movement.

    After the variations in the second movement, the masterful third movement
    begins. The third movement serves dual purpose, as a set of variations and
    a Sonata-Allegro form. As Hindemith blends and explores old and new
    tunes, the work gradually gains intensity and barrels into a rapid and
    ecstatic restatement of the folk tune, which leads to the end of the work.

    This work is a champion of the viola repertoire for how it seamlessly blends
    rhythmic fervor and drive with rich melodicism – a combination well suited
    for the viola.

    Elliot Carter Figment IV


    (1908-2012)
    Composed for Samuel Rhodes, violist of the Juilliard Quartet, in 2007, this
    late work by Elliot Carter is a distillation of his compositional style. His love
    for the viola, shown by the prominent role that he assigns it in his masterful
    quartets, is shown through this short work. In it, Carter explores the vast
    dynamic range of the instrument, and explores timbral and registral
    contrast through rhythmic variation. This work is a love letter written by a
    master composer to an instrument that he fully knew how to utilize.

    Starting with an efficient two-note motive, Carter moves through various


    inversions and explorations, and creates various points of musical tension
    and rapid, “skittish” release. The work ends triumphantly with an
    exploration of the all of the strings of the viola, and concludes with a
    restatement of the motive.

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