Paul Hindemith Solo Viola Sonata op25 no.
Programme
Written in 1922, this is the second of four sonatas for solo
(PERF130 recital, viola)
viola. Coming from the third period of Hindemith’s writing
this is another heavily contrapuntal work. And while
considered neoclassical it is markedly different from other
-J.S Bach (1685-1750)
neoclassical composers like Stravinsky, as it borrows
Cello Suite no.5 - Prelude and Fugue
more from the contrapuntal writing of J.S Bach and Max
Reger than the later romantics. The five movements of the
-Paul Hindemith (1895-1963)
sonata, and specifically the two played today, are wildly
Solo Viola Sonata op25 no.1 - Movements 1
varied in tone however are connected very strongly
and 2
through a initial contrapuntal motif that is referenced all
throughout. Experimenting with tonality and exploring the
-Carl Maria von Weber (1786-1826)
full timbral qualities of this wonderful instrument these
Andante et Rondo Ungaresse
movements paint a vivid picture of stark angst.
Contrasting images of dances, windswept plains and
Cello Suite no.5 Prelude
abrupt violence this is one of the most depictive sonatas
Some of the most iconic and recognisable music
written for the viola.
Bach’s six cello suites are a staple of the viola
repertoire. Written during his time as Kapellmeister in
Andante et Rondo Ungarese
Köthen these six suites are some of the most
Written in 1809 for his brother Fritz von Weber, a violist,
frequently performed works. The fifth suite is a
this concert piece for viola and orchestra (later arranged
interesting stand out from the other five suites as the
for orchestra and bassoon) is written in the early period of
original Anna Magdalena Bach manuscript has the
Weber’s career while he was serving as private secretary
entire written in scordatura tuning in order to maximise
to the Duke Ludwig. A Mozart romantic, Weber’s music is
the fugal voicing and to highlight the key signature by
normally markedly different from this Hungarian inspired
doubling the dominate G string. Like lots of Bach’s
concert piece, and although his impact on the romantic
solo string writing the prelude from the fifth suite
composers like Mendelssohn and Mahler, to name a
achieves an implied three or four voice fugue with only
couple, can not be understated. This concert piece is in
a single melodic line. The prelude of the fifth suite is
two halves, as much of this recital is, and the halves are
further unique as is ostensibly a prelude and fugue
vividly contrasting. Beginning with a plaintiff ballad where
with a very distinct marking of the change of style after
the accompaniment is shared between the soloist and the
the prelude. The prelude begins with a slow, almost
orchestra in equal parts, the first half shows the emotional
improvisatory section highlighting the emotional range
expression and virtuosity the viola is capable. The second
of the viola and the unique properties of the scordatura
half is a rondo built on a traditional Hungarian folk theme
tuning. The following fugue is a single line, four voice,
that is inter spaced with the viola and and orchestra once
extremely demanding rambunctious fugue full of
again trading roles. And capitulates in one of the most
conversations and culminating in a driven and
extreme endings written in a viola concerto.
powerful final chord.
Some music I’ve spent a lot of
preparing
Many thanks to all my friends who have been
AKA my PERF130 recital
there as I broke down at multiple points during
this last trimester. Y’all mean the world to me
Brought to you by
Frances thorpe
The amazing viola I have on
loan
Stress
And a desire to impress
