Solo Violin Sonatas
Solo Violin Sonatas
Solo Violin Sonatas
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SOLO VIOLIN SONATAS
SOME OBSERVATIONS UPON THEIR PAST AND UPON THEIR
PERFORMANCE
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SOLO VIOLIN SONATAS 47
The violins of which Parry wrote in such glowing terms are still in
existence; not replicas, but the very instruments that came from
the hands of the great Italians. Da Salo and Maggini, shadowy
and sad, the Amatis with their Renaissance sense of beauty, Stradi-
varius, the sane and supreme artist (a Sebastian Bach among fiddle
makers), Giuseppi Guarnerius (with something in his genius which
makes his violins almost uncanny), and many another. These artist-
craftsmen put their instruments into the hands of the great Italian
violinists. They, in their turn, wrote music which was coloured by
the character of the instruments they used. Even to this day the
partnership is perceptible. No instruments suit the old violin music
so well as the old Italian violins, and a sensitive violinist may learn
much by playing on them. These violins were the first factors in the
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48 MUSIC AND LETTERS
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SOLO VIOLIN SONATAS 49
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50 MUSIC AND LETTERS
the Pifferari-all are there, and much else besides. In Tartini, fore-
runner of Beethoven and Liszi, we even find ' the poetic idea.' It
was his habit to choose some phrase from Petrarch as the inspiration
for a work, and to keep it mirrored in his thoughts throughout. He
would inscribe the phrase in cipher on the composition. It is said that
to this day, the cipher notes are visible on the manuscripts, but their
key, given only to intimate friends, is lost. Tradition has it that one
sonata is framed on the words ' Volge il riso in pianto o miei pupille'
(Turn laughter into tears, 0 my eyes); that another is inscribed
' Ombra Sacra' (Sacred Shade), and that a famous one in G minor
depiets Dido abandoned by Aeneas. The most famous is the ' Trillo
del Diavolo,' of which the legend is too well known to need telling.
The system of ' poetic idea' employed by Tartini is nearly allied
to a system of thematic metamorphosis which can be traced in many
solo sonatas of the time. This perhaps originated in an effort to give
stability and coherence to early instrumental form, but obviously it
is also susceptible of poetic interpretation. The original ' motive ' as
a rule is quite simple, maybe a descending scale, a short group of
notes, or an arpeggio. In the various disguises of rhythm suitable to
the tempi of the different movements it appears at the beginning of
each, and quietly pervades the whole work. It undergoes little
development according to our ideas of the process, and frequently
seems to lose meaning in the aimlessness of its permutations. But
there is no doubt the plan is intentional (it happens too often for
accident), and it serves to keep the same colour of thought through
the different situations of adagio, allegro, vivace, etc.
The following examples will give some idea of it. The first are
taken from Sonata No. 1 of Corelli's ' Opera Quinta.' They are the
opening bars of the second and fifth movements:
FAC
The next examples come from Sonata No. 2 in Tartini's ' Opera
Prima,' and are the beginnings of the three movements. Not that the
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SOLO VIOLIN SONATAS 51
, r. __
bass figure in the adagio becomes the solo v
allegros.
- ag o AR - -- 1_
I_~~~~~~~~~~~~~~~ _
Exw6. Alti
EX.
EX8. ANlfo
Needless to say, this primitive idee fixe (played with by the com-
posers as a child plays with plastocene), requires very careful handling
from performers. To give it sufficient importance and yet avoid
monotony is a kittle matter. To rightly set forth the structural pro-
portions of movements of all types in these sonatas is not simple.
In some ways it is more difficult than in the true sonata form of the
Vielnnese period. There one may work from a standard model to the
particular example. Here, in the solo sonatas, each structure is still
experimental. Binary form was gradually emerging, and with it the
poising of key against key, the statement, progress, contrast, return;
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52 MUSIC AND LETTERS
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SOLO VIOLIN SONATAS 53
tx.q~~~~~~4
Here is the version which left the hands of an arranger. Note the
weakening of the bass:
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54 MUSIO AND LETTERS
It is ' lugubre ' indeed! One does not know whether to) be more
angry at the stupidity of that E fiat in the first bar (contradicting at
the outset the key which Tartini is striving to establish in our
thoughts), or at the unwarranted Barnby ' Sweet and low ' harmony
introduced on the last quaver of the second bar.
The ' realisation ' of these accompaniments from the figured bass
is an absolutely vital matter if the solo sonatas are to be known in
their full charm. Playing ofrom figured bass is almost a lost art among
pianists. When a musician can be found to do it well for a violinist,
the sense of freedom and w lan imparted to the performance is
perfectly entrancing. The subject is too big to be dealt with here,
but at least some idea of what the accompaniments to these solo
sonatas were in old days may be gathered from the following
directions. They are taken from Geminiani's Rules for playing in a
True Taste, believed to have been published about 1749.
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SOLO VIOLIN SONATAS 55
wonderful Effect; and now and then should touch the several
Notes of the Chord lightly one after another, to keep the Harmony
alive. In swift Movements the Left Hand must strike the plain
Notes of the Bass, and the Right of the Chords, in such a Manner
as not to cause a Confusion of Sounds, else it will be most prudent
to leave out the Chords. Particular care should be taken to touch
the keys of the Instrument delicately, otherwise the Accompany-
ment of the Drum would be as grateful as that of the Harpsichord.
He who accompanies should by no means play the Part of the
Person who Sings or Plays, unless with an intention to instruct
or affront him.
Ax.12.
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56 MUSIC AND LETTERS
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SOLO VIOLIN SONATAS 57
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