Cecilia Anne Wilder - bratsj NB! FLYTTET FRA 20.00
Masterkonsert - eksamen
Fredag 7. juni 2013
Rebecca Clarke: Sonate for bratsj og klaver
- 1. Impetuoso
- 2. Vivace
- 3. Adagio
Haldor Mæland - klaver
Rebecca Clarke: Duo concertante "Dumka", for fiolin, bratsj og klaver
Hannah Wilder - fiolin
Haldor Mæland - klaver
William Walton: Bratsjkonsert
- 1. Andante Comodo
- 2. Vivo, con molto preciso
- 3. Allegro moderato
Haldor Mæland - klaver
Rebecca Clarke: Sonata for Viola and Piano
Rebecca Clarke's Viola Sonata is first known of in 1919, when the composer was 33 years old. Clarke had moved to the United States in 1916, after being disowned by her father. She had been supporting herself with some success as a soloist.
The first reference to the Viola Sonata was upon its submission to a composition competition sponsored by Clarke's neighbor, Elizabeth Sprague Coolidge. Out of 72 entries, Clarke's Sonata tied for first with a piece by the Swiss composer, Ernest Bloch. In the end Bloch was declared the winner, despite all the judges favouring Clarke—it was decided that declaring Clarke the winner would smack of favouritism on Coolidge's part. It was also suspected by some that the name "Rebecca Clarke" was a pen-name of a male composer, as few imagined the possibility of a competent female writing such music. The piece had its première at the Berkshire Music Festival in 1919, and was well received. It, along with the Piano Trio of 1921 and the Rhapsody for cello and piano of 1923, represent the zenith of her compositional career, though afterwards Clarke wrote hardly any more music. The sonata was first published in 1921 by Chester Music.
Clarke gives us an incipit on the first page of the sonata, a quote from La Nuit de mai (1835) by the French poet Alfred de Musset:
Poète, prends ton luth; le vin de la jeunesse Fermente cette nuit dans les veines de Dieu.
Poet, take up your lute; the wine of youth this night is fermenting in the veins of God.
The sonata is cast in three movements. The first movement, marked Impetuoso, begins with a vibrant fanfare from the viola, before moving on into a melodic and harmonic language reminiscent of Achille-Claude Debussy and Ralph Vaughan Williams, two important influences on Clarke's music. Her language is at times very chromatic, and shows the invention of Debussy in the use of modes and the whole-tone scale. The second movement, marked Vivace, makes use of many interesting 'special effects' like harmonics and pizzicato. The final movement, Adagio, is both pensive and sensual in its language. However, Clarke works in a special surprise: a segue into a restatement of themes from the first movement. The sonata ends in a lush and brilliant pyrotechnical display, showing off the full range of the viola, as well as the piano (whose part is of equal difficulty.) Because of the many different obstacles the piece presents, as well as its highly idiomatic writing, it is becoming more and more a staple of the violist's repertoire.
Rebecca Clarke: Duo Concertante "Dumka", for Violin and Viola, with Piano
A duo concertante for violin, viola and piano This work was written around 1940, placing it near the beginning of a series of Clarke's late compositions. It both looks forward to her lean, linear, avowedly modern conceptions and backwards to works which are explicit homages to ancient styles, forms, and composers. A strain from the gypsy-rondo of Brahms's Piano Quartet Op. 25 echoes throughout the opening pages and is heard again in the piece's remarkable conclusion.
William Walton: Viola Concerto
The Viola Concerto by William Walton was written in 1929 for the violist Lionel Tertis at the suggestion of Sir Thomas Beecham. The concerto carries the dedication "To Christabel" (Christabel McLaren, Lady Aberconway). When Tertis rejected the manuscript, composer and violist Paul Hindemith gave the first performance. The work was greeted with enthusiasm. It brought Walton to the forefront of British classical music. In The Manchester Guardian, Eric Blom wrote, "This young composer is a born genius" and said that it was tempting to call the concerto the best thing in recent music of any nationality. Tertis soon changed his mind and took the work up.
Walton and Hindemith's collaboration on the concerto engendered a close friendship that lasted until the latter's death in 1963. A performance by Tersis at a Three Choirs Festival concert in Worcester in 1932 was the only occasion on which Walton met Elgar, whom he greatly admired. Elgar, however, did not share the general enthusiasm for Walton's concerto.
(Text source: Wikipedia)