How was the programme chosen by Corey Gemmell and Benjamin Smith? What is the tragedy in each composer’s life? How was triumph achieved? How does music mirror life?
Learn about the programme as presented by Corey Gemmell and Benjamin Smith, and prepare your hearts and spirits to be transported from darkness to light on May 5th!
Watch the Introduction to the Programme by Corey Gemmell (1m23s)
Chapter I: Vibrant and Virtuosic
Our performance last year began with Mozart’s Sonata in B Flat Major K.458, a somewhat later work with a great story of its first performance and a good deal of depth. It is also known as the “Big B Flat” while our upcoming performance begins with Mozart’s earlier Sonata in the same key with the misleading moniker, the “Little B Flat”. Actually, with full repeats, it rivals the later work in terms of duration! However, the K.378 sonata is certainly more a product of its time, labeled as a sonata for piano and violin. It follows the convention of the day having the thematic material first presented in the piano then the violin. And yet this sonata is unconventional in terms of its depth as well as its virtuosic flair. There is considerable figuration and Mozart voices the violin brilliantly, quite literally, against the piano, giving full voice and reign to his string writing. As with his “Big B Flat” sonata the slow movement is pure aria, reflecting his penchant for opera. It simply lacks text while providing heavenly, lyrical writing. The finale is of a highly flamboyant nature, much more so than his later B flat sonata, showcasing both instruments in an almost tit-for-tat game of friendly one-up-man ship. The remarkable thing for us with this work is the time when it was written. Mozart’s mother had died a year earlier, giving rise to his sonata in E minor, a very terse and anguished work. Yet a year later we have this sonata, of a collection of six, that is full of the vibrancy of youth and optimism. This idea of life rising from the ashes of tragedy subconsciously became a theme for our program.
Mozart ~ Sonata in B-flat Major, K. 378
Listen while watching the score to Mozart Sonata for Violin and Piano in B Flat Major K.378 :
Chapter II: Exciting and Intense
Schumann’s second violin sonata in D minor Opus 121 was an interesting inclusion in our recital programme. This sonata was completed in 1851, immediately after Schumann finished his first violin sonata, and shortly before his bipolar disorder led him to attempt suicide and checking himself in at an institution. These works that date before this event were somewhat buried by his well-intended widow and friends such as Brahms and Joachim, believing erroneously that they were the product of a madman and therefore inferior, reflecting badly on his great life’s works. Certainly, there is a struggle even in the orchestration. The violin part, while certainly difficult, rarely rises into the upper tessitura, seemingly left in an ambiguous mid-range state against very fulsome writing in the piano, an instrument he obviously knew intimately. Yet the thematic ties between the movements and the interplay and exploration of these possibilities in a self-regulated limited range make for an exciting and intense work. Ultimately this sonata has climbed to a well-deserved place in the repertoire, though years had passed since its premiere.
Robert Schumann ~ Sonata No. 2 Op. 121
Listen while watching the score to Schumann’s Second Sonata for Violin and Piano Op. 121 :
Chapter III: Awe and Devotion
The Ysaÿe Sonata no.2 lies tangentially along the lines of tragic circumstances and inspiration arising from them. Violinist Jacques Thibaud’s “Obsession” with Bach’s Prelude from his E Major Partita (he warmed up on this daily) figures prominently. We had performed this Bach Third Partita at last year’s recital, so it seemed only to make sense to program Ysaÿe’s Sonata this time around. Of course, the use of the “dies irae” (“day of wrath”) as a thematically unifying element, reflecting Thibaud’s devotion to God and Catholicism, adds to the somewhat somber nature of the writing. Tragically, Thibaud died in a plane crash years later. But the inspiration, the wonderful sense of awe and devotion, are captured perfectly by Ysaÿe and so, were an ideal fit for our programme.
Eugène Ysaÿe ~ Sonata for Solo Violin No.2 in A minor Opus 27
Listen while watching the score to Ysaÿe’s Sonata for Solo Violin No.2 Op. 27 :
Chapter IV: Inspiring and Illuminating
Another French citizen, another tragic death in a plane crash; Francis Poulenc’s violin sonata was at the behest of brilliant violinist Ginette Niveu who died at age 30 in a plane crash along with her brother. Poulenc’s violin sonata uses the story and work of the Spanish poet Lorca as its inspiration. Lorca was assassinated in 1936 in the tumultuous circumstances of the Spanish Civil War. Poulenc himself made four attempts to write for the violin, and only this final one succeeded. His attitude was antithetical to the virtuosic display that is most often associated with the violin, though Niveu convinced him otherwise. He even gave credit to her contributions, claiming that she was responsible for the “few delicious violinistic details”. While it was not well received following its premiere the breadth and scope of its writing are truly conceived on a very large scale in its depth and impact. A sad, tortured story of an incredibly talented and, at times, persecuted writer the poetry of the writing transcends these dark circumstances and leaves the listener in the light, triumphant in spirit and power.
Francis Poulenc ~ Sonata FP 119
Listen while watching the score to Poulenc’s Sonata FP 119:
Epilogue: What Better Purpose?
With all of this history and their surrounding tragic circumstances, our programme evolved to reflect the brilliance and movement toward light that most often follows periods of darkness and tragedy. This seemed to us to intensely reflect the days and times that we are experiencing. Working on this repertoire has provided us a sort of catharsis which we hope the audience will share. We all have need of light and the reassurance that better days always lie ahead no matter the challenges that we face.
What better purpose could an afternoon of intimate chamber music serve than this?
~ Programme notes by Corey Gemmell, April 2024
Please join us for an exquisite afternoon of music with Corey and Ben! All welcome, Sunday, May 5th at 3 pm at West Plains United Church, Burlington.