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M EL B O U R N E R E C I TA L C EN T R E P R E S EN T S
Great
Performers
CHRISTIAN TETZLAFF
Violin
3
CHRISTIAN
TETZLAFF
Violin
A BOLD ARTIST
WITH AN
INSTINCTIVE
FEELING FOR
THE WILD SIDE
IN MUSIC
(THE NEW YORK TIMES)
SUNDAY
FEBRUARY
Elisabeth Murdoch Hall
5pm
Pre-concert talk by Monica Curro
4.15pm – 4.45pm
Elisabeth Murdoch Hall
_
This concert is being recorded for
broadcast on ABC Classic FM on
Friday 20 February
_
Duration: One hour & 40-minutes
including one 20-minute interval
PROGRAM
5
ABOUT
THE MUSIC
The Naked Violin
Eugène Ysaÿe (b. Liège, Belgium, 1858 – d. Brussels, Belgium, 1931)
Sonata for solo violin in G minor, Op.27, No.1 (To Josef Szigeti)
I. Grave
II. Fugato
III. Allegretto poco scherzoso
IV. Finale con brio. Allegro fermo
Johann Sebastian Bach
(b. Eisenach, Germany, 1685 – d. Leipzig, Germany, 1750)
Sonata No.3 in C for unaccompanied violin, BWV 1005
I. Adagio
II. Fuga
III. Largo
IV. Allegro assai
INTERVAL: 20 MINUTES
Béla Bartók (b. Nagyszentmiklós, Hungary, 1881 – d. New York City,
New York, U.S.A., 1945)
This evening’s program explores
a fascinating corner of the violin
repertoire – music for unaccompanied
violin – in a journey that takes us
from 1720 to 1944. The violin solo
is a surprisingly long-lived genre,
probably as old as the violin itself, and
one that exposes the instrument’s
innate charisma, versatility, propensity
for virtuosity and perhaps a certain
introspection. These solos are star turns
for a performer, as profound as any
Shakespearean speech.
Bach turns the violin into an orchestra
of one, composing intricate counterpoint
to be played with just four strings.
Inspired, it seems, by a colleague in his
Weimar orchestra, Bach wrote three
partitas and three sonatas for solo
violin, but these were part of a classical
tradition that stretches back to at least
the iconoclastic 17th-century violinist
Heinrich Biber and continues today.
Sonata for solo violin Sz.117, BB 124
I. Tempo di ciaccona
II. Fuga. Risoluto, non troppo vivo
III. Melodia. Adagio
IV. Presto
In the first half of the 20th century,
Eugène Ysaÿe and Béla Bartók
composed their solo works looking
over their shoulders at Bach’s example,
both writing sonatas that openly pay
homage to the Baroque master. Ysaÿe,
a violinist of immense skill, clearly had
absorbed the lessons of Bach’s sonatas
when writing his own set of six. The G
minor sonata we’ll hear this evening
features a fugue. If your interest is
piqued, try Ysaÿe’s darkly dazzling
second sonata which is haunted by
Bach’s E major partita – an obsessive
idée fixe.
Bartók includes a fugue and an epic
ciaccona-like opening in his intense solo
sonata, courting comparison with the
famous chaconne from Bach’s Partita
in D minor. This is no pastiche though
– the genre, and the Baroque gestures
are completely absorbed into Bartók’s
unique voice, inflected by Hungarian
folk-music and a distinctly modernist
sensibility. Bartók here demonstrates
his gift for being both uncompromising
and extrovert – profound thinking,
eloquent expression.
This could be the mission statement
of this evening’s Great Performer,
Christian Tetzlaff, whose thoughtful
and impassioned playing marks
him out as the musician’s musician
who audiences love. When we last
heard Tetzlaff, he was in front of the
Mahler Chamber Orchestra playing
Beethoven. Now we get to hear him
unaccompanied but certainly not alone;
we’ve been permitted to eavesdrop on
these soliloquies.
Robert Murray, Director of Marketing &
Customer Relations, Melbourne Recital Centre
7
Eugène Ysaÿe
Sonata for solo violin in G minor,
Op.27, No.1 (To Josef Szigeti)
Belgian violinist and composer Eugène
Ysaÿe stands as
a bridge figure between
the late Romantic era of virtuoso
violinists such as Henri Vieuxtemps
and Henryk Wieniawski (he studied
with both of them), and 20th-century
composers such as Debussy, whom he
championed. Much loved by violinists
and composers alike, he pushed the
technique of the violin to new heights,
while at the same time promoting a
style of playing that was perfectly
idiomatic for his instrument. He was,
in short, the violinist’s violinist.
Ysaÿe is said to have been inspired to
write his Six Sonatas for solo violin,
Op. 27, after hearing a concert
by the
violinist Josef Szigeti, in 1923. Each
sonata in the series was written in
honour of the style of contemporary
violinists whom he knew. The Sonata
No. 1 in G minor was dedicated to
Szigeti himself, a scholarly, intellectual
kind of player, well known for his
performances of unaccompanied Bach.
And, in fact, the movement structure of
this first sonata of the Op. 27 series bears
much in common with that of Bach’s
own solo violin sonatas.
The opening of the first movement,
despite its modernist harmonic
vocabulary, is texturally very reminiscent
of the triple- and quadruple-stop chordal
texture that Bach used in his slow
movements (e.g. the opening movement
of the C major sonata that follows),
with imitative melodies nestled inside
the chordal architecture. This Bachian
imitative texture alternates in the course
of the movement with more rhapsodic
passages, rife with hair-raising technical
difficulties. Noteworthy at the end of the
movement are the tremolo double stops
played sul ponticello.
Most Bachian of all in this sonata is
the Fugato second movement, which
features two-voice fugal-type entries
in regular alternation with episodes in
contrasting textures. Straining at the
outer limits of violin technique are the
six – (yes, you read that right, six) note
chords on the final page, requiring
virtuoso legerdemain to perform on
an instrument with four strings.
The Allegretto poco scherzoso,
marked amabile, is certainly likeable,
to be sure. Its predictable, almost
whistle-able tune, featuring a coy triplet
figure imitated between the top and
bottom layers of the texture, might even
set your foot a tapping. Its contrasting
sections are indeed just that: one of
them in parallel fourths and fifths is
strongly reminiscent of Debussy.
If a Baroque model were to be proposed
for the brashly rhythmic Allegro fermo
last movement, it would have
to be the
equally strutting Gavotte from Bach’s
French Suite No.5. Operating under the
premise that one note should never
be used when three would do, Ysaÿe
ends his sonata with a burst of blunt
rhythmic energy that pays homage to
the hemiola (a clash of two beats against
three) patterns of Baroque rhythm,
while fully engaging the aspirations of
the modern virtuoso violinist.
Johann Sebastian Bach
Sonata No.3 in C for
unaccompanied violin, BWV 1005
If polyphonic music was not meant
to be played on the violin, Johann
Sebastian Bach didn’t get the memo.
His Sonatas and Partitas for solo violin,
BWV 1001-1006, completed sometime
before 1720, reveal clearly the scope of
his ambition in this regard. The six works
in the collection are admired today not
just for their ingenious exploitation
of the multi-voice capabilities of the
instrument, but also for their skilful
control of melodic lines and impressive
large-scale musical architecture.
Strangely enough, these pieces, which
form the bedrock of the modern violin
repertoire, were virtually unknown
until violinist Joseph Joachim began
playing them towards the end of the
19th century. The recordings he made of
some of these works in 1903, available on
YouTube, make for fascinating listening.
The Sonata No.3 in C, BWV 1005,
stands apart from the set by its sheer
scale. Written in the four-movement
pattern of the sonata da chiesa or
‘church sonata’ (slow–fast–slow–fast),
its first two movements are paired as
a prelude and fugue while its last two
present the violin in the roles of lyric
singer and virtuoso performer.
The Adagio that opens the work features
a pervasive dotted rhythm. This droning
uniformity of this rhythmic pulse,
while giving the movement an air of
solemnity, also serves to throw into relief
the non-rhythmic elements at play in
this movement (e.g. how the amount
of sound issuing from the instrument
expands dramatically within a few bars
from a single note to a full quadruple-stop
chordal texture). With rhythmic variety
largely factored out of the listening
experience, the ear is all the more drawn,
as well, to how the harmonic patterns of
tension and release propel musical interest
forward. The well-known Prelude in C
9
major from Book 1 of the Well-Tempered
Clavier features just this type of rhythmic
uniformity, used in the same way.
Béla Bartók
Sonata for solo violin,
Sz.117, BB 124
The 354 bars of the mighty second
movement must count as one of the
longest fugues ever written for any
instrument. Its fugue subject is taken
from the opening phrase of the Lutheran
chorale, Komm, heiliger Geist, Herre Gott
(‘Come, Holy Ghost, Lord and God’),
and its countersubject is a series of
evenly descending chromatic half
notes – at least that’s how it starts out.
About halfway through, Bach ups the
intellectual ante in a passage marked al
reverso, in which the fugue subject and
its countersubject look in the mirror and
suddenly become the inverse of what
they started out to be: the countersubject
now climbs by chromatic half notes,
and every note of the subject is the mirror
opposite of what it was before. A literal
repeat of the opening fugal exposition
rounds off the work, providing structural
balance to its musical architecture.
Bartók’s Sonata for unaccompanied
violin, Sz.117 was commissioned
by Yehudi Menuhin (1916-1999)
and premiered by him in 1944 at a
concert in Carnegie Hall, attended by
the composer. A ‘fiendishly difficult
work’ is how the conductor Antal
Dorati described it. Menuhin himself
confessed that he blanched when
he first saw the score: ‘it seemed to me
almost unplayable,’ he wrote in
his memoirs.
Lyric relief comes in the Largo, a simple
aria sung out in a two-voice texture
with balanced phrases and with a
clear harmonic underpinning.The last
movement, Allegro assai, is a tour de
force of implied part-writing, spinning its
two- and three-voice textures at dazzling
speed out of a single running line.
The chief difficulties of the piece result
not just from the thickness of its multiplestop texture and unconventional
harmonic vocabulary, but also from
the densely contrapuntal writing that
characterises much of the score. As the
writer of one doctoral dissertation on the
work’s thorny technical challenges dryly
observed: ‘It is not very common for violin
players to practice dissonant double-stops
such as major and minor seconds, tritones
and ninths, in their daily practice routine.’
Given the fiercely contrapuntal
nature of the texture, it should not be
surprising that the shadow of Bach
hovers majestically over the work
as a whole. Its overall design
in four
movements – with a fugal second
movement, a lyrical third movement,
and a fleet-paced fourth – parallels that
of works such as Bach’s Sonata in C,
BWV 1005. Moreover, the stately rhythm
of its opening Tempo di ciaccona pays
tribute to the famous chaconne from
Bach’s Partita in D minor, BWV 1004.
The first movement is not a chaconne,
however. The term merely refers to the
pace of the movement, not its formal
design. It is, in fact, in sonata form,
with a descending melodic pattern as its
second theme and a development section
much obsessed with the double-dotted
rhythmic figure of the opening.
The second movement has been
described as a ‘fugal fantasy’ rather
than a strict fugue. Characterised by
Menuhin as ‘the most aggressive,
even brutal music, that I play’, this
movement gives the measure of how
radically different Bartók’s take on fugal
procedure is from the cerebral approach
Baroque composers took to the genre.
The third movement, Melodia, is a
lyrical modernist aria
in A-B-A form
that never rises above the dynamic
level
of mezzo piano. The opening
section is monophonic – a single line,
its melody is haunted by eerie echoes
in harmonics. The contrasting B section
is largely written in double stops with
a near-constant flutter of tremolos.
The last movement is a rondo which
alternates a moto perpetuo in
sixteenth-note motion with sections of
a more varied rhythmic and textural
character. Given the acerbic harshness
of the harmonic vocabulary in this
work, the question has been asked: is
the pure G major chord that ends this
movement ironic?
Donald G. Gíslason, Ph.D. © 2014
Notes courtesy of the Vancouver Recital Society,
vanrecital.com
11
ABOUT
THE ARTIST
Christian Tetzlaff
Violin
An artist known for his musical
integrity, technical assurance,
intelligent and compelling
interpretations, Christian Tetzlaff
is internationally recognised as one
of the most important violinists
performing today.
From the outset of his career, Tetzlaff
has performed and recorded a broad
spectrum of the repertoire, ranging
from Bach’s unaccompanied sonatas
and partitas to 19th-century
masterworks by Mendelssohn,
Beethoven and Brahms; and from
20th-century concertos by Bartók,Berg
and Shostakovich to world premieres of
contemporary works. Also a dedicated
chamber musician, he frequently
collaborates with distinguished artists
including Leif Ove Andsnes, Lars Vogt
and Alexander Lonquich and is the
founder of the Tetzlaff Quartet, which he
formed in 1994 with violinist Elisabeth
Kufferath, violist Hanna Weinmeister
and his sister, cellist Tanja Tetzlaff.
Born in Hamburg in 1966, music
occupied a central place in his family
and his three siblings are all
professional musicians. Tetzlaff began
playing the violin and piano at age six,
but pursued a regular academic
education while continuing his musical
studies. He did not begin intensive
study of the violin until making his
concert debut playing the Beethoven
Violin Concerto at the age of 14 and
attributes the establishment of his
musical outlook to his teacher at the
conservatory in Lübeck, Uwe-Martin
Haiberg, who placed equal stress on
interpretation and technique.
Tetzlaff has been in demand as a
soloist with most of the world’s leading
orchestras and conductors,
establishing close artistic partnerships
that are renewed season after season.
He has performed with the orchestras
of Chicago, Boston, New York, San
Francisco, Washington, Toronto, Berlin
Philharmonic, London Symphony and
London Philharmonic, Bavarian Radio
Symphony Orchestra, Vienna
Philharmonic, Rotterdam Philharmonic
and the Royal Concertgebouw
Orchestra in Amsterdam.
Highlights of Tetzlaff’s 2014/2015
season include a performance in
Carnegie Hall, opening New York’s
92nd St. Y’s season with the complete
Bach unaccompanied Sonatas and
Partitas, Artist-in-Residence with the
Berlin Philharmonic, an appearance
with the Munich Philharmonic, London
Symphony and the Vienna Symphony,
and tours as the featured soloist for the
Swedish Radio Orchestra in Europe and
the Deutsche Kammerphilharmonie
Bremen in Asia. In addition to this
evening’s recital, Tetzlaff performs
Mendelssohn and Widmann at Sydney
Opera House with the Sydney
Symphony Orchestra.
Tetzlaff’s highly regarded recordings
reflect the breadth of his musical
interests and include solo works,
chamber music and concertos ranging
from Haydn to Bartók. His recent
recordings include the complete Bach
Sonatas and Partitas for Solo Violin for
the Musical Heritage and Haenssler
labels; Szymanowski’s Violin Concerto
No.1 with the Vienna Philharmonic/
Pierre Boulez for Deutsche
Grammophon; the Schumann and
Mendelssohn Violin Concertos with
Frankfurt Radio Orchestra/Paavo Järvi
for Edel Classics; Jorg Widmann’s Violin
Concerto, written for Tetzlaff, with the
Swedish Radio Symphony Orchestra/
Daniel Harding for Ondine; the two
Shostakovich Violin Concertos with the
Helsinki Philharmonic/John Storgaards
for Ondine; and the Berg Lyric Suite
and Mendelssohn Quartet Op.13 with
the Tetzlaff Quartet for the CAvi label.
Christian Tetzlaff currently performs on
a violin modelled after a Guarneri del
Gesu made by the German violin maker,
Peter Greiner.
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13
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foundations
THE HUGH
WILLIAMSON
FOUNDATION
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E.H. FLACK TRUST
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“ S P L E N D O UR I S T H I S G R O U P ’ S N A T UR A L E L E M E N T . ”
N e w Yo r k T i m e s
THE SIXTEEN:
THE QUEEN OF HEAVEN
WILLIAM CHRISTIE CONDUCTS
- O N E O F T H E Wo r l d ’ s G R E AT E S T Ba ro q u e O RC H E S T R A S -
Five centuries of sacred choral music, including Allegri’s Miserere
With 30-years of world-wide performance and recording,
The Sixteen is recognised as one of the greatest vocal ensembles.
Its reputation for performing masterpieces from Renaissance to the
20th century is highlighted in this concert, The Queen of Heaven,
performing five centuries of sacred music, including Allegri’s Miserere.
William Christie and acclaimed Baroque
orchestra Les Arts Florissants perform
a garland of theatrical delights from the operas
of Handel, Vivaldi, Scarlatti and others.
‘Immaculately performed by the group’s 18 members, their diction
crystal-clear, their intonation faultless.’ The Guardian (UK)
THURSDAY 5 MARCH 7.30PM
Elisabeth Murdoch Hall
(One hour & 50-mins incl. interval)
Works by Palestrina,
MacMillan and Allegri.
The Sixteen
Harry Christophers, conductor
Premium $105
A reserve $95 ($85 concession)
B reserve $79 ($69 concession)
C reserve $55
To book melbournerecital.com.au/sixteen
P 9699 3333
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MELBOURNE RECITAL CENTRE PRESENTS
Great
Performers
LOUIS LORTIE
PIANO
‘Lortie’s sparkling and
swarthy playing is
impressively glamorous.’
BBC Music Magazine
The ‘ever imaginative, ever immaculate’
Canadian pianist Louis Lortie returns
to perform a program that features
three poets of the piano. Chopin’s
24 Preludes are a cornerstone of the
repertoire with both Gabriel Fauré and
Alexander Scriabin taking inspiration
from Chopin’s poetic keyboard cycle.
Tuesday 14 April 2015 | 7.30pm
Tickets from $55
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