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Music, School of
5-2017
A Study of the Performance Requirements Found
in the Sonata for Solo Violin Op 40 by Miklós
Rózsa
James Moat
University of Nebraska-Lincoln, [email protected]
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ASTUDYOFTHEPERFORMANCEREQUIREMENTSFOUNDINTHESONATAFOR
VIOLINSOLOOP.40BYMIKLÓSRÓZSA
By
JamesMoat
ADOCTORALDOCUMENT
PresentedtotheFacultyof
TheGraduateCollegeattheUniversityofNebraska
InPartialFulfillmentofRequirements
FortheDegreeofDoctorofMusicalArts
Major:Music
Specialization:ChamberMusic
UndertheSupervisionofHyeyungYoon
Lincoln,Nebraska
May2017
ii
ASTUDYOFTHEPERFORMANCEREQUIREMENTSFOUNDINTHESONATAFOR
VIOLINSOLOOP.40BYMIKLÓSRÓZSA
JamesWilliamMoat,D.M.A.
UniversityofNebraska,2017
Advisor:HyeyungYoon
MiklósRózsa’sSonataforViolinSolo,writtenin1986,ishislastworkfor
violinandcompletesacollectionofpieceswrittenfortheviolindatingbackto1929.
TherehavebeenvariousscholarlypaperswrittenaboutRózsa’sviolinworks,
includingNancyJaneMcKenney’sdissertation:‘TheChamberMusicofMiklós
Rózsa’,andthebookwrittenbyoneofRózsa’sclosefriends,ChristopherPalmer:
‘MiklósRózsa,ASketchofhisLifeandWork’.Neitheroftheseworksdiscussesthe
SoloSonata;infact,ChristopherPalmer’sbookwaspublishedin1974,12years
beforethesonatawasevencomposed.
ThisdocumentdiscussesthehistoryoftheRózsaSonataforViolinSoloand
willmakeanalyticalinsightsintothemusicfromaperformer’sperspective.That
includesresearchingthetechnicalrequirementsplacedontheperformer,and
understandingthemeaningandinfluencebehindthemusic.Inordertogainthis
knowledge,thelifeofMiklósRózsawillbereviewed,andtherequirementsof
performingunaccompaniedworkswillbediscussed.Thisdocumentshouldserveas
aguidelineforanyperformerinterestedinpursuingastudyandperformanceofthe
Sonata.
iii
Acknowledgements
Iwouldliketoexpressmymostheartfeltthankstothosewhohelpedme
throughthisprocess.Iwanttothankmyadvisor,HyeyungYoon,forherpatience
andguidanceduringthepastcoupleofyears.Iwouldalsoliketoespeciallythank
Dr.GretchenFoleyandMr.ClarkPotterfortheirsupportandhelpduringmy
research.Finally,IamsoappreciativeofthehelpthatIreceivedfromDr.Eva
Bachman,asIhadmanyquestionsforher.
SpecialthanksgoestoVijayChasalani.Heisadoctoralstudentatthe
UniversityofWashingtonandwasabletorequestallofthescoresIneededforthis
projectthroughILL.Hisassistanceprovedtobeinvaluableforthecompletionofthis
document.
Manyofmyfriendswereincrediblyhelpfulduringthistime,includingmy
girlfriendSarahandherfamily,mycolleaguesintheSkyrosQuartet,andmygood
friendsDavidandMeghanwhoaccommodatedmewhenIreturnedtodefendmy
documentinLincoln.
Finally,Iammostgratefulforthesupportmyparentshavegivenme
throughoutmyentiremusicalcareer.
Thisdocumentisdedicatedtothememoryofmygrandmother,Mrs.P.C.Moat
iv
TableofContents
Chapter1:WhowasMiklósRózsa?
Life
HungarianIdentity
MusicalUpbringingandInfluence
Teachers
TheBirthofaFilmMusicCareer
FilmComposersWritingfortheConcertStage
1
3
4
5
6
7
Chapter2:TheTraditionoftheUnaccompaniedViolinSonata
Challenges
Techniques
Polyphony
Chapter3:SonataforViolinSolo,Op.40
10
11
15
History
MusicalStyleandInfluences
SimilaritiesinBartókandKodály
PrevalenceofDissonantIntervalsintheRózsaSonata
PerformanceRequirements
Conclusion
17
17
24
26
27
Appendix
57
Bibliography
62
55
v
TableofExamples
Ex.1:UseofBariolageinPreludiofromPartitaNo.3inEMajorbyBach
Ex.2:UseofBariolageinthefirstmovementofYsaÿe’sSonataNo.2
Ex.3:SpringingarpeggiosinMendelssohn’sViolinConcertoinEMinor
Ex.4:UseofLegatoBariolageintheChaconnefromBach’sPartitaNo.2
Ex.5:OpeningofBach’sFuguefromSonataNo.1inGMinor
Ex.6:OpeningofYsaÿe’sFugatofromSonataNo.1inGMinor
Ex.7:Firstrhythmicmotive,foundinfirstmovementofthe
ViolinSonata,m.1
Ex.8:Introductionoffirstmelodicmotiveinthefirstmovement,mm.5-9
Ex.9:Openingmelodicmotivetransformedintothefive-notemotive,
mm.22-24
Ex.10:Introductionoftheviolinsonata,mm.1-4
Ex.11:VariationsonaHungarianPeasantSong,Op.4,openingmelody
Ex.12:NorthHungarianPeasantSongsandDances,Op.5,openingmelody
Ex.13:DuoforViolinandPiano,Op.7,openingmelody
Ex.14:ConcertoforViolinandOrchestra,Op.24,openingmelody
Ex.15:SinfoniaConcertante,Op.29a‘ThemeandVariations’,opening
violinmelody
Ex.16:MinorpentatonicscalebasedonA
Ex.17:A-Pentatonicscaleappliedtomelodyinfirstmovementof
RózsaSoloSonata–scaledegreescircled,mm.29-31
Ex.18:E-pentatonicscaleappliedtomelodyinsecondmovementof
RózsaSoloSonata,m.1–scaledegreescircled
Ex.19:B-flatpentatonicscaleappliedtomelodyinthirdmovementof
RózsaSoloSonata,mm.23-24–scaledegreescircled
Ex.20:C-sharppentatonicscaleappliedtomelodyinfirstmovementof
BartókSonataforSoloViolin,m.62
Ex.21:UseofA-pentatonicscaleinfirstmovementofKodályDuofor
ViolinandCello–violinpart,m.6-8
Ex.22:UseofA-pentatonicscaleinfirstmovementof
KodályDuo–violinpart,m.20-23
Ex.23:Completeintroduction–FirstmovementoftheSonata
Ex.24:Realizationofabrokentriple-stopinm.1,andadouble-stop
withagracenoteinm.2
Ex.25:Voicewritinginthefirstmovement,mm.10-11
Ex.26:Diminutionofeighth-notemelodyillustratedinex.6,mm.22-24
Ex.27:UseofBariolageinm.26offirstmovement
Ex.28:Useofdronewithmelodicmaterialinthefirstmovement,m.29
Ex.29:Perfectfifthdoublestopinm.32canbeusedtoapplyrubato,
andtoallowtimeforthemusictobreathe
Ex.30:Developmentofsixthdouble-stopmotiveinfirstmovement,
anduseofBariolageinm.41
Ex.31:Developmentofsixteenth-notemotivefrombeginningof
movement,mm.65-70
12
12
12
13
15
16
20
20
21
21
22
22
22
22
23
23
23
24
24
25
25
26
27
28
29
30
30
30
31
32
32
Ex.32:Contrapuntalwritinginfirstmovement,mm.83-85
Ex.33:Realizationshowinghowex.29shouldbeplayed
Ex.34:Useoflefthandpizzicato,m.107-110
Ex.35:Useofglissando,m.125
Ex.36:GlissandoinShostakovich’sStringQuartetNo.3,
secondmovement,m.81
Ex.37:Firstappearanceofquadruple-stop,mm.141-143
Ex.38:Useofaccentstoobscuremeterinmm.145-146
Ex.39:FouroctaveGmajorarpeggio,m.166-168
Ex.40:Openingmelodyofsecondmovement,mm.1-2
Ex.41:Openingmelodyoffirstvariation,mm.14-16
Ex.42:Mm.23-33fromvariation1,secondmovement
Ex.43:Rhythmicmotiveinopeningofvariation2,m.34
Ex.44:Doubledsixteenthnotes,mm.35-36
Ex.45:UseofDuTalon(atfrog),mm.45-48
Ex.46:Openingmelodyofsecondmovement,secondvoice,m.2
Ex.47:Motivefromex.46transformedrhythmicallyandtonally,m.51
Ex.48:Motivefromex.46transformedrhythmicallyandtonally,m.55
Ex.49:Polyphonicwriting,m.56 Ex.50:Bach,SonataNo.1inGMinor,Fugue
Ex.51:Rhythmicmotiveatbeginningofvariation4,m.77
Ex.52:Newbowingwrittenintocreatemeter-obscuringeffect,m.86
Ex.53:Useofhemiolainm.114
Ex.54:Openingoffifthvariation,m.133-134
Ex.55:Five-16th-notemotivefromfirstmovement,m.1
Ex.56:Five-16th-notemotivetransformedrhythmicallyin
variation6,m.167
Ex.57:Octavepassage,m.181
Ex.58:Accentplacementobscuringmeter,mm.188-189
Ex.59:YsaÿeSonataNo.6,m.148
Ex.60:Openingmelodyofsecondmovementwithgracenote
embellishment,m.192
Ex.61:Useofnaturalharmonics,m.212-213
Ex.62Openingmotiveinfirstmovement,m.1
Ex.63:Openingmotiveinthirdmovement,mm.1-2
Ex.64:Rapidspiccatosixteenth-notepassage,mm.15-19
Ex.65:UseofBariolage,m.83-85
Ex.66:Rapidandexcitingrhythmicmaterialtoculminatethesonata,
endingwithagrand10thdoublestop,m.143-158
Ex.67:Final2measuresoftheFugatomovementfromYsaÿeSonataNo.1
Ex.68:Final2measuresoftheL’AuroremovementfromYsaÿeSonataNo.5
vi
33
33
34
35
35
36
37
37
38
39
40
40
41
42
42
42
43
43
43
44
45
45
46
46
47
47
48
49
49
50
50
51
51
52
53
54
54
vii
AppendixExamples
Ex.1:Useofmulti-stopsinopeningofBartókSoloViolinSonata,mm.1-3
57
Ex.2:Useoftriple-stopsinfirstmovementofKodályDuofor
ViolinandCello–violinpart,mm.17-18
58
Ex.3:UseofBariolageinfirstmovementofBartókSoloViolinSonata,m.87
58
Ex.4:UseofBariolageinsecondmovementofKodályDuofor
ViolinandCello–violinpart,mm.66-67
58
Ex.5:Useoflefthandpizzicatoinsecondmovementof
BartókSonata,mm.145-147
59
Ex.6:UseoflefthandpizzicatoinPrestomovementofKodály
Duo–violinpart,mm.137-138
60
Ex.7:Useofartificialharmonicsinthirdmovementof
BartókSonata,mm.66-67
60
Ex.8:UseofnaturalharmonicsinKodályDuoatendoffirstmovement
61
1
ChapterOne
WhowasMiklósRózsa?
Life
MiklósRózsawasborninBudapestin1907,andhisfamilyhomewasfoundnorthof
BudapestinavillagecalledNágylócz.InRózsa’sownautobiographyhewroteabout
travelingfromBudapesttohishome:
ThecapitalofthecountywasBalassagyarmatandwewenttherebytrain;
whenwearrivedwe’dfindourcoachandcoachmanwaitingforus.There
followedajourneyofabout3–4hourstoourhouse…1
Rózsa’sfirstinstrumentwastheviolin,whichhebegantolearnattheageof
five,andhelaterlearnedtheviolaandpiano.AlthoughRózsahadamusical
upbringingandshowedastrongtalentformusic,hismotherandfatherviewedhis
musicalinterestasahobby,andencouragedhimtopursueamoreseriouscareer
path.WhenthetimecameforRózsatoheadtouniversity,hisfathersenthimtothe
universityinBudapesttostudychemistry.RózsawasnotfondofBudapest,andfelt
thattheonlywayhecouldhonehistalentswastomoveoutofHungary.He
convincedhisfathertosendhimtoLeipzig,wherehewouldstudychemistryatthe
universitytoappeasehisfather,andmusicattheconservatorytosatiatehismusical
appetite.DuringhisstudiesinLeipzigRózsa’scompositionalworkwasverywell
receivedandhewasawardedacontractbyprominentmusicpublisher,Brietkopf&
Härtel.ThisessentiallywasthebeginningofRózsa’slifelongmusiccareer.In1929
RózsacompletedhisstudiesinLeipzig,andafterspendingafewmoreyearslivingin
1ChristopherPalmer,MiklósRózsa:ASketchofHisLifeandWork(London:Breitkopf
&Härtel,1975),1.
2
thecity,settledinParis.WhileinParishescoredtheTheme,VariationsandFinale
Op.13fororchestra,whichgainedinternationalacclaim.RózsastayedinParisfor
severalyears,afterwhichhemovedtoLondontopursueaninterestinfilmmusic.
WhilelivinginLondon,RózsawashiredtoworkforSirAlexanderKorda’s
LondonFilmcompany,andfoundsuccesswithsuchfilmsasTheFourFeathersand
TheThiefofBaghdad.2Whenthewarbeganin1939Rózsa,alongwithKordaandthe
filmcompany,traveledtoHollywoodwheretheywereabletocontinuetheirwork.
RózsacarriedonaveryfruitfulfilmcareerinHollywood,butheneverstopped
writingseriousconcertmusic,asitwasveryimportanttohim.Hisconcertmusic
outputwasreceivedverywell,andincludedsuchworksasthehighlyacclaimed
ViolinConcertoOp.24in1953,theCelloConcertoOp.32in1967,andtheSinfonia
ConcertanteOp.29forViolinandCello.Thesepieceswerecommissionedbymusical
greatsJaschaHeifetz,JánosStarker,andGregorPiatigorsky–atestamenttoRózsa’s
brillianceasaclassicalcomposer.
Aftersufferingaseriousstrokein1982,Rózsa’sabilitytoworkseverely
declined.Hewasnotabletocontinueinthefilmmusicbusiness,butmanagedto
produceseveralconcertworksforindividualinstruments,includingthesoloviolin
sonatathathecomposedin1986.HediedonJuly27,1995athishomein
Hollywood.
2Palmer,ASketchofHisLifeandWork,3.
3
HungarianIdentity
RózsawasbornjustbeforethedeclarationofWorldWarI.Thiswasa
difficulttimeparticularlyforHungary,asthecountrywasdividedafterthewar
cametoanend.AsayoungHungarianandanartist,Rózsafeltcompelledtofinda
patrioticvoice.HisfirstchancecamewhentheFranzLisztMusicCircle(ofwhichhe
waspresident)athisschoolheldacompositioncompetition.Hewroteinhis
autobiography:
IwroteapatrioticpoemcalledHungarianTwilightaboutthedismembering
ofourcountryaftertheFirstWorldWar.MillionsofHungarianswereforced
toliveinneighboringcountries,andmypoemsaidmoreorlessthatoneday
allthiswouldchange,thetwilightwouldpassandonceagainwewouldbe
thegreatandgloriousHungaryofprewardays.3
RozsaalsofeltstronglyaboutwhatheconsideredtobeauthenticHungarianmusic,
ashewasaskedtogiveaspeechbytheMusicCircleataconcerthehadorganized.
Myspeechwasentitled“TheHistoryofHungarianMusic,”andIsetoutto
giveanaccountofHungariancomposersofthepast,declaringthemall
mediocre.That,apparently,wasanextremelyunpatrioticviewpoint.Ithen
drewtotheconclusionthatHungarianmusichadproducedonlytwo
composersofoutstandingquality,BelaBartokandZoltanKodaly.In1924
theseweredangeroussentimentsinaschoolwheremusicbyBartokand
Kodalywasseldomplayedandcertainlynotunderstood.4
AtthistimepopularHungariancomposerssuchasErnőDohnányiandJenőHubay
followedGermaniccompositiontraditions,andthepeopleofHungarywerenotused
tothemoremodern-soundingmusicofBartókandKodálythatwasinfluencedby
folkelements.Asayoungman,RózsawasalreadywellawareofBartók’sdiscovery
andstudyofHungarianpeasantmusic.AlthoughheknewthatBartókandKodály
echoedthemostauthenticHungariansoundintheirmusic,hisopinionwasnota
3MiklósRózsa,DoubleLife,(NewYork,NY:WynwoodPress,1989),24.
4Rózsa,DoubleLife,23.
4
popularone.WhatmatteredultimatelytoRózsawasthatbasedonhisexperiences
withmusicinHungary,heknewthatasacomposerhewantedtofollowthe
authenticHungarianstylethatBartókandKodályembraced.Hesaid:
Ifeltthisconstanturgetoexpressmyselfmusicallyinthelanguageofmy
patrimonyandofmyorigins;itwasalivingsourceofinspiration....
HowevermuchImaymodifymystyleinordertowriteeffectivelyforfilms,
themusicofHungaryisstampedindeliblyonewayoranotheronvirtually
everybarIhaveeverputonpaper.5
MusicalUpbringingandInfluence
Rózsawasbornintoamusicalfamily.Hismotherhadstudiedpianoatthe
BudapestAcademywiththepupilsofLiszt,andhisfather,althoughnotformally
educatedinmusic,wasamusiclover.Rózsawroteinhisautobiography‘ADouble
Life’abouttravelingthroughthetownofSzécsényonthewaytohishome6,and
spokeaboutthemusicofthePalócpeoplethatinhabitedthetown:
ThewholeareawasinhabitedbythePalóc,anindigenousMagyarpeople
withtheirowndialect,customsandcostumes(onSundaysthegirlsworeup
totenlayersofskirts!).7
5TerryTeachout"TheDoubleLifeofMiklósRózsa,"CommentaryMagazine,
December1,2001.https://www.commentarymagazine.com/articles/the-doublelife-of-miklos-rozsa/(accessedMarch20,2017).
6Palmer,ASketchofhisLifeandWork,1.
7Rózsa,DoubleLife,27.
5
PalócWomeninTraditionalDress
Hecontinuedontodescribehowhisexperienceswiththesepeopleshapedhis
musicalstyle:
ItwasthemusicofthePalócthatIheardduringthosesummersIspenton
theestateandthatintriguedmefrommyearliestchildhood,althoughof
courseitwasn’tuntillaterthatIrealizedwhatavitalshapingforceitwas
provingonmyownmusicalpersonality.Themusicwasallaroundme;I
wouldhearitinthefieldswhenthepeoplewereatwork,inthevillageasI
layawakeatnight;andthetimecamewhenIfeltIhadtotrytoputitdown
onpaperandperpetuateit.8
Teachers
Rózsaspentthefirstpartofhisschoollifestudyingmodernlanguagesina
schoolcalledthe“Realgymnasium.”9Hehadnoformalmusictraininguntilthe
schoolhiredanewmusicteacher,PeregrinTurry.WhileTurrytaughtattheschool,
Rózsajoinedtheschoolorchestrawherehebegantolearnmoreaboutmusic.
8Rózsa,DoubleLife,27.
9Ibid.,22.
6
DuringhistimeattheConservatoryinLeipzig,Rózsa’sprimarycomposition
professorwasHermannGrabner.GrabnerhadstudiedwithMaxReger,whowas
veryrootedintheteachingsofcounterpointandfugue.Asaresult,Grabneralso
focusedonthesecompositionalproceduresinhisownteachings.
Fromhereweproceededtothestudyofcounterpoint;sinceGrabnerhad
beenschooledbyRegerthiswasprobablyhis“forte”asateacher.Istillhave
workbookswithpagesoffugalexerciseswhichwerethefruitofGrabner’s
counterpointlessons,andpeoplehavenoticedthatfrequentlywhenIhave
hadchasestowriteforscenesinmotionpicturesIhavetendedtodothemin
fugalstyle(inLatin“fuga”means“flight”).10
RegerandGrabnerwerebothcomposersintheGermanictradition,andtherefore
Rózsa’sinitialstylewasfilledwithGermanicinfluences.Aftercomposingthe
RhapsodyOp.3forcello,hewroteabouthisownreactiontothepiece:
Stylisticallyitisatransitionalpiece,stillmuchinfluencedbyGermanic
prototypes.ButthemorecontemporaryGermanmusicIheard,themoreI
becameawarethatitwasn’tforme.Iwantedtogobacktomyorigins,to
Hungarianfolksong,andthisisexactlywhatIdidinmynexttwoworks–the
VariationsonaHungarianPeasantSongop.4andtheNorthHungarian
PeasantSongsandDancesop.5,whichisacollectionoffolktunesfromour
village.11
TheBirthofaFilmMusicCareer
WhilelivinginParis,RózsabecamefriendswithArthurHonegger,a
relationshipthatwouldbepivotaltohismusiccareer.Honeggerwasapopular
Swisscomposer,andamemberofLesSix.Duringaconversationwithhim,Rózsa
discoveredthatHoneggarcomposedfilmmusictosupplementhisincome.Rózsa’s
initialreactionwasshockashedidnotbelieveacomposerthatwroteforfilmcould
betakenseriously.
10Rózsa,DoubleLife,33.
11Ibid.,40.
7
IwasunabletobelievethatArthurHonegger,thecomposerofKindDavid,
Judithandothergreatsymphonicfrescos,ofsymphonicpoemsandchamber
music,couldwritemusicforfilms.IwasthinkingofthemusicalsIhadseen
inGermanyandoffilmslikeTheBlueAngel,soIaskedhimifhemeantfoxtrotsandpopularsongs.Helaughedagain.“Nothinglikethat,”hesaid,“I
writeseriousmusic.”12
HoneggertoldRózsathathehadscoredthemusictoLesMiserables,andRózsa
promptlysawitinthetheater.Afterwards,Rózsawasextremelyimpressedbywhat
hehadheard,andhisjourneyintoacareeroffilmmusicbegan.
ThoughRózsaenteredintoacareerofcomposingfilmmusicfulltime,he
neverstrayedfromhisproductionofseriousconcertworks.Healsofeltvery
stronglyaboutnotlettinghistwoseparatemusicalpathsintersect.Hesummedup
abouthowhesawhis‘doublelife’intheprologuetohisautobiography:
In1947IwrotethemusicforafilmentitledADoubleLife;initanactor
playingOthello(RonaldColman)becomesobsessedbytheparttothepoint
ofmurderingthewomanheimaginestobeDesdemona.Inotherwordshe
allowstwoquiteindependentstrandsofhislifetobecomeenmeshed,and
tragedyistheoutcome.NowthisispreciselywhatIhavealwaysbeenat
painstoensuredidnothappeninthecaseofmyownprofessionallife.My
“public”careerascomposerforfilmsranalongsidemy“private”
developmentascomposerformyself,oratleastfornonutilitarianpurposes:
twoparallellines,andintheinterestsofbothmyconcernhasalwaysbeento
preventthemmeeting.Ofcoursesomecontactwasunavoidable,butinthe
mainIamconvincedthat,forme,itwasbestthattheybekeptapart.Thishas
beenthedominantthemeofmycreativecareer,andisthereforethethemeof
thisbook.13
FilmComposerswritingfortheConcertStage
Manyfilmcomposersoverthepasthundredyearshavetakenaninterestin
writingseriousconcertmusic.Some,likeRózsa,wereabletosuccessfullyworkas
composersoutsideofthefilmindustrywhilemaintainingabusycareerin
12Rózsa,DoubleLife,70.
13Ibid.,15.
8
Hollywood.Others,suchasBernardHerrmann,wroteprimarilyforHollywood,but
neverreallyearnedtherecognitionofa‘serious’composerdespitetheirefforts.
Severalofthecomposersdiscussedinthefollowingpagesalsohave
somethingincommon:theviolinconcerto.Itisnosecretthatcomposersand
audiencesforhundredsofyearshavebeendrawntothesoundandvirtuosicnature
oftheviolin.Itisanexcitinginstrumenttowritefor,butitcanbeanintimidating
challengeforthecomposer,astheviolinconcertorepertoireisfilledwithgreat
piecesagainstwhichallothersaremeasured.Suchexamplesaretheconcerti
composedbyMendelssohn,Sibelius,andTchaikovsky.
ErichWolfgangKorngold(1897–1957)
Korngoldshowedgreattalentasaseriouscomposerwhenhewasayoung
man,andmovedtoHollywoodtowriteforfilmsin1934.Hisconcertmusicoutput
includedaviolinconcerto,composedin1945,whichiswidelyrespectedasaserious
pieceofmusicintheviolinconcertorepertoire.
FranzWaxman(1906–1967)
Waxmanprimarilycomposedmusicforthefilmindustry.Hismostfamous
concertpieceistheCarmenFantasieforviolinandorchestra.Thepiecewas
composedforthe1946movie,Humoresque.TothisdaytheWaxmanCarmen
Fantasieisaverypopularvirtuosicshowpieceamongstviolinists.
BernardHerrmann(1911–1975)
BestknownforhisworkwithAlfredHitchcock(Psycho)andOrsonWelles
(CitizenKane),Herrmannstrovetobetakenseriouslyoutsidetheconfinesof
Hollywoodwithhisconcertmusicoutput,butwasnotabletobreakfreefromhis
9
reputationasafilmcomposer.HisprimarystringmusicoutputincludesSinfonietta
forStringsandEchoesforstringquartet.Hebegantocomposeaviolinconcertobut
didnotcompleteit.
JohnWilliams(b.1932)
JohnWilliamshasscoredmusicforsomeofthemostpopularmoviesofall
time,includingJaws,theStarWarsseries,andJurassicPark.Hehasproducedalarge
amountofconcertmusicdatingbackto1951includingaviolinconcerto.
JamesNewtonHoward(b.1951)
Primarilyafilmcomposer,Howardjustrecentlyhadhisviolinconcerto
premieredbyJamesEhnesin2015withthePacificSymphony.Havingcomposed
musicintwoofhismoviesforHilaryHahnandJoshuaBell(“TheVillage”and
“Defiance”),HowardwascommissionedbytheconductorofthePacificSymphonyto
composetheviolinconcerto.14
JohnCorigliano(b.1938)
CoriglianoisknownforcomposingthescoreforTheRedViolin.JoshuaBell
recordedthesoundtrack,andCoriglianousedmusicfromthescoretocomposeThe
RedViolinConcertoasastand-aloneconcertworkthatwaspremieredbyBellin
2003.
14TimothyMangan,"CarlSt.Clair,JamesEhnesandthePacificSymphonyGive
PremiereofViolinConcertobyJamesNewtonHoward,"OrangeCountyRegister,
March13,2015.http://www.ocregister.com/articles/clair-654130-howardwork.html(accessedApril9,2017).
10
ChapterTwo
TheTraditionoftheUnaccompaniedViolinSonata
Thereisonemajorworkthatservesasthecornerstoneofthe
unaccompaniedviolinsonataliterature:theSonatasandPartitasforSoloViolin
(1720)byJ.S.Bach.Themostfamousworkcomposedsincethattimeisthe
collectionofSixSonatasforSoloViolin(1923)byEugèneYsaÿe.WithBach’s
incrediblecomposingofpolyphonictextureandYsaÿe’sunparalleledpassionate
virtuosicwriting,thesetwopiecessetthestandardandweregroundbreakingfor
theunaccompaniedviolinmedium.AnotherfamousSoloSonatathatisrelevantto
notonlytheunaccompaniedviolinrepertoirebutalsotoHungarianmusicisthe
SonataforSoloViolinSz.117byBélaBartók.Writtenin1944forYehudiMenuhin,it
standsintheviolinrepertoireasonethemostchallengingpiecestoperform.While
itisbeyondthescopeofthisdocumenttoexplorethevastdepthoftheBartók
Sonata,pleaseseetheAppendixforinformationconcerningtechniquesusedinthe
Sonata.
Challenges
Afullrangeofviolintechniquesistypicallyrequiredtoperformanysolo
violinsonata.Inadditiontopossessingtheabilitytoexecutethesetechniques,the
performersmustpayspecialattentiontothepolyphonicwritingofthemusic.For
example,theperformersmustbeawareofthedifferencebetweenthemelodicand
accompanimentalmaterial,andpresentthisrelationshipaccordinglythroughtheir
11
playing.Thissectionwillexamineboththetechniquesandpolyphonicwritinginthe
BachandYsaÿesoloworks.
Techniques
Thefollowingisalistandbriefdescriptionoftheadvancedtechniques
requiredtoperformanunaccompaniedviolinsonata.Sinceseveralofthe
techniquesaremoremodern,twocategorieshavebeencreatedinordertoillustrate
thetimelineofthedifferenttechniques:Pre19thCentury,and19thCentury–
Present.
*Itshouldberememberedthateveryexampleinthisdocumentiswrittenin
thetreblecleffortheviolin.
Pre-19thCentury
Bariolage
Bariolageisabowedtechniquethatinvolvesthebowchangingbackand
forthbetweentwostrings.Generallyoneofthesestringsisanopenstringandthe
heldnoteisthesamepitchastheopenstring,therebycreatingauniquetimbre
change.ItisalsoknownasOndulé,orOndeggiando.15ThetermBariolagehasalso
beencommonlyappliedtotwoothertypesofbowings.Thesearethe‘Springing
Arpeggio’andthe‘LegatoArpeggio.’Allofthesebowingscanbeaccomplishedwith
separateorslurredbowstrokes.TwoexamplesoftheOnduléstylecanbefoundin
theunaccompaniedsonatasofBachandYsaÿe.TheSonataNo.2byYsaÿewas
actuallymodeledaftertheopeningofBach’sPreludio.
15DonMichaelRandel,TheHarvardConciseDictionaryofMusicandMusicians.
(Cambridge,Massachusetts,andLondon,England:Belknap,1999),53,86.
12
Ex.1:UseofBariolageinPreludiofromPartitaNo.3inEMajorbyBach
Ex.2:UseofBariolageinthefirstmovementofYsaÿe’sSonataNo.2
Perhapsthemostfamousexampleofthe‘springingarpeggio’canbefoundin
Mendelssohn’sViolinConcertoinEminor.
Ex.3:SpringingarpeggiosinMendelssohn’sViolinConcertoinEMinor
Thisbouncingstyleismorecommonlyfoundinconcertosandshowpiecesthanin
theunaccompaniedviolinrepertoire.Thistechniquehasalsobeendescribedas
‘spiccatoBariolage’.Forexample,anarticlefromtheStringMagazinewebsite
describestheexactBariolagepassageinthefollowingmanner:
OneofthemostdazzlingmomentsinviolinrepertoireoccursintheFelix
MendelssohnViolinConcertoinEminor,Op.64,whenthepyrotechnicsof
thefirst-movementcadenzaturnintoanaccompanyingfigure,usheringthe
orchestrabackin.Themusicsparklessoimpressivelyduetoacombination
13
ofviolintechniques:bariolage(repeatedstringcrossings),spiccato(off-thestringbowstroke),andchordsacrossallfourstrings.16
InSimonFischer’sbook,‘Basics’healsotalksaboutthespringingarpeggioand
illustratesthetechniquewiththeMendelssohnexcerpt.Heoffersadescriptionof
howtoexecutethetechnique:
Here,theimpulseforthebouncecomesfromasmall‘whipping’movementof
thefingersandhand.Attheendoftheup-bow,justbeforethedown-bow,the
fingersstraightenslightlyandthewristisslightlyraised.Atthesame
momentasbeginningthedown-bow,thewristcomesdownagainquickly
andthefingersflex.Thismakesthehairhitthestringataslightangleand
causesthebowtobounce.Thisfinger,handandwristmovementcanbeso
slightastobepracticallyinvisible.17
The‘LegatoArpeggio’,or‘LegatoBariolage’isexactlyinthesamestyleasthe
Mendelssohnexample,exceptthatthebowsmoothlyslursthenotestogetherrather
thanspringingoffthestring.ThistypeofBariolagecanagainbefoundinthe
unaccompaniedworksofBach,andisoneofthemostfamousexcerptsofmusicin
theviolinliterature.
Ex.4:UseofLegatoBariolageintheChaconnefromBach’sPartitaNo.2
16LaurieNiles,“TheSpiccatoBariolagePassageofMendelssohn’sViolinConcertoIs
OneChallengeAmongMany,”StringsMagazine,October10,2016,
http://stringsmagazine.com/the-spiccato-bariolage-passage-of-mendelssohnsviolin-concerto-is-one-challenge-among-many/(accessedMarch20,2017).
17SimonFischer,Basics:300ExercisesandPracticeRoutinesfortheViolin(London:
PetersEdition,1997),76.
14
*Sincethereareseveraldifferentacceptedvariationsoftheterminthemusic
world,thisdocumentwillsimplyusethetermBariolageintheanalysissectionto
avoidconfusion.
Multi-Stops
Theviolincanplaydouble,tripleandquadruple-stops.Adouble-stopis
accomplishedbyplayingtwostringsatonce,andistheeasiesttoaccomplish.Once
threeandfourstringsareinvolvedtheperformermusttakecaretoproducea
pleasanttone.
19thCentury–Present
LeftHandPizzicato
Lefthandpizzicatocanbeexecutedtwoways.Itcanbedonewhenthebow
leavesthestring,andwhilethebowisholdinganote.Inthefirstcase,thelefthand
shouldsimplyletgoofthenotepreviouslybowed,andplucktherequirednote
freely.Inthesecondcase,caremustbegivenbytheviolinisttoholdthebowednote
steadyandwithoutanybumpinthesoundwhilethelefthandexecutesthe
pizzicato.Alefthandpizzicatonoteisusuallymarkedwitha+sign.
ArtificialHarmonics
Byplacingthefirstfingeronanynote,andusingthethirdorfingertolightly
touchthesamestringatathird,fourth,orfifthabovethebottomnote,the
performercancreateanartificialharmonic.
Glissando
Glissandoismarkedwithastraight,diagonallineconnectingtwonotesthat
areseparatedbyanyinterval.Toaccomplishthistechnique,theperformermust
15
movethefingeronthestringfromonenotetothenextinordertoproduceasliding
effect.
Polyphony
BoththeBachandYsaÿesoloworksarefilledwithpolyphonicwriting.The
mostdemandingmovementsintermsoftechniquearethefuguemovements.Onthe
violin,thefugalmaterialiswrittenoutintheformofmulti-stops,andtheviolinist
mustbesuretovoicethematerialcorrectly.Forexample,inthesecondmovement
ofSonatano.1inGminor,thefugueopenswiththreevoices.Theopeningsubjectis
heardinm.1,restatedasecondtimeinalowervoiceinm.2,andheardforathird
timeinm.3intheuppervoice.Inm.2,Bachhasaccompaniedthesubjectwith
double-stops,andinm.3,withtriple-stops.
Ex.5:OpeningofBach’sFuguefromSonataNo.1inGminor
Eachtimethethemeispresented,theviolinistmustbesuretoplayitclearlyandnot
lettheaccompanyingmaterialdistractfromthetheme.
Ysaÿe’sSonataNo.1alsofeaturesafugue.Inthisexamplethefugalmaterial
isslurred.Thefirstsubjectispresentedinmm.1to3,andthesecondsubjectfrom
mm.4to6.Thecounter-subjectmaterialisalsoslurred,sotheperformermust
16
makesuretovoicethematerialappropriatelytoensurethatthesubjectisdistinctly
heard.
Ex.6:OpeningofYsaÿe’sFugatofromSonataNo.1inGMinor
17
ChapterThree
History
SonataforViolinSolo,Op.40
TheSoloViolinSonataisMiklósRózsa’slatestworkforviolin,composedin
1986.Hehadsufferedastrokein1982,andfortheremainderofhislifewasno
longerabletocomposelarge-scaleworks.Rózsacontinuedtocomposewhenhe
could,andwroteseveralsoloworksforflute,clarinet,oboe,guitarandviola.The
sonataisdedicatedtoManuelCompinsky,aviolinistandclosefriendofhis.Rózsa
hadactuallytakenhisviolinconcertotoCompinskyforadvicepriortogivingitto
Heifetz.18
Thesonataismadeupofthreemovements:
1. AllegroModerato
2. CanzoneConVariazioni
3. Finale
MusicalStyleandInfluences
AlthoughlittlescholarlyworkhasbeendoneontheSoloSonata,thereare
severalfactsthatwedohave,thanksmainlytoRózsa’sautobiography.Weknow
thatwhenhecomposedhissonata,hehadreturnedtohisfolkinfluences.Hewrote,
“Mymusichadoriginallystartedfromfolksong,whichwasmelodypureandsimple;
18GreggNestor,"FSMBoard:BSXPresentsTheMiklósRózsaCollection,"FilmScore
Monthly,November15,2008,
http://www.filmscoremonthly.com/board/posts.cfm?pageID=2&forumID=1&threa
dID=55083&archive=0(accessedMarch20,2017).
18
itwouldendasmelodypureandsimple.”19Thereisalsoapassagefromhisbook
thatdescribeshisownmethodoffolkresearch,andhowHungarianmusic
influencedhismusicalidentity.
IwasneveramethodicalfolksongcollectorlikeKodályorBartók;Iwas
interestedonlyinthemusic,notinitsethnographicalconnotations.Ihadno
EdisonphonographlikeBartók;Ijustwentaroundwithasmallblack
notebookandwrotedownwhatIheardasbestIcould.Ineverbotheredwith
thetext,whichinterestedmenotatall.Inotherwordsasabonafide
folkloristIwasanamateur.Isometimesplayedviolinwiththegypsiesfor
fun,andwemightjointogethertoserenadeacertainvillagebeauty(whose
nameIstillremember)underherwindow,troubadourorknight-errantstyle.
OfcourseallthiscouldhappenonlywhenmyparentsandIwereawayandI,
asthe“youngmaster,”couldengageahandfulofgypsymusiciansto
accompany(withwrongharmonies)myfancifulimprovisations.Itmusthave
soundedlikenothingonearth,buttheyoungladyinquestionseemedtolike
it,andthatwasthemainthing.Myfolksongcollection(nowlost,alas)also
includedtunesfromthenearbyvillagesofRimócz,Hollóköandotherswhich
werealsoinhabitedbythePalóc,sotheirmusicwassimilar.(Incidentallythe
word“Palóc”soudsinEnglishverymuchlike“palowtz.”LittledidIknowthat
onedayIshouldwritemyown“PolovtzianDances”.)Iincorporatedsongs
frommycollectioninvariousearlyworks–theVariationsonaHungarian
PeasantSongandNorthHungarianPeasantSongsandDances–andinmy
balletHungaria.BythistimethefolkmusicofthisareaofHungaryhad
becomeanintegralpartofmymusicallanguage,andIfoundmyownmelodic
styleevolvingquitespontaneouslyoutofit.Ifeltthisconstanturgeto
expressmyselfmusicallyinthelanguageofmypatrimonyandofmyorigins;
itwasalivingsourceofinspiration.Thatwaswheremymusicbegan,and
whereithasended.Ihavenochoiceinthematterandneverhavehad.
HowevermuchImaymodifymystyleinordertowriteeffectivelyforfilms,
themusicofHungaryisstampedindeliblyonewayorotheronvirtually
everybarIhaveeverputonpaper.20
TheSonatapossessesastrongfolksoundfrombeginningtoend.SinceRózsa
hadexperienceplayingwithGypsies,hewasundoubtedlyexposedtotheGypsy
styleoffiddleplaying.TheGypsyfiddlesoundisrenownedforitsvirtuosic,
19Rózsa,DoubleLife,223.
20Ibid.,27-28.
19
passionate,andrhythmicallyaggressivestyle,andincludedthefollowing
techniques:
1.
2.
3.
4.
5.
6.
7.
Useofhigherpositions,uptotheverytopoftheneck
Useofharmonics,either“true”or“false”
Pizzicatowiththelefthand,sometimessimultaneouswithbowing
Spiccatoanddetachèbowingtechniques
Widevibrato,usedinacontrolledfashiontodisplayemotion
Frequentuseofdoublestopsandarpeggiostoemphasisechords
Frequentchangesoftempo,shiftinggearoftenfromveryslow,rubato
sectionstodizzyingspeeds.
8. Improvisationusingalltheabovetechniques.21
ManyofthesetechniquesarefoundinRózsa’sSoloSonata,althoughthewide
vibratotechniqueisonethatfewclassically-trainedmusicianswilleveruseina
performance.TheSonataisfilledwithdoublestops,melodiesaccompaniedby
drones,andfastvirtuosicplaying.RózsaalsoincorporatessomeBariolage
techniqueshere.Bariolageisacommontechniqueusedinunaccompaniedsolo
sonatasthatlikelyinfluencedRózsatoincludeitinhispiece.Thetechniqueisalso
reminiscentofthesoundoftheCimbalom,aninstrumentthatiscommonin
Hungary.Rózsahadsomeexperiencecomposingforthecimbalomshortlybeforehe
composedhisSoloSonata.Writtenin1968,thescoreforThePowerfeatures
extensiveuseoftheinstrument,anditisevenfeaturedon-screenduringthe
openingcredits.
ComposedattheendofRózsa’slife,andasthefirstpieceforviolinhehad
composedinnearly20years,thesolosonatapossessesadifferentmusicalidentity
thanhispreviousviolinworks.ThecompositionalstylethatRózsabringstohis
sonataisinterestinginthatitfusesamorerhythmicallyorientedstyletothe
21ChrisHaigh,"HungarianandGypsyFiddle."FiddlingAroundtheWorld,January
2013,http://www.fiddlingaround.co.uk/hungarian/(accessedApril9,2017).
20
melodicmaterial.Thefirstmovementisthebestexampleofthisfusionofrhythmic
andmelodicmaterial.Rózsamakesuseofshortrhythmiccellsanddevelopsthem
throughoutthemovement.Thefirstrhythmicmotiveisintroducedinm.1:afivenotemotivemadeupofsixteenthnotes.
Ex.7:Firstrhythmicmotive,foundinfirstmovementoftheViolinSonata,m.1
Theserhythmicburstsdevelopandcontinueforthreemeasuresandleadintothe
firstmelodicmotive,basedonthecontourofthefirstrhythmicmotive:
Ex.8:Introductionoffirstmelodicmotiveinthefirstmovement,mm.5-9
Thismelodicmotiveisthencombinedwiththefirstrhythmicmotivelaterinthe
movement,asshowninEx.9:
21
Ex.9:Openingmelodicmotivetransformedintothefive-notemotive,mm.22-24
ItispossibletodetermineimmediatelythedifferenceinstylebetweenthisSolo
SonataandRózsa’spreviousviolinworks.Thesolosonatabeginswiththe
developmentofthefive-noterhythmicmotive,whereastheprecedingviolinworks
featuresimplemelodicwriting.Theintroductoryfewmeasuresofthesolosonata
areasfollows:
Ex.10:Introductionoftheviolinsonata,mm.1-4
Examples11-15showtheopeningmelodicmaterialfromRózsa’spreviousviolin
works:
22
Ex.11:VariationsonaHungarianPeasantSong,Op.4,openingmelody
Ex.12:NorthHungarianPeasantSongsandDances,Op.5,openingmelody
Ex.13:DuoforViolinandPiano,Op.7,openingmelody
Ex.14:ConcertoforViolinandOrchestra,Op.24,openingmelody
23
Ex.15:SinfoniaConcertante,Op.29a‘ThemeandVariations’,openingviolinmelody The‘folksound’thatisevidentinRózsa’ssonataislargelybasedonthe
influenceofthepentatonicscale,whichiscommonlyusedinHungarianfolkmusic.
ItistheminorpentatonicthatcanbeheardthroughoutRózsa’swork.Ex.16
illustratesaminorpentatonicscalebasedonA.Theminorqualityiscreatedbythe
minor3rdintervalbetweentheAandCnotes.
Ex.16:MinorpentatonicscalebasedonA
ThefirstappearanceofthisscaleinmelodicforminRózsa’sSonataisfoundinthe
firstmovement,inmm.29–30.ThepentatonicscaleinthismelodyisbasedonA,
andhasbeenoutlinedbythecirclednotesinEx.17.
Ex.17:A-PentatonicscaleappliedtomelodyinfirstmovementofRózsaSoloSonata–
scaledegreescircled,mm.29-31
24
Thescaleisusedagainintheopeningofthesecondmovement,andonthis
occasionitmovesaroundanEtonic:
Ex.18:E-pentatonicscaleappliedtomelodyinsecondmovementofRózsaSolo
Sonata,m.1–scaledegreescircled
ThethirdmovementalsofeaturesamelodythatisnowbasedonaB-flatpentatonic
scale,seenbelowinm.23tothedownbeatofm.25.
Ex.19:B-flatpentatonicscaleappliedtomelodyinthirdmovementofRózsaSolo
Sonata,mm.23-24–scaledegreescircled
SimilaritiesinBartókandKodály
RózsawasnottheonlyHungariancomposerinfluencedbythepentatonic
scale.Thetwomenthathegrewupadmiring,BartókandKodály,havealsofound
waystoinfusethesoundofthepentatonicscaleintotheirwork.Twopiecesthat
standoutfromtheirbodyofworkarebothwrittenforsolostringedinstruments:
25
theDuoforViolinandCelloOp.7(writtenbyKodályin1914),andtheSonatafor
SoloViolinSz.117(writtenbyBartókin1944).PleaserefertotheAppendixfor
moreinformationpertainingtotechniquesusedinbothpieces.
TheBartókSonataisincrediblycomplexandtechnicallychallenging,
thereforethemelodicmaterialisnotaseasytofindasitisintheRózsaandKodály
pieces.ThefollowingexampleofhisuseoftheC-sharppentatonicscalestandsout
fromthesurroundingmaterialinthefirstmovement:
Ex.20:C-sharppentatonicscaleappliedtomelodyinfirstmovementofBartókSonata
forSoloViolin,m.62
ThispentatonicinfluencedmaterialappearsmuchmorefrequentlyintheKodály
Duo.Ex.21showsacomplete2octaveA-pentatonicscaleleadingintoanApentatonicmelody:
Ex.21:UseofA-pentatonicscaleinfirstmovementofKodályDuoforViolinandCello
–violinpart,m.6-8
26
Afterthisintroductorysection,thereisamelodythatbearsastrikingresemblance
toboththeBartókandRózsaexamples:
Ex.22:UseofA-pentatonicscaleinfirstmovementofKodályDuo–violinpart,m.2023
PrevalenceofDissonantIntervalsintheRózsaSonata
Theentirepieceisbasedontensioncreatedbytheuseofminormotivic
material(suchasthefirstrhythmicmotiveillustratedinExample7),anddissonant
intervalssuchasminorseconds,tri-tones,andmajorsevenths.Thistensionisthen
releasedtoconsonantharmonies.Thismusicallanguageisconsistentlyfound
throughouttheSonata.Forinstance,Ex.20showstheopeningoftheSonata.The
openingmotiverevolvesaroundaminorthird,andthisbuildsintoaconsonant
soundingCmajorsonority.Eachmovementalsoendswitheithermajorharmonies,
orconsonantintervals.ThefirstmovementconcludeswithathrillingGmajor
climaxintheformofanarpeggioandfortepizzicatochord,thesecondmovement
withasoftandperfectfourthintervalsoundedbyharmonics,andthethird
movementwithacelebratorymajortenthdouble-stop.
27
PerformanceRequirements
Thissectionintendstoprovideanalyticalinsightsintothetechnicaland
musicalrequirementsnecessarytosuccessfullyperformtheRózsaSonataforSolo
Violin.
AllegroModerato
Theopeningfeaturestheuseofatriple-stopchordthatintroducesdouble
stopsfor3measures,andleadsintoalyricalmelody.Thecomposerrequiresthe
endofthephraseinm.9tobeplayed‘sulG’(ontheGstring).ByplayingontheGstringratherthantheD-string,adifferent,darkercolorcanbeachieved.22
Ex.23:Completeintroduction–FirstmovementoftheSonata
Specialcaremustbegiventotheaccents,bothtodirecttheeartothechangein
harmony,andtothedirectionofthephrasing.Forexample,theaccentsinm.3lead
22TimCrist,“StringInstruments:GeneralComments.”ArkansasStateUniversity,
http://www.clt.astate.edu/tcrist/orch/str/stringtechniques.pdf(accessedApril14,
2017).
28
towardthedownbeatofm.4.Inordertocreateaneffectiveaccent,thebowmustbe
drawnmorequicklyandwithmorepressureatthemomentoftheaccent.Itisa
commonmistakeamongintermediateplayerstoapplytoomuchpressurewith
accentssuchasthese,thereforecreatinganunpleasantscratchingsound.Itisalso
importanttodifferentiatebetweenthetriplestopinthefirstmeasureandthegrace
noteinthefourthmeasure.Thegracenoteismarkedwithaslash,meaningitshould
beplayedbeforethebeat.Asuggestionwouldbetoplaythetriple-stopinthefirst
measurebyplayingthebottomtwonotestogether,andtoplaythegracenote
separatelyfromthetoptwonotesinm.4.ThepurposeofaddingtheEnaturalgrace
notetothedoublestoppedfifthonthefirstbeatofm.4istooutlinetheharmony,by
emphasizingthedownbeat.23
Ex.24:Realizationofabrokentriple-stopinm.1,andadouble-stopwithagracenote
inm.2
Mm.1-9serveasanintroductiontoalongersectionthatexploresthe
materialpresentedintheopening.Thefirstdroneisintroducedinm.10;anopenA
string.Voicewritingisnowevident,asonevoiceplaysthelowermelodicmaterial,
andanotherplaysanopenAstringdrone.Thismaterialmustbeplayedinan
23DavidMcGill,SoundinMotion.Bloomington,Indiana:IndianaUniversityPress,
2007,219.
29
expressivemanner,andtheperformercanemphasizerelationshipbetweenthe
dissonantandconsonantintervalsastheyplayagainsttheopenAstring.The
performer’sfirstvoicingchallengeappearsinmeasure11,ontheConbeat3.
Ex.25:Voicewritinginthefirstmovement,mm.10-11
Atriple-stopchordhasbeenwritten,andtosuccessfullyachievethecorrectvoice
leadingtheperformermustsoundthebottomtwonotestogetherbeforetheCis
played.Additionallytheperformermustplaytheeighthnotesinm.11intemposo
asnottodistortthemelody.Toachievethis,thebottomtwonotesofthechordmust
besoundedinbetweentheBandCeighthnotes.Thepurposeofthetriple-stopisto
bringouttheharmonyoftheA-flatmajorchord,asthischordoccursatthepeakof
thephraseinm.11.Thissectionculminateswithareappearanceofthethematic
materialinmm.3-7,towhichthemusicaltechniqueof‘diminution’hasbeen
applied;thatis,theeighth-notemotivehasbeentransformedintosixteenthnotes.24
24DonMichaelRandel,TheHarvardConciseDictionaryofMusicandMusicians,
Cambridge,Massachusetts,andLondon,England:Belknap,1999,187.
30
Ex.26:Diminutionofeighth-notemelodyillustratedinex.6,mm.22-24
ImmediatelyfollowingthematerialisthefirstappearanceofBariolage,inm.26.
Thistechniquemustbeaccomplishedwithalooserightwristandfluidupanddown
motionofthebowarm.ThisinstanceofBariolageisalsoveryusefuljustasmulti
stopsareforoutliningtheharmonythroughrepetition,suchasinEx.18.
Ex.27:UseofBariolageinm.26offirstmovement
Thesectioncontinuestoexplorethefolksoundofthedrone,asshownbelow
inm.29.
Ex.28:Useofdronewithmelodicmaterialinthefirstmovement,m.29
Whenplayingadrone,especiallyifitasanopenstring,itisimportanttogivethe
noteafullsound.Thiscanbeachievedbydedicatinganevenamountofbowhairfor
31
bothstringsinthedoublestop.Thedronecanalsobeprojectedfurtherinthiscase
byallowingtimeforthemelodytoexpandwhenpossible,togivetheimpressionof
breathing.Forexample,thedroneinm.32restsbrieflyonaperfectfifth.This
occursinthemiddleofthemelodicline,andcanbeimaginedasavoicebreathing
outwiththedecrescendo,andbreathinginwiththehairpintothedownbeatofm.
33.
Ex.29:Perfectfifthdoublestopinm.32canbeusedtoapplyrubato,andtoallow
timeforthemusictobreathe
Thiskindofplayingisverymusicallyexpressive,andbestprojectswhatthe
composeristryingtosay.
Mm.35-44continuetodevelopmaterialfromtheopeningofthemovement.
Theintervallicrelationshipoftheminorthirdisexploredwithdouble-stopssimilar
totheopening,anditleadsintothedescendingeighth-notemotivefoundinmm.47.Rózsaroundsthisreappearanceoftheopeningmaterialwithanotherinstanceof
Bariolage.
32
Ex.30:Developmentofsixthdouble-stopmotiveinfirstmovement,anduseof
Bariolageinm.41
Anewsoundisintroducedatthepocopiùmossosection,inm.65.The
openingsixteenthmotiveisdevelopedinamezzopianodynamic,andmarked
spiccato.
Ex.31:Developmentofsixteenth-notemotivefrombeginningofmovement,mm.6570
33
Accentshavebeenplayfullywrittenonoffbeats,sotheperformermustbringthese
outinordertocreatethesyncopatedrhythmiceffectthatthecomposeristryingto
create.
Aninterestingcontrapuntalmomentappearsinmm.83,84and85.The
melodyiswrittenoutasadottedeighthnoteslurredintoaneighthnote,witha
sforzandodouble-stopwrittenoutduringthedurationofthedottedeighth-note.
Ex.32:Contrapuntalwritinginfirstmovement,mm.83-85
Inordertoaccomplishplayingthesforzandonotewhilestillallowingthemelodyto
beheard,theperformermustquicklywhipthebowovertothesforzandonoteand
backtothemelodicnotebelow.Ifthiswerenotated,itwouldlooksomethinglike
this:
Ex.33:Realizationshowinghowex.29shouldbeplayed
34
Mm.107-110presenttheperformerwithseveralinstancesoflefthand
pizzicato.Thebowdoesnotcontinuetoholdthenoteduringthepizzicatoandthe
pluckednotesareopenstrings,sothedifficultylevelisrelativelylow,yetnot
withoutitschallenges.
Ex.34:Useoflefthandpizzicato,m.107-110
Arecommendedfingeringwouldbetousethefourthfingerofthelefthandtopluck
eachpizzicatonote.Measure107requiresachangeofpositiontoreachtheC
eighth-noteattheendofthemeasure,therebyleavingthehandinahigherposition
atthebeginningofm.108.AshifttothirdpositionontheCisrecommended,and
the3pizzicatonotesinm.108canallbepluckedfromthirdpositionwiththefourth
finger,beforemovingbackdowntofirstpositiontoresumeplayingtherestofthe
measure.Themelodicmaterialinm.107isthesameasthatinEx.19,althoughthe
lefthandpizzicatoisnowfunctioningastherhythmicaccompaniment,insteadof
thedroneinEx.19.
Awrittenin‘glissando’isfoundinm.125,betweentheintervalofaminor
third.
35
Ex.35:Useofglissando,m.125
Althoughperformersoftenusethisshorterkindofglissandoonaregularbasis
duringsuchexpressivepassages,Rózsaisveryspecificaboutwherehewouldliketo
seetheslideinthisinstance.Itispossiblethathadhenotincludedthisdirectionin
thescoresomeperformersmighthaveaddedglissandonevertheless,butthis
markingensuresthatitwillbeexecutedwitheachperformance.Itismostlikely
thatRózsa’sinclusionofthisglissandowasforthepurposeofembellishingthe
minorthird.Forexample,asimilaruseofglissandoappearsintheShostakovich
thirdstringquartetinthefirstviolinpart.Here,theglissandoisusedtobringout
thehighE.
Ex.36:GlissandoinShostakovich’sStringQuartetNo.3,secondmovement,m.81
Thefirstquadruple-stopofthepieceisfoundinm.143.Itissimilartothe
arrivaloftheCmajorchordinm.4ofthemovement(seeEx.16),andthistimethe
harmonicarrivalisonanEmajorchord.Sinceallnotesofthechordcannotbe
36
sustainedatthesametimeontheviolin,theperformermustfirstplaythebottom
note,androllthebowtothetop.Thiscanbeexecutedtwoways:
1. Thebottomnotecanbeplayedalone,andthenthebowcanrollovertheG
sharpandsustaintheBandEfourth.
2. Thebottomtwonotescanbeplayedasadoublestop,androlledoverto
sustaintheBandEfourth.
TheBandEfourthshouldbesustainedbecauseRózsahaswrittenaslurfromthe
firstbeattothesecondbeatofthemeasure.Althoughtheslurhasalsobeenadded
tothelowerGsharp,itisnotpossibletosustainthatnote.TheEisthemelodicline,
soitisthatnotethatshouldbesustained.
Ex.37:Firstappearanceofquadruple-stop,mm.141-143
Thisleadsintoafastsixteenth-notepassagethatincludesaneffectdesignedto
obscurethemeter,asseeninex.35.Thisisaccomplishedbothbythemelodic
writingandarticulationmarkings.Inmm.145and146themelodicmaterialisthe
descendingmotiveofD–Csharp–Bflat,andeachDisaccented.Thiscreatesthe
effectofachangingmeterof3+3+2.Thismaterialisimmediatelyfollowedbyan
explosivemeasureofopenstringtriple-stops.Sincethedynamicisalready
fortissimo,thethreestringsshouldbestrucksimultaneously.Thisisaccomplished
byaimingforthemiddlestring;thatbeingtheAstring.Thepressureappliedtothe
Astringwillpushitdown,whilealsostrikingtheDandEstringsatthesametime.
37
Ex.38:Useofaccentstoobscuremeterinmm.145-146
Theculminationofthemovementonceagainreturnstotheopening
sixteenth-noterhythmicmaterial,anddrivestotheendwithapiumosso–
Accelerando–Presto.ThefinalfewmeasuresincludeanexcitingfouroctaveGmajor
arpeggio,marked‘Brillante,’andatriplefortepizzicatoGmajorchord.The
beginningofm.166featuresatechnicalchallengethathasnotyetappearedinthe
piece,atrillwithinadouble-stop.Theintervalisamajorsecond,andafingering
suggestionwouldbetousethefirstfingerontheDstring,andthefourthfingeron
theGstring.ThesecondfingerexecutesthetrillontheDstring,whilethebow
phrasesthepianocrescendotosforzandofortissimo.Thisisanexcellentopportunity
tobuildtensionwiththemajorsecondinterval,followedbythereleaseofthe
tensionandsubsequentarrivalofconsonanceintheformofmajorsonorities.
Ex.39:FouroctaveGmajorarpeggio,m.166-168
38
CanzoneConVariazioni
Theintroductorymaterialinthismovementimmediatelyrequiresthe
performertotakeontwovoices.Thefirstvoiceexpressesathought;perhapsmakes
aboldstatement,marked‘mezzoforteespressivo’.Thistakesplaceinm.1,including
thethreesixteenth-noteanacrusis.
Ex.40:Openingmelodyofsecondmovement,mm.1-2
Thesecondcharacteranswersrightawayinm.2,inapianovoice.Perhapsitisan
answerorreactiontotheopeningstatement.Themotiveintroducedincludesa
recognizablequintupletsixteenth-noterhythm.
Thesetwovoicescontinuetheir‘discussion’untilthefirstvariationbegins.
Technicallyspeaking,theperformermustplayinawaythatalertsthelistenertothe
dialogue.Thisisoftenthechallengethatasingleinstrumentfaceswhenperforming
anunaccompaniedsonata.Thecomposerhasalreadyhelpedtodifferentiatethe
voicesbyofferingdynamicchanges.Thefirstvoiceplaysinmezzoforte,andthe
secondvoiceinpiano.Theperformercandomorebyaddingsometimeinbetween
thevoices,andcreatingadifferentcolorwiththeinstrument.Forexample,a
suggestionwouldbetoplaythefirstvoicewithastrongcontactpointonthestring
39
inthemiddleofthebridgeandthefingerboard,andtomovethebowclosertothe
fingerboardwhileplayingthesecondvoice.
Variation1:PocoAnimato
Thefirstvariationcontinueswiththesamevocaldialogueasinthe
introduction,andthequintupletrhythmfromthesecondvoicehasbeen
transformedtoatripletsixteenthrhythm.
Ex.41:Openingmelodyoffirstvariation,mm.14-16
Thevariationexplorestheupperregisteroftheinstrumentandreturnstoanopen
stringdroneeffectinm.28,butonlyhintsatdepartingfromwhathassofarbeena
yearningandsoul-searchingcharacterfromtheopeningofthemovement.Uptothis
pointtheperformerhasbeentaskedtoexploredifferentcolorsontheinstrument,
andtofindfreedomofexpressionwiththesoaringlyricismofthemelodiclines.
40
Ex.42:Mm.23-33fromvariation1,secondmovement
Variation2:Ancorapiùmosso
Primarilycomposedofsixteenthnotes,thesecondvariationdemands
accuracyandrhythmicprecisionfromthebeginning.Therhythmicmotiveistwo
slurredsixteenthnotesfollowedbytwoslurredspiccatosixteenth-notes.
Ex.43:Rhythmicmotiveinopeningofvariation2,m.34
41
Tosuccessfullyperformthistechniquetheperformermustkeepthebowatthe
bouncingpoint.Everybowhasanaturalbouncingpoint,anditisdifferentforeach
bow.Thisareaisgenerallynearthemiddleorlowerhalfofthebow,andisknownas
thepoint-of-balance.25Thismotiveisfollowedbydoubledsixteenthnotes(ie.thirtysecondnotes),whichcreateabrilliantflourishingeffect.Thesenotesmovevery
quickly,soloosefingersandwristfromtherightarmwillhelpwiththespeed.
Ex.44:Doubledsixteenthnotes,mm.35-36
Thefinalthreemeasuresofthemovementaremarkeddutalon,whichmeans
‘atthefrog.’Thedynamicisfortissimo,sotheperformercanleanintothestrings
withthelowerpartofthebowandpullasmuchsoundoutoftheinstrumentas
possibleinordertocreateanenergeticsound.
25SimonFischer,Basics:300ExercisesandPracticeRoutinesfortheViolin(London:
PetersEdition,1997),4.
42
Ex.45:UseofDuTalon(atfrog),mm.45-48
Variation3:piùlento
Thisvariationreturnstothecharacteroftheintroduction.Thetwovoices
reappear,andthequintupletmotivehasagainbeentransformed,althoughstill
recognizable.Ex.46illustratesthesecondvoicefromm.2intheopeningofthe
secondmovement.Thissecondvoiceisheardtwiceintheopeningofvariation3,
andisshowninexamples47and48.
Ex.46:Openingmelodyofsecondmovement,secondvoice,m.2
Ex.47:Motivefromex.46transformedrhythmicallyandtonally,m.51
43
Ex.48:Motivefromex.46transformedrhythmicallyandtonally,m.55
Anunusualpolyphonicchallengecanbeseeninex.49,astheperformermust
holdadottedquarternoteD-sharpontheEstring,andlightlyplayashorteighthnoteEontheAstring.Toaccomplishthistheperformermusttimethebowjust
rightsoithitstheAstringandreleasesjustforthelengthofaneighth-note.
Ex.49:Polyphonicwriting,m.56
AsimilarchallengeisfoundinthefuguefromBach’sSonataNo.1inGMinor.
Here,theviolinistmustholdthehighContheEstring,whileplayingthebottom
threenotes.
Ex.50:Bach,SonataNo.1inGMinor,Fugue
44
Thiscanbedonetwoways.Someperformerschoosetoslurthebottom
eighthnotestogetherwhileholdingthehighC,andsomechoosetoseparatethe
eighthnotesbytouchingandreleasingtheastringwhilestillholdingthehighC.The
latterisamoretechnicallychallengingmethod,butmoreaccuratelyimitatesthe
detachésoundoftheeighth-notesfoundintheopeningsubject(seeex.5).
Justasinthefirstvariation,thisvariationcontinuesveryexpressivelytothe
end,challengingtheperformertosearchfordifferentcolors.
Variation4:Presto
Variation4againrequiresrhythmicprecision.Theopeningmotiveissimilar
tothatofvariation2,andshouldbeexecutedthesameway.
Ex.51:Rhythmicmotiveatbeginningofvariation4,m.77
Rózsaintroducesadifferentbowingtothismotiveinm.86,designedto
createanothermeterobscuringeffect.Heslursthefirsttwonotes,indicatesasingle
separatebowtobeusedonthethirdnote,andfollowsthesamepatternforthenext
threenotes.Bydoingthis,theviolinistwillplayeachthree-notepatternonadownbow,whichaddstothestrengthofthebeat.Insteadofthewaltz-likefeelingof3
foundintheopening,Rózsahasnowsettledonastrongduplepulse.
45
Ex.52:Newbowingwrittenintocreatemeter-obscuringeffect,m.86
Theduplepulseisthenchallengedbytheintroductionofthefirsthemiola.Instead
ofthe2groupsofthreethathasbeenappearingsincem.86,therearenow3groups
of2.
Ex.53:Useofhemiolainm.114
Thechallengetotheperformerforthisvariationistobringoutthenotated
changesinpulse.Thecomposercouldhaveeasilywrittenoutmeterchangesto
makeitmoreobviousthathisintentionwastomovebetweendifferentpulses,but
heplayfullyleavesthemeteralone.
46
Variation5:Allegro
Thefifthvariationopenswithacharactermarkingofenergicoandbegins
instantlywithaccentedtriple-stopchords.Thechordscanallbeplayedforteand
withplentyofenergy,creatingafull,resonantsound.
Ex.54:Openingoffifthvariation,m.133-134
Thisrhythmicmotivecontinuesforthemajorityofthevariation–interspersedwith
simplemelodicmaterial.
Variation6:PiùLento
Thisvariationintroducesatransformationofthematerialfromtheopening
oftheentireSonata,asthesixteenth-notemotivefromthefirstmeasurereappears
inm.167.Theminorthirdintervalisalsopresent,justasintheopening.
Ex.55:Five-16th-notemotivefromfirstmovement,m.1
47
Ex.56:Five-16th-notemotivetransformedrhythmicallyinvariation6,m.167
Thevariationcontinuestoexplorethisminorthirddouble-stopsixthmotive,until
arrivingatapocolargamente.Thisisfoundinthemiddleofthevariation,and
featuresanextendedoctavedouble-stoppassage.
Ex.57:Octavepassage,m.181
Tosuccessfullyexecutethetechniquerequiredtoplayanoctavepassagesuchas
this,theperformermustfollowtwobasictechnicalrules.
1. Thelefthandmustmaintainitsframeduringshifts.Theoctavesareplayed
withthefirstandfourthfingers.Bykeepingasolidhandshapeduring
shifting,thesefingerswillmaintaintheirshapeandtheperformercan
achieveperfectintonation.
2. Thebottomnotemustbegivenmoreweightthantheuppernote.Bydoing
thistheperformerwillbeabletousethebottomnoteasasolidanchornote
bothforfindingtherightpitchduringshiftingandtokeepthetopnote
perfectlyintunewiththebottomnote.
SimonFischercommentedonbalanceinhisbook,‘Basics’:
Theperfectbalanceofthebowplayingtwostringsatonce(i.e.,thebestweight
distribution),israrelyeven.Normallyonestringwillneedslightlymoreweight
48
thantheother,dependingontherelativethicknessofeachstring,andthe
lengthsofeachstring.(Aperfectfifthcreatesthesamestringlengths,anoctave
createsdifferentstringlengths.)26
Theendofthevariationincludesawanderingsixteenthnoteline.Rózsahas
againreturnedtohismethodofobscuringthemeterbyhisplacementofaccents.
Withtheplacementoftheaccents,thepulseinmm.188-189becomes3+3+3+2.
Ex.58:Accentplacementobscuringmeter,mm.188-189
ThismaterialisalsoverysimilartocadentialmaterialthatYsaÿeincludedinhis
SoloSonataNo.6.Inbothinstancesthenotesreturntothesamepitchesrepeatedly,
emphasizingtheharmonicunderpinnings.Thedifferencebetweenthetwo
examplesisthatYsaÿeleavesthemusicalexpressiontotheperformer’sdiscretion,
whileRózsaisveryspecificwithhismarkings.
26SimonFischer,Basics:300ExercisesandPracticeRoutinesfortheViolin(London:
PetersEdition,1997),26.
49
Ex.59:YsaÿeSonataNo.6,m.148
Variation7:TempoI
Variation7returnstotheopeningthematicmaterialofthemovement.The
openingrhythmicanacrusishasbeentransformedintoathreegracenote
embellishment,andthemelodicmaterialfromm.1appearsanoctavehigher.These
gracenotesmustbeplayedsmoothly,andnottoofast.Asthereareseveralnotes
joinedtoamelody,theyshouldbetreatedmelodicallyratherthanas
accompanimental.AsstatedinDavidMcGill’sbook,‘SoundinMotion’,“[O]nemust
judgehowtoplayeachgracenoteaccordingtoitscontext,bytakingmelodic,
rhythmic,andharmonicconsequencesintoaccount.”27
Ex.60:Openingmelodyofsecondmovementwithgracenoteembellishment,m.192
Thevariationcontinuestoexplorethequintupletmotivethatappearedinthe
introductionofthemovement,andattheconclusionpresentsthefirstappearance
27DavidMcGill,SoundinMotion,(Bloomington,Indiana:IndianaUniversityPress,
2007),219.
50
ofnaturalharmonics.Itisveryeasytechnicallytoplaythetwonotesattheendby
simplyusingthefourthfingerontheAstringinthepenultimatemeasure,andthe
thirdfingerontheEstringinthefinalmeasure.
Ex.61:Useofnaturalharmonics,m.212-213
Finale
TheopeningmotiveofthisFinalemovementborrowsthesamerhythmic
motivefoundintheopeningofthefirstmovement.ItalsocentersontheB-flatpitch
foundinthatmotive.Ex.62showsthemotivefromm.1ofthefirstmovement,and
ex.63showstheopeningmotivefromthethirdmovement.
Ex.62Openingmotiveinfirstmovement,m.1
Thecharacterisfortevigoroso,andthemelodicmaterialiscoupledwithaBflatdrone,onceagaininvokingthestrongfolkvoiceheardthroughoutthispiece.
51
Ex.63:Openingmotiveinthirdmovement,mm.1-2
Thismaterialdevelopsintoanexplosiveoctaveandsixteenth-notepassage,which
leadstoamenomossosection.
Ex.64:Rapidspiccatosixteenth-notepassage,mm.15-19
Thedescendingsixteenth-notesectionistechnicallychallengingfortheperformer.
Eachstrongbeatistobeplayedasadouble-stop,andmustbeaccented.When
descendingfromtheseventhpositionontheAandEstringinm.18,theperformer
mustensurethatthefingersareinplaceforeachshiftdownbeforethebowmakes
contactwiththestring.Duringapassagesuchasthis,itisacommonmistakeforthe
bowtoplaythestringbeforethefingershavereachedtheirdestination.For
example,timemustbeallowedforthefingerstoshifttothedouble-stoponthethird
beatofm.18beforethebowplaysthatnote.
52
AnotherinstanceofBariolageappearsduringapiùlentosection.This
Bariolagepassageislongerthanthepassageinthefirstmovement,andalsouses
differentchordsasitleadsintoanexpressivemoltoappassionatomoment.
Ex.65:UseofBariolage,m.83-85
Generallywithslurredarpeggiosinthisstyleitismorenaturalforthebowingto
beginonan‘up’bow.Thatwaythelowernotewouldberepeatedona‘down’bow,
andthebowwouldbeclosetothefrog.Inthiscase,however,thematerialaround
theBariolagerequiresthatthebowingbeginona‘down’bow.Thismayfeelslightly
awkwardtotheperformer,buttheprinciplesarestillthesame.Therightarmmust
maintainfluidityoverthestringchangestoavoidanybumpsinthesound,andboth
thewristandfingersoftherighthandmustbeflexible.
Themusicaldirectionmovesforwardtotheendofthemovement,asthe
tempoincreasesandarecurringeighth-notemotiveistobeplayedassixteenth
notes.Thefinalsectionofthemovementismarkedvivacissimoanddrivestotheend
ofthepiecewithenergy.
Ex.66:Rapidandexcitingrhythmicmaterialtoculminatethesonata,endingwitha
grand10thdoublestop,m.143-158
53
Rózsahasmarkeddoubledown-bowingsinmm.147and150,whichaddto
theintensity.Thebowretakemustberapid.Eveninapianodynamic,thisbowing
createsenergy.Thepieceendswithtwohelddoublestops,thelastbeinganinterval
ofatenth.Rózsa’sideatoendthepiecewithaheldtenthbegsthequestion:whatis
thelikelihoodthatthiswasdirectlyinspiredbyYsaÿse’sSoloSonatas?Several
movementsfromthe6SoloSonatascomposedbyYsaÿeendonaheldintervalofa
majortenth,anditcreatesanincrediblysonorousandbeautifulsound.
54
Ex.67:Final2measuresoftheFugatomovementfromYsaÿeSonataNo.1
Ex.68:Final2measuresoftheL’AuroremovementfromYsaÿeSonataNo.5
55
Conclusion
AlthoughMiklósRózsaprimarilyearnedareputationasafilmcomposer,his
concertmusichasalsoproventhatheisrespectedasaseriouscomposer.Rózsawas
fortunateduringhislifethathismusicwasrecordedjustasquicklyashecomposed
it,enablinghimtolistentohisworksbeforehepassedaway.Hismusicwas
championedbyfamousconductorsandrecordedasaresultofRózsa’sexcellent
reputation,andprofessionalmusicianstookhimseriously.ThefactthatRózsa
collaboratedwithsuchlegendarymusiciansasJaschaHeifetz,GregorPiatigorsky,
andJánosStarkerisatestamenttohisreputationasagreatcomposer.Eventothis
day,itiscommontoholdconcertsfeaturingseriousworksbyfilmcomposers,as
wellastorecordtheirworks.
TheViolinSonatastandsasanexampleofRózsa’scoremusicalstyle.
Composedtowardstheendofhislife,itisinfusedwithHungarianinfluences.A
performanceofthispieceoffersperformersawonderfulopportunitytolearnmore
aboutHungarianmusicandrelaythestorythatRózsawroteintohismusic.Rózsa
fillshismusicwiththesoundsthathewasfamiliarwithgrowingupinthePalóc
regionofHungary,andtheinfluenceoftheGypsyviolinstylecanbeheard
throughout.Heincorporatesthepentatonicscale,andweavesitcontinuously
throughtheentireSonata,givingthepieceitsdistinctiveHungariansound.
TheSonatahasbecomeverypopularwithviolinists,andithasalreadybeen
recordedseventimes.ItismyopinionthattheRózsaSonataforSoloViolinwill
becomemorewellknown,andmorepopularwithviolinistsasitages.Itisjust31
56
yearsoldatthewritingofthisdocumentandthereforeitisstillaninfantcompared
tosuchpiecesastheunaccompaniedworksofYsaÿeandBach.
57
Appendix
TechniquesfoundinBélaBartók’sSonataforSoloViolin,Sz.117andZoltán
Kodály’sDuoforViolinandCello,Op.7
Duringthewritingofthisdocument,thetwounaccompaniedstringpiecesby
BartókandKodálywereintroducedinordertodiscusstheinfluenceofthe
pentatonicscaleonthoseworks.Thefollowingisabriefanalyticaldiscoveryof
someofthecommontechniquesfoundinthesepiecesthatareoftenusedin
unaccompaniedviolinplaying.
1. Multi-Stops
TheBartókSonataisfilledwithinstancesofmultistops.Fromtheopening,the
performerischallengedtoexecutequadruple,tripleanddoublestopswhilestill
bringingoutamelody.
Ex.1:Useofmulti-stopsinopeningofBartókSoloViolinSonata,mm.1-3
SincetheKodályusestwoinstruments,neitherperformerisrequiredtoperforma
multitudeofdoublestops.Therearestillmultistopsthroughoutthepiece,butthey
don’tappearasfrequentlyastheydointheBartókortheRózsa.Here,forexample,
aretwotriplestopsrequiredbyboththeviolinandthecelloattheendofamelody:
58
Ex.2:Useoftriple-stopsinfirstmovementofKodályDuoforViolinandCello–violin
part,mm.17-18
2. Bariolage
TheBartókSoloSonatafeaturesonlyasmallamountofBariolage,foundinthe
firstmovement.ThistypeofBariolageisalsomelodic,asitoutlinesmorethanjusta
singleharmony.
Ex.3:UseofBariolageinfirstmovementofBartókSoloViolinSonata,m.87
KodályalsousesBariolage,inordertohighlightasinglechord:
Ex.4:UseofBariolageinsecondmovementofKodályDuoforViolinandCello–violin
part,mm.66-67
59
3. Lefthandpizzicato
Bartókfeatureslefthandpizzicatointhefirstmovementofhissolosonata,and
requiresthattheperformerholdadouble-stopwiththebowduringthepizzicato.
Allfourfingersarerequiredtobeusedatthesametimeduringthispassage.During
thefirstmeasureofex.67,thefirstfingershouldbeusedtoholdtheB-flatandFon
theGandDstrings,whilethesecondandthirdfingersholdtheDandB-flathalf
note.ThejobofthefourthfingernowistoexecutepizzicatoontheB-flatinbeat
four,followedbytheFonbeatoneofthesecondmeasure.Thistechniqueisvery
challengingtoexecute,astheperformermustconvincinglyholdthenoteonthe
stringwithoutanybumpsinthesoundduringthepizzicatonote.
Ex.5:UseoflefthandpizzicatoinsecondmovementofBartókSonata,mm.145-147
Kodályrequireslefthandpizzicatooftheviolinistononeoccasion,inthemiddleof
thefinalPrestomovement.Thepizzicatiaremarkedwith+signs,andtheirpurpose
istwofold:toaddflashytechniquetotheperformance,andtoallowtheviolinistto
prepareforthearcosectionimmediatelyfollowingthepizzicato.
60
Ex.6:UseoflefthandpizzicatoinPrestomovementofKodályDuo–violinpart,mm.
137-138
4. Artificialharmonics
Bartókusesartificialharmonicsseveraltimesinthethirdmovement,andhas
writtenthemoutasdouble-stops.Thisisthemostdifficulttypeofartificial
harmonicconfiguration,becausetheperformermustplayfournotesatthesame
timeononlytwostrings.Onthisoccasiononlytwofingersneedtobeused,thefirst
andfourth.Thefirstfingershouldholddownthebasefifth,andthefourthfinger
justtouchesthetwostringsonthewrittenoutnotestosoundtheharmonics.
Ex.7:UseofartificialharmonicsinthirdmovementofBartókSonata,mm.66-67
WhileKodálydoesnotuseanyartificialharmonicsinhispiece,anaturalharmonic
double-stopendsthefirstmovementintheviolinline.Theperformershouldsimply
playtheF-sharpontheDstringwiththesecondfinger,andtheDnaturalontheA
stringwiththethirdfinger.
61
Ex.8:UseofnaturalharmonicsinKodályDuoatendoffirstmovement
62
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