ANTONIO VIVALDI: Concerto No. 4 in F Minor, Op. 8 RV 297, "Winter" (1718-1720)
The Four Seasons are a collection of four concerti which are considered to be some of the earliest programmatic, instrumental works. Each of these seasons are set to a sonnet, presumed to be written by Vivaldi himself, depicting scenes of nature and mankind's relationship to it. Vivaldi's "Winter" (L'inverno) is reflective of the sheer ice-breaking and teeth-chattering moments one may experience from the harsh winds of winter. While it may be hard to endure these winds at war, the harsh winter always brings joy of what may come in the future.
We tread the icy path
slowly and cautiously,
for fear of tripping and falling.
Then turn abruptly,
slip, crash on the ground and,
rising, hasten on across the ice, lest it cracks up.
We feel the chill north winds
course through the home
despite the locked and bolted doors…
This is winter, which
nonetheless brings its own delights.
J.S. BACH: Partita No. 2 in D Minor for Solo Violin, BWV 1004 (1720)
Chaconne, the fifth and final movement from Johann Sebastian Bach's second partita is considered one of the most monumental compositions for solo violin. This intensely technical and challenging masterpiece of violin literature is demanding for the performer, both mentally and physically. It can be interpreted as a response of grief and a memorial to Bach's first wife of 12 years, Maria Barbara. The opening statement returns at the end of the movement, progressing to richer and more final harmonies; and their deep emotions feel to me like Bach's final goodbye to his beloved wife. This masterpiece is an emotional journey for the performer and the listener. We plunge to the depths of the grief and melancholy Bach was experiencing at his wife's passing, but also the absolute happiness and nostalgia he felt when remembering their lives together. To quote Johannes Brahms, "The Chaconne is, for me, one of the most wonderful, incomprehensible pieces of music. On a single staff, for a small instrument, the man writes a whole world of the deepest thoughts and the most powerful feelings."
NICCOLÒ PAGANINI: Caprice No. 11
Paganini's eleventh caprice, sometimes referred to as "The Arpeggio," is in ternary form with two contrasting sections—Andante and Presto. The Andante is a beautiful, lyrical passage filled with tasteful nuance, rubato, and sustained lines. One could consider these bookending sections to be reminiscent of a prima donna singing an aria. This section is then followed by a playful and childlike, arpeggiated Presto. With difficult jumps and leaps, the performer is able to determine phrasing and moments of pause throughout, testing the virtuosity and technical challenges of the instrument. This electrifying caprice is one of Paganini's many compositions that display virtuosity, while also effectively conveying melodic contrasts and lush, operatic lyricism.
EDVARD GRIEG: Violin Sonata No. 3 in C Minor, Op. 45 (1887)
Edvard Grieg was an incredible, musically sensitive composer who loved his Norwegian homeland. In fact, many of his compositions seem to reflect beautiful Norwegian scenery. Growing up in the city of Bergen, Grieg was surrounded by the Hardanger country and its folk music. In his third sonata, particular characteristics of Hardanger fiddling and Norwegian folk music contribute to the piece's nationalistic quality, such as the springar rhythm, drones mimicking the sympathetic strings of a Hardanger fiddle, and a raised fourth degree, hinting at the Lydian mode. Grieg paints an incredible picture for listeners, creating music that seems to reflect the beautiful terrain of Norway. It is a journey of endless possibility for the performer, with abundant harmonies and colors to explore, creating imagery of the countryside. I, personally, imagine a breathtaking sunrise; and after transitioning to rustic dance, we close with an unforgettable sunset.
