Classical Music | Violin Music

Recorded on 08/18/2011, uploaded on 08/18/2011

Musician's or Publisher's Notes

As the Jazz Age swept America and Europe during the Roaring 20s, many composers turned to this style of music born of African-American spirituals as a new means of expression, blending it with the elements of the Classical tradition and new experimental techniques alike. Of course the name George Gershwin is synonymous with the classical-jazz fusion, but in post-war France, America’s jazz influenced Paris’s young avant-garde composers, such as Maurice Ravel. Ravel was intrigued by the melodies and rhythms of jazz and when he visited America during the latter part of the decade, he soaked in the music he heard in Harlem and New Orleans. His interest and use of jazz in his own compositions spanned several works during this time, reaching its pinnacle in his two concerti for piano composed during 1929-31. Just prior to that pair of works and his trip to America, he composed another important jazz-influenced composition—the Sonata for violin and piano.

The Sonata’s first movement is thinly textured and contrasts three different melodic ideas. Ravel himself thought the violin and piano two instruments ill-suited for each other, and this is to some extent played out in the contrasting melodic ideas of the movement. Much of the movement is serene, even ethereal at times, and builds to a solitary climax before slowly evaporating away. Entitled “Blues,” the middle movement’s composition actually predates Ravel’s trip to America and his exposure to the music of Harlem and New Orleans. Alongside its noticeable jazz idioms, Ravel makes use in this movement of 20^th century techniques such as bitonality. Lastly, the “Perpetuum mobile” finale incorporates themes from the preceding two movements.      Joseph DuBose

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Sonata for Violin and Piano   Maurice Ravel  

The Sonata for Violin and Piano by Maurice Ravel was written rather late in the composer’s life and is in fact the last chamber music work he wrote. It took him four years to complete. The first movement, Allegretto, is essentially in sonata form, with two very clear themes and a developmental section that reaches a climax and then peacefully returns to the opening theme. In the work, Ravel celebrates the differences and incompatibility between the two instruments and this can be heard most clearly in the first movement. At times it seems as if the two players are completely oblivious and unaware of each other but there are sections where they imitate and throw the melodic material between each other. The second movement, titled Blues, is the most well known movement of the work. As the title suggests the movement draws its inspiration from American Jazz and Blues musicians that Ravel heard perform in Paris. He also makes use of bitonal technique, having each instrument play in a different key at the same time to give them different and distinct characters. The third movement, Perpetuum Mobile, tests the limits of the violinist’s technical abilites while bringing back melodic material from the first movement and jazzy chords from the second movement. The premiere of the work took place in Paris in 1927 with Georges Enescu playing the violin part and Ravel himself on the piano.     Hulda Jonsdottir

Courtesy of International Music Foundation.