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Publication Date

10-25-2017

Year of Release

2017

Note(s)

Johan Bctes, piano

Şölen Dikener, cello

Program Notes

In 1886 Brahms began to spend his summers in Hofstettin on Lake Thun in Switzerland. He relocated here to find more solitude after his previous summer house in Pörtschach was discovered by social press and admirers. Since he kept a habit of composing during the summer months and going on tour in the winter, Brahms needed to keep a peaceful time for producing new works. In Hofstettin he began composing 3major chamber music works, the Violin Sonatas No. 2 in A major and No. 3 in D minor, as well as the Cello Sonata No. 2 in F major. These became known as the Thun sonatas, as well as the initial works that marked the beginning of his late era following the completion of his Fourth Symphony in E minor. In its four-movement design, the cello sonata is the most expansive of all the three sonatas. The Key relationship between these movements is quite unusual with the order of a stormy F major, lamenting F sharp major, a turbulent F minor and a joyous finale, once again in the main key of F major. The sonata was dedicated to Robert Hausmann, a member of the famous Joachim Quartet, whose collaboration with Brahms continued when he and Joachim premiered the famous Double Concerto three years later. In his review, the critic, Eduard Hanslick wrote “in the Cello Sonata, passion rules, fiery to the point of vehemence, now defiantly challenging, now painfully lamenting.”

The Norwegian composer Grieg completed his Cello Sonata op. 36 (1883) and Violin Sonata No.3 almost twenty years later than his initial set of three sonatas. His earlier attempts on the genre of sonata brought frustration and difficulty due to their traditional nature, which Grieg himself admitted. However, with its songful, sensuous and dramatic content, the Cello Sonata became a beloved Romantic work in the cello repertoire. He dedicated the work to his brother John who was an amateur cellist. Due to two brothers' poor relationship, the premier of the sonata was performed by the renowned cellist Ludwig Grützmacher. Grieg's sense of pain for brotherly separation is reflected throughout the work. The first movement opens with an agitated theme followed by a sensitive, lyrical tune that depicts a true Norwegian scenery. With wide range of emotional changes, the music represents the traits of Stun and Drang movement of the Romantic era. In the slow movement, Grieg recycled his own music from the Homage March for four cellos, which was composed as incidental music to a play about King Sigurd Jorsalfar Norway. The stormy middle section draws into a real desperation before connecting to last movement through a haunting quiet tune. The main melody of the finale reminds us the last movement of his piano concerto that presents rustic folk tunes.

Note

Smith Recital Hall

Disciplines

Arts and Humanities | Fine Arts | Music | Music Performance

Marshall University Music Department Presents a Faculty Duo Recital, Johan Botes, piano, Şölen Dikener, cello

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