Date du récital/Date of recital: 21st April 2017

Nom/Name: LuEe Wong

Classe de/Class of: Felicia Moye

These program notes are written by the student performing, and are presented by the student in

partial fulfilment of the requirements of their course.

Ces notes de programme sont écrites par l'étudiant-interprète et sont présentées en tant que

réalisation partielle des critères de leur cours.

Suite Italienne for Violin and Piano by Igor Stravinsky

The Suite Italienne for violin and piano is a transcription derived from Stravinsky’s 1920 ballet -

Pulcinella. The ballet is based on the music by Baroque composer Giovanni Battista Pergolesi,

who was a forerunner of comedic opera and an important figure for the transition into the 18th

century Classical style. Stravinsky was inspired by Sergei Diaghilev to compose this ballet in

1919, and set about creating a new era in his compositional output known as the “neoclassical”

period. He adapted the simple yet beautiful melodies by Pergolesi into the ballet, but added in his

own unique techniques such as unorthodox harmonies and instrumentation to create a new and

original sound style.

The ballet was an overwhelming success for Diaghilev’s Ballets Russes, and Stravinsky later

rearranged the ballet several times, including the violin and piano version in 1932, with the help

of violinist Samuel Dushkin. The suite begins with an introduction, which is based on the

overture to the ballet. It is then followed by a Serenade, a Tarantalle, Gavotte with two

variations, a Scherzino, and a Minuet and Finale.

Sonatine No. 5 for Solo Violin, Op. 32, No. 1 by Jean Martinon

Martinon was primarily known as a conductor, having worked with world renowned orchestras

such as the Chicago Symphony Orchestra, London Philharmonic Orchestra, Israel Philharmonic

Orchestra, and the Dusseldorf Symphony, just to name a few. Despite dedicating most of his

time to conducting, he was a composer of note, writing four symphonies, four concertos, some

choral works as well as some chamber music pieces.

The Sonatine was written in 1942 when Martinon was a prisoner of war. This piece consists of

two relatively short movements. The first movement concentrates on a single melodic line with

many expressive leaps of major 7ths throughout. The melodic line goes through many

transformations and variations before coming back with unusual double-stop harmonies, which

sets up the mood for the rest of the piece – a wild folk dance with all kinds of pyrotechnics.

Violin Sonata No. 2 in A Major, Op. 100 “Thun” or “Meistersinger” by Johannes Brahms

Brahms spent the summer of 1886 at the Hofstetten bei Brienz in Thun, Switzerland.

Rejuvenated by the refreshing atmosphere and surrounded by friends like the contralto Hermine

Spies whom he had affection for, Brahms composed three of his most lyrical chamber music

works in a short period of time – the Cello Sonata No. 2 in F major, Op. 99, Violin Sonata No. 2

in A major, Op. 100, and his Piano Trio No. 3 in C minor, Op. 101.

The second violin sonata was given the formal title of “Sonata for Piano and Violin,” implying

that Brahms wanted the piano part to be treated as importantly as the violin part, a tradition

which began since the days of Bach, Mozart, and Beethoven. This is evident right from the onset

of the sonata, where the piano opens with a luscious main theme, with small interjections by the

violin. The roles are reversed soon after, in which the music takes a turn to the beautifully lyrical

second theme in the piano part, while having Brahms’ famous cross-rhythm in the left hand

accompaniment. The movement then goes through the usual proceedings of a sonata form, but

never loses its blissful demeanor.

In the second movement, Brahms combined the roles of the two middle movements in a usual

sonata – the Adagio and the Scherzo. He does this by beginning the movement with an Andante

Tranquillo singing section, that is then interrupted by a Vivace fast section. This movement

features a duel between the fast and slow sections, with the Andante seemingly earning the right

to end the movement before the Vivace cheekily sneaks in to finish it with a flurry in D major.

Last but not least, the theme in the final movement Allegretto Grazioso has a poised and calm air

to it. Though there are hints of discord in the harmony in the developing sections, it ties together

the whole sonata and maintains an amiable mood throughout, brimming with gaiety.

Alt-Wiener Tanzweisen for Violin and Piano by Fritz Kreisler

Austrian Fritz Kreisler was one of the most influential violinists during the early 20th century.

His constant use of vibrato has influenced violinists up till this very day, and many of his

compositions are still being performed as part of the standard repertory for violin. Kreisler

attributed many of his own compositions as works by past composers, but this hoax would later

be revealed around 1935, when Kreisler admitted to this deception. Despite this, his

compositions were exceptionally indicative of the violinist’s life as a traveling musician and free

spirited person.

Part of his compositional output includes three pieces for violin and piano- Liebesfreud,

Liebesleid and Schön Rosmarin. These pieces are often called Alt-Wiener Tanzweisen, or Three

Old Viennese Melodies, and were credited to the 19th century Austrian dance music composer

Joseph Lanner. Lanner was famously known for refashioning the waltz from a simple peasant

dance to high society enjoyment, and these three pieces are Kreisler’s homage to that style.