Lourenço De Nardin Budó

ldbudo@ilstu.edu
Comprehensive Exam – Dr. Sarah Gentry
January 12, 2015

A BRAZILIAN CONTRIBUTION TO THE VIOLIN REPERTOIRE: VILLA-LOBOS,

CAMARGO GUARNIERI AND FLAUSINO VALE

Brazilian composers have reached a high level on violin writing, but many works by

major composers are not published and, even those that are, can sometimes be difficult to find.

Thus, it is at least understandable why those works are neglected in curricula of most schools

around the world and even in some places in Brazil. This repertoire, however, is a very

interesting addition to any violinist study plan and the present paper brings a close description of

technical issues and style/mood/characteristic of a few examples, as well as rate their level using

Asta String syllabus as parameter. Other than personal interest and pedagogical features, one

important criterion for choosing pieces in the present study was the access to scores and

recordings. Information about publishers as well as links for scores and recordings are included

in the appendix of this paper. The appendix also includes a list of other Brazilian composers who

wrote for violin. The selected pieces are:

- Villa-Lobos: Sonata no. 3;

- Camargo Guarnieri: Sonata no. 4; Concertos nos. 1 and 2; and Choro;

- Flausino Vale: Twenty-six Preludes.

VILLA-LOBOS
 For sure the most famous Brazilian composer, Heitor Villa-Lobos (Rio de Janeiro, 1887-

1959) played a fundamental role in the development of the nationalism in Brazilian concert

music. The musicologist Vasco Mariz considers Villa-Lobos as the only composer from what he

calls the “first nationalistic generation”.1 However, like big part of his early works, his violin

sonatas have no predominance of national traits, but rather address to Debussy’s “impressionist”

style (though the first two written in 1915, before Debussy’s violin sonata).

Violin sonata no. 3 (grade 6)

The third (which is also the last) sonata, written in 1920, has three movements:

I. Adagio non troppo: opening with a dark sonority, but many mood changes. There are

many tempo indications and change on tempo signature. Explores glissandi, double stops (sixths,

fourths) even in high positions, predominantly legato, though some spiccato is demanded close

to the end; approximately 11 minutes;

II. Allegro vivace scherzando: As the name suggests, more animated that the first, but not

rushed; some performers would give a character of cadenza to some parts. Predominantly in 5/4,

the movement explores open-string left hand pizzicato and staccato (some performers would do

alla corda, while others volante or enven only spiccato), high pitches, and a fast douple –stop

passage in fourths; approximately 5 minutes; and

III. Molto Animato e Final: features a grandioso aspect, characteristic of a finale

moovement. Some extremelly high pithces, dissonante double-stops; approximately 7 minutes.

1
Vasco Mariz, História da Música no Brasil (Rio de Janeiro: Civilização Brasileira, 1981), 104.
 CAMARGO GUARNIERI

M. Camargo Guarnieri (São Paulo, 1907-1993) is probably the second most famous

Brazilian composer (only after Villa-Lobos) of the twentieth century. As Gerard Béhage says,

“Guarnieri occupies a paramount position within the Brazilian national school. In over half a

century of intense activity, he was one of the most prolific and creative Brazilian composers,

writing in all the major genres with a consistent and sustained concern for national musical

expression.”2 The concern for the national style is fundamental to understand the music from

Camargo Guarnieri. Differently from Villa-Lobos, who as a precursor of the nationalism in

Brazilian music started his career before Brazil had a consolidated “national school” of

composition, Guarnieri had influence from it since the beginning and all almost of his work is an

affirmation of this trend. Choro, samba, ponteio, moda, and several other rhythms and styles

from the popular Brazilian music (much related also to Portuguese, African, and native

traditions) were a constant inspiration for him and the works presented here, of course, show

traits of this kind of expression.

Violin Sonata no. 4 (grade 5)

Although Camargo Guarnieri’s violin sonatas are numbered until seven, the first one is

lost and some speculate that it was even destroyed by the composer himself3; thus, it is usual to

2
Gerard Béhague, "Guarnieri, Camargo." In Grove Music Online. Accessed January 8, 2015,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/11904.
3
Andre Cavazotti Silva, "The Sonatas for Violin and Piano of M. Camargo Guarnieri: Perspectives on the
Style of a Brazilian Nationalist Composer." (DMA diss., Boston University, 1998), 7 ProQuest 9828257.
http://proxy.lib.ilstu.edu:2048/login?url=http://search.proquest.com.libproxy.lib.ilstu.edu/docview/304434162?acco
untid=11578.
refer to them as the “six sonatas for violin and piano”. André Cavazotti Silva studied deeply all

the sonatas and, regarding the task of finding scores for his research, has written:

“The conditions of the primary sources vary greatly for each sonata. Three sonatas exist
only in autograph (Sonatas nos. 5, 6, and 7), two sonatas exist only in manuscript copies
(Sonata nos. 2 and 3), one sonata exists only in a published version (Sonata no. 4), and
one sonata is lost (Sonata no. 1).”4

As the only published sonata and most accessible sonata, only the fourth will be subject

of this paper. The sonata is divided in three movements:

I. Energico ma espressivo: The title says much about the intention here. With constant

tempo signature changes, the piece suggests momentum and is challenging at first look. It also

features accents, octaves, chords, shifts and tricky rhythms. At the end, all the difficulties seem

to be mixed in the last (figure 1); approximately four minutes;

Figure 1. Camargo Guarnieri. Violin Sonata no. 4, first movement, last bars. Camargo Guarnieri, M. Sonata para Violin y Piano.
(Buenos Aires: Ricordi Americana, 1957). The second and sixth bars of this excerpt present a syncopated rhythm going to a very
high register; the piú mosso features double-stops with tempo signature changes suggesting a fast metronome marking.

4
Silva, "The Sonatas for Violin and Piano of M. Camargo Guarnieri,” 164.
 II. Intimo: a very slow movement which, although have no indication by the composer of

that, suggest the tempo of a Brazilian toada. This movement explores many dynamic contrasts,

glissandi, and octaves. Changing in tempo signature are frequent, but not as challenging as in the

first movement; approximately eight minutes;

III. Allegro appassionato: a kind of grandioso finale, with a contrasting slow section;

here, the composer addresses to the moved rhythm of samba and, samba canção (literally,

“song-samba” a sort of slow and very singing, or lamenting samba). The accentuation pattern

is frequent; approximate seven minutes length.

 Violin concertos (grade 6)

The violin concertos and the Choro were published by Ricordi Buenos Aires (Argentina).

The publisher’s website however does not show the products as available in the moment.

Looking through Brazilian and international music stores online it was not possible to find

available copies; the piece seems to be rarity. The first concerto and the Choro can be found

through WorldCat database and there are full scores of all three available on the website

musicabrasilis.org as part of the project Camargo Guarnieri e a Missão de Pesquisas

Folclóricas.5 A DVD recording can be found on Amazon, and there are videos on YouTube of

one beautiful performance by the Orquestra Municipal de São Paulo, under Lutero Rodrigues,

with the soloist Luíz Fïlíp (see appendix).

Concerto no. 1

This concerto from 1940 is another exemplar of the national style in Camargo Guarnieri’s

music. It has three movements, all connected (attacca):

I. Heroico (heroic): Features fast passages in very high register, double-stops (octaves

and thirds), extensions, fast arpeggios, artificial harmonics, trills in double-stops to high

registers; approximately six minutes;

II. Com grande calma (with much calm): Very cantabile, varying from dolce to more

intense passages; it has a long sul G section and no very high pitches; approximately six minutes;

5
“Camargo Guarnieri and the Mission of Folkloric Research;” a project realized by the São Paulo City Hall
sponsored by the federal government through the Programa PETROBRAS Cultural 2007 - Memória das Artes.
 III. Muito alegre e ritmado (very happy and with rhythm): Here, Guarnieri abuses from

syncopated rhythms and can present very tricky passages, including syncopated slurs (see figures

3 and 4). Chords and double-stops (octaves, sixths, thirds) are frequent; has a virtuosistic

cadenza exploring complex chords, scales and arpeggios;

Figure 2. Camargo Guarnieri. Violin Concerto no. 1, third movement, mm 97-99. Syncopated slurs.

Figure 4. Camargo Guarnieri. Voilin concerto no. 1, third movement, mm. 98-114. Syncopated rhythms.

Choro

The Choro for violin and orchestra (1951), despite its name, can be considered another

violin concerto considering the form. The name is a reference to a Brazilian popular music style.

Like the firs concerto, it has also in three connected movements:

I. Andante: Opening with a short slow cadence, has a predominant cantabile mood,

though has also a contrasting moved section; the mixolydian mode, much characteristic of

Brazilian music (particularly the northeast), is frequent. Explores high registers, contrasting
sonorities (dolce, intense); like the other pieces, chords and double-stops (octaves, thirds) are

constant; approximately eight minutes.

II. Calmo: Although the first movement cannot be considered “fast,” the second contrasts

the first as an even slower movement. Explores much the lower register of the instrument; again,

chords and double-stops (here there are also a few tenths) occur, but only incidentally;

approximately five minutes.

III. Allegro ritmado: a very characteristic finale. Very moved and abusing of double

stops, with much use of open strings, such as the first concerto’s finale, syncopated rhythms are

constant. Approximately four minutes.

Violin Concerto no. 2

This concerto features much similar characteristics with the other two, as a consolidation

of Camargo Guarnieri’s style. The technical demand is also basically the same. Here, the three

movements are not connected:

I. Lento: cadenza: Allegro Energico: Opens with a long virtuoso cadenza (almost half of

the movement’s length), followed by an energetic and moved Allegro. The only new technical

issues are left hand pizzicato (usually only open strings) and more frequent tenths; approximately

eight minutes.

II. Triste (sad): As the name suggests, the second movement has a beautifully

melancholic mood, though not in a minor mode; instead, the major and mixolydian mode

predominates. Similarly to the second movement of the Choro, explores the lower register;

approximately six minutes.

 III. Allegro giocoso: As related to the other third movements, very rhythmic, with

syncopated accents. A sort of “new” skill is the use of artificial harmonics, though only

incidentally; approximately five minutes.

FLAUSINO VALE

Preludes (grade 5)

The violinist and composer Flausino Vale is not one of the most recognized Brazilian

composers, but as a violin expert, he reached a high level on the writing for this instrument. His

most famous work, the 26 Prelúdios Característicos e Concertantes para Violino Só (“Twenty-

six Characteristic and Concertant Preludes for Unaccompanied Violin”), was not even published

entirely during his lifetime, but only a few preludes individually. The most famous one, “Ao pé

da Fogueira” (“At the bottom of the Bonfire – the fifteenth prelude), became world widely

famous after Jascha Heifetz edited and recorded it with his own piano accompaniment.6 The

Brazilian music scholar Camila Frésca describe the twenty-six preludes as “short pieces with

very simple formal structure. Having on the average only 65 measures, almost all are

monothematic (though a few in ABA and one in rondeau), fast tempo (thirteen noted as

“allegro,” and seven as “allegretto), time signature 2/4 (twenty-two), major key (twenty-two) and

key signatures corresponding to the open strings of the violin (twenty in G, D, A, and E-flat

6
In fact, one can find a video of him teaching this piece to one of his students in Youtube (“Jascha Heifetz -
Masterclass 1 of 4” Youtube Video, 54:25, posted by “ramirotcb,” February 04, 2012,
http://youtu.be/RLlUoS8D7Bo?t=24m13s).
major; four in G, D, A, and E minor).”7 Hermes Alvarenga add to that the fact that

“characterization, imitative and descriptive ideas are relevant aspects on the musical language of

Flausino Vale. The preludes generally incorporate the style of characteristic piece, relating

sensations or extra-musical ideas, as their titles show.”8

The whole set can be related to etude or caprice books, such as Rode, Fiorillo, or

Paganini. The preludes vary from level of technical difficulty and, although some explore high-

level technique, they are short and not too difficult to memorize. An especial feature as

compared to those books is the fact that some of the preludes explore percussive and symbolic

effects, being a great tool to get familiar with extended techniques.

Considering that the ASTA String Syllabus grades Jacob Dont’s Etudes and Caprices

Op. 35 as a level 5, and only Paganini’s and Wieniawski’s as a level 6, perhaps Flausino Vale’s

set could be graded as a 5 too. Nevertheless, the following list will also suggest an alternative

grade for each prelude (on the left, in bold). They are listed from the first to the twenty-sixty

including important technical or stylistic notes, as well as the translation of each title.

5-6 Batuque - Prelúdio I “Drumming”

Pizzicato
Double stops – tenths
Artificial Harmonics
Left hand pizzicato
Chords – double stops and drone with G-string
Ricochet
Percussive effects with bow

4 Suspiro d’Alma – Prelúdio II “Sigh of the soul”

7
Camila Frésca, “Flausino Vale e os 26 Prelúdios Característicos e Concertantes para Violino só,” (Paper
presented at Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, São Paulo, São Paulo –
Brazil August 27-31, 2007), 6
8
Hermes Alvarenga, “Os 26 prelúdios característicos e concertantes para violino só de Flausino Vale:
aspectos da linguagem musical e violinística.” Master Thesis, Universidade Federal do Rio Grande do Sul, 1993.
Quoted in Camila Frésca, “Flausino Vale e os 26 Prelúdios Característicos e Concertantes para Violino só,” 6.
Thirds
Fast arpeggios to high positions

5 Devaneio - Prelúdio III “Day Dreaming”

Douple stops
Chords
Ornaments (mordents)
High positions – arpeggio at the end
Rhythm at end

4-5 Brado Íntimo - Prelúdio IV “Intimate Shout”

Slow
Glissandi
Double stops
Artificial harmonics

5-6 Tico-Tico - Prelúdio V “Tico-tico” (Zonotrichia capensis) is the name of a bird very
common in Brazil (pronounced like “cheeko-cheeko”)

Chords played arpeggiato with ricochet stroke

Mixing with pizzicato at the end
Artificial harmonics at end

4 Marcha Fúnebre – Prelúdio VI “Funeral March”

The whole piece is performed with a pedal of D, but not many technical issues.

4-5 Sonhando - Prelúdio VII “Dreaming”

Moderato
Only pizzicato
Chords and double-stops
Glissandi
Special effects – quasi ponticello imitating “viola caipira”
Distinct voices – counterpoint

4-5 Repente - Prelúdio VIII “Improvise”

Double-stops natural harmonics
Double-stops: sixths, thirds, and pedals

5 Rondó Doméstico - Prelúdio IX “Domestic Rondeau”

Double-stops all the way
String crossings
Allegro – contrasting cantabile section

6 Interrogando O Destino - Prelúdio X “Questioning Destiny”

Chords
Fast left hand pizzicato
Artificial Harmonics
Legato
Chords/double—stops in High positions
Sautileé in double stops

5-6 Casamento Na Roça - Prelúdio XI “Wedding on the ranch”

Opening section: Pizzicato
Double stops
Incidental left hand pizzicato
Incidental Harmonics
Octaves

5 Canto da Inhuma – Prelúdio XXII “Inhuma Sing” – Inhuma is a rare bird found in the north of
Brazil; the piece is in the style of Toada Sertaneja.

Sem bravura, mimoso “without bravery, ‘cosseted’”

Pizzicato alla ghitarra
Open Strings Left hand pizzicato accompanying the melody

5-6 Asas Inquietas - Prelúdio XIII “Restless Wings”

A section: Fast Double-stops with mordents
B Section: Cantabile double stops; fast scales; Incidental harmonics

4-5 A Porteira da Fazenda – Prelúdio XIV “The Farm’s Gate”

Special effects: Glissandi and knocking on the instrument imitating a wooden gate with old
hinges opening and beating on a wooden post.
Guitar-like pizzicato all the way

4-5 Ao pé da fogueira - Prelúdio XV "At the bottom of the bonfire"

Sixths, thirds
Incidental natural harmonics
Tricky rhythms at tempo signature change in the ending.

4 Requiescat In Pace - Prelúdio XVI “Rest in Peace” G-major

Slow- Cantabile; Major key, but sorrowful
Incidental left hand pizzicato

5 Viola Destemida - Prelúdio XVII

A Section: Pizzicato/Left hand pizzicato; Double-stops pizzicato; imitating Viola Caipira
B Section: Chrods arpegiato jeté mixed with left hand pizzicato

5 Pai João - Prelúdio XVIII “Father John”

Double-stops all the way - sixths
Incidental pizzicato
Dotted rhythms
Incidental chords
Incidental natural harmonics inn double-stops

4-5 Folguedo Campestre - Prelúdio XIX “Rural Merriment”

Sixths
Pizzicato in sixths

4 Tirana Riograndense - Prelúdio XX “Tirana Riograndense” In this context “Tirana” probably

means a characteristic dance traditional from the south of Brazil, more specifically from the state
of Rio Grande do Sul. It has slow tempo and frequent cadences/rests. The steps generally suggest
gestures of reverence and no physical contact.
Moderato – Cantabile; Frequent cadences
Double stops
Intense sound/vibrato
Incidental Pizzicato

5-6 Prelúdio da Vitória – Prelúdio XXI “Victory Prelude”

Thirds, octaves
Natural harmonics

5 Mocidade Eterna - Prelúdio XXII “Eternal Youth” ABA A minor

Virtuoso/show-off style
Ricochet
Pizzicato
Incidental Left hand pizzicato
Chords in arpegiato
Contrasting section in double stops
No very high positions

4 Implorando - Prelúdio XXIII “Begging”

Slow
Natural harmonics double-stops
Incidental left hand pizzicato (mostly low positions or open strings)
Coordination: Left hand Pizzicato while playing arco on other strings.
Incidental artificial harmonics

5-6 Viva São João - Prelúdio XXIV “Hail, St. John” In Brazil (and particularly in the region of
southeast – where Vale was from) St. John or “São João” is celebrated in the June Festival
(Festas Juninas) or St. John’s Festival (Festas de São João). Those are famous for having
bonfires, fireworks, characteristic clothing, food, drinks, and dance. In this prelude, the artificial
harmonic descending glissando on mm. 26 and 92 is imitating the sound of a firework and the
drumming on the body of the instrument right after means its explosion.
Knocking the instrument – the composer suggests holding the instrument firmly with the
shoulder and jaw and knock with both left and right thumbs as pointed in the score.

Thirds, sixths
Artificial harmonics
Passage Sul G with only one finger
Coordinating bowing with knocking on the instrument.

5-6 A Mocinha E O Papudo - Prelúdio XXV “The girl and the ‘Bragger’”
- Thirds, octaves;
- Pizzicato/left hand pizzicato

5 Acalanto - Prelúdio XXVI

Open strings left hand pizzicato;
Octaves.
 BIBLIOGRAPHY

Alvarenga, Hermes. “Os 26 prelúdios característicos e concertantes para violino só de Flausino

Vale: aspectos da linguagem musical e violinística.” Master Thesis, Universidade Federal
do Rio Grande do Sul, 1993.

Béhague, Gerard. "Guarnieri, Camargo." In Grove Music Online. Oxford University Press, 2001-
Accessed January 8, 2015,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/11904.

Camargo Guarnieri. Choro para Violino e Orquestra. São Paulo: Camargo Guarnieri e a Missão
de Pesquisas Históricas, 2007,
http://www.centrocultural.sp.gov.br/cg/Choro_Partitura_Maestro.pdf.

Camargo Guarnieri. Concerto no. 1 para Violino e Orquestra. São Paulo: Camargo Guarnieri e a
Missão de Pesquisas Históricas, 2007,
http://www.centrocultural.sp.gov.br/cg/Conc01_Grade_do_Maestro.pdf

Camargo Guarnieri. Concerto no. 2 para Violino e Orquestra. São Paulo: Camargo Guarnieri e a
Missão de Pesquisas Históricas, 2007,
http://www.centrocultural.sp.gov.br/cg/Conc02_Partitura_maestro.pdf.

Camargo Guarnieri, M. Sonata para Violin y Piano. Buenos Aires: Ricordi Americana, 1957.

Frésca, Camila. “Flausino Vale e os 26 Prelúdios Característicos e Concertantes para Violino

só.” Paper presented at Congresso da Associação Nacional de Pesquisa e Pós-Graduação
em Música, São Paulo, São Paulo – Brazil August 27-31, 2007 http://www.anppom.
com.br/anais/anaiscongresso_anppom_2007/musicologia/musicol_CFresca.pdf.

Litrell, David. String Syllabus. ASTA, 2009.

Mariz, Vasco. História da Música no Brasil. Rio de Janeiro: Civilização Brasileira, 1981. 331
pp.

Silva, Andre Cavazotti e. "The Sonatas for Violin and Piano of M. Camargo Guarnieri:
Perspectives on the Style of a Brazilian Nationalist Composer." DMA diss., Boston
University, 1998. 184 pp. ProQuest Dissertations and Thesis (9828257).
http://proxy.lib.ilstu.edu:2048/login?url=http://search.proquest.com.libproxy.lib.ilstu.edu/
docview/304434162?accountid=11578.

Pontes, Luciano Ferreira. “Aspectos Idiomáticos em Peças Brasileiras para Violino: de Leopoldo
Miguez (1884) a Estércio Marquez (2000).” Master Thesis, Universidade Federal de
Goiás, 2012.

Littrell, David Ault. String Syllabu: Violin, Viola, Violoncello, Double Bass, Alternative Styles.
Fairfax, VA: American String Teachers Association, 2009. 140 pp.
Vale, Flausino Rodrigues. 26 Prelúdios Característicos e Concertantes para Violino Só. São
Paulo: Criadores do Brasil, 2011

Villa-Lobos, Heitor. Troisème Sonate pour Violon et Piano. Paris: Max Eschig, 1953.
 APPENDIX

LINKS FOR RECORDINGS

Villa-Lobos:
CD
http://www.amazon.com/dp/B00D8WKZAC/ref=dm_ws_tlw_trk1

Camargo Guarnieri:
DVD http://www.amazon.com/Camargo-Guarnieri-Concertos-Violino-
Orquestra/dp/B007M40W9Q

Flausino Vale:
(Brazil only)
http://www.arlequim.com.br/detalhe/1421400/Flausino+Vale+e+o+Violino+Brasileiro.ht
ml
http://www.lojaclassicos.com.br/respbusca.asp?procura=flausino+vale&tipo=&imageFiel
d.x=0&imageField.y=0

ONLINE LINKS

Villa-Lobos: Naxos database only.

http://ilstu.naxosmusiclibrary.com.libproxy.lib.ilstu.edu/catalogue/item.asp?cid=GD224

Camargo Guarnieri:
- Concerto no. 1
I. Heroico: http://youtu.be/614MgBirq4w;
II. Com grande calma: http://youtu.be/dntDFB4K_WY;
III. Muito alegre e ritmado: http://youtu.be/O_X3uYDLizo;

- Choro
I. http://youtu.be/qxphYEsfgXA;
II. http://youtu.be/YTwAu2_YJ9s;
III. http://youtu.be/PyvH0OX9mHs;

- Concerto no. 2
I. http://youtu.be/N6skXd5ki5I;
II. http://youtu.be/9VjiNHYf5WYv;
III. http://youtu.be/KvVCNYLTPTM.

Flausino Vale
http://vimeo.com/46750531
 PUBLISHERS AND SCORES

Villa-Lobos: Ed. Paris: M. Eschig

Available at Milner Library

Camargo Guarnieri: Ed. Buenos Aires: Ricordi

- Concerto no. 1
http://www.ricordi.com.br/produtos_detalhes.asp?shw_ukey=40471115444N1DRKN0
Full Score: http://www.centrocultural.sp.gov.br/cg/Conc01_Grade_do_Maestro.pdf;
WorldCat database

- Choro
http://www.ricordi.com.br/produtos_detalhes.asp?shw_ukey=40471115444AR81XC1
Full Score: http://www.centrocultural.sp.gov.br/cg/Choro_Partitura_Maestro.pdf.
WorldCat database

- Concerto no. 2
http://www.ricordi.com.br/produtos_detalhes.asp?shw_ukey=40471115448WVMAZ7Q
Full Score: http://www.centrocultural.sp.gov.br/cg/Conc02_Partitura_maestro.pdf.

Flausino Vale: Ed. Criadores do Brasil

(Brazil only)
http://www.lojaclassicos.com.br/respbusca.asp?procura=flausino+vale&tipo=&imageFiel
d.x=0&imageField.y=0

OTHER BRAZILIAN COMPOSER WHO WROTE FOR VIOLIN

- Leopoldo Miguez
- Henrique Oswald
- Elpídio Pereira
- Marcos Salles
- Carlos Vianna de Almeida
- Francisco Mignone
- Lorenzo Fernandez
- José Siqueira
- Cláudio Santoro
- Guerra Peixe
- Edino Krieger
- Almeida Prado
- Danilo Guanais
- Liduino Pitombeira
- Estércio Marquez
 Lourenço De Nardin Budó
ldbudo@ilstu.edu
Comprehensive Exam – Dr. Martha Horst
January 12, 2015

PHRASING IN THE SECOND MOVEMENT OF DEBUSSY’S VIOLIN SONATA

Claude Debussy wrote the violin sonata, his last finished work, in 1917. As François

Lesure says, “one of the most important musicians of his time, his harmonic innovations had a

profound influence on generations of composers.”9 Such innovations make an analysis based on

common practice parameters a challenging task, tough not impossible.

Formal Overview

Divided in three movements (“Allegro vivo,” “Intermède: Fantasque et léger,” and

“Finale: Trés animé”), at first hearing, they do not seem to fit on traditional forms. As Nicolette

van den Bogerd describes, “the form of the first movement is not clear. Harmonically, there are

no clear identified sections as found in a more traditional classical structure of the sonata form.

Judged by the tonal centers in this work, it could be considered that this work is in ABA’.”10 A

deeper analysis by Teresa Davidian proposes viewing it as a sonata form, featuring “a double

exposition embedded within a larger exposition section, a combined recapitulation/coda, and a

9
François Lesure and Roy Howat, "Debussy, Claude" in Grove Music Online, accessed January 9, 2015,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/07353.
10
Nicolette Maria Madeleine van den Bogerd, "Musicien Francais: Nationalism and Tradition in Claude
Debussy's Violin Sonata." (Master thesis, California State University, Long Beach, 2014), 9 ProQuest 1526967.
development theme that later returns to be resolved within a strictly melodic context.”11 The

second movement, as analyzed by Bogerd, is not confined to a traditional form and she describes

its sections according to the tempo changes notated by the composer with the pattern A B C B A’

D B D B12. The third, also according to Bogerd, follows the pattern A B C D B’ B E B.13

Based on the reviewed literature, the following graph shows the form of the piece:

I. 1-83 – 84-149 150-25514

A (expos.) B (des.) A (recap/coda)

II. 1-18 – 19-26 – 27-45 – 46-59 – 60-71 – 72-82 – 83-100 – 101-111 – 112-13515
A B C B A’ D B D B

III. 1-28 – 29-84 – 85-99 – 100-115 – 116-145 – 146-153 – 154-171 – 172-20716

A B C D B’ B E B

Phrase Rhythm and Grouping in the Second Movement

Debussy’s nebulous treatment (compared to common practice composers) of cadences

and harmony in general makes elements of phrase structure and rhythm unclear. The scholar Avo

Somer studied deeply the phrase structure on the first movement of Debussy’s violin sonata, for

which he says:

“Debussy’s modal-chromatic harmonic language has justifiably figured at the focus of

recent analytical concerns, but such a language did not persuade the composer to abandon
his allegiance to some of the essential aspects of traditional musical syntax.”17

11
Teresa Maria Davidian, "Debussy's Sonata Forms." (Ph.D. diss., The University of Chicago, 1988), 193
ProQuest T-30515.
12
Nicolette van den Bogerd, "Musicien Francais,” 11-12.
13
Nicolette van den Bogerd, "Musicien Francais,” 17.
14
Davidian, "Debussy's Sonata Forms," 192.
15
Nicolette van den Bogerd, "Musicien Francais,” 12.
16
Nicolette van den Bogerd, "Musicien Francais,” 17.
17
Avo Somer, “Musical Syntax in the Sonatas of Debussy: Phrase Structure and Formal Function,” Music
Theory Spectrum. Vol. 27, No. 1 (Spring 2005): p. 67, doi: 10.1525/mts.2005.27.1.67.
 Therefore, it is possible to interpret Debussy’s phrasing within the traditional parameters.

Since Soner’s phrase analysis already comprehends most part of the first movement, the present

paper will explore the second one.

The second movement, Intermède: Fantasque et léger (“Interlude: Capricious and light”),

opens with a cadenza. Measures 13-18 present a contrasting material (figure 1) in piano subito

with an increased motion and steady tempo. This new material has no written separation from the

previous cadenza and is separated from the following theme by a caesura. However, the motivic

treatment and the dynamic suggests more a grouping with the second theme, m.19. Considering

its big length (6 measures), it is not considered a phrase link and, since harmonic instability does

not increase, it is not regarded as a transition, but rather an introduction by motivic anticipation

(figure 2). James Mathes exemplifies the same kind of introduction with the opening of César

Franck’s violin sonata. In Franck’s sonata, the piano anticipates a motivic gesture that appears

for the violin on m. 5; in Debussy’s, the violin itself presents an ostinato B-flat by sixteenth notes

that will become the same material for the motive in the next theme. Also in Debussy’s sonata,

the piano plays short and light chords in mm. 17-18, which will also be the accompaniment

pattern for the next theme, another reason for grouping mm. 13-18 with the second theme as an

introduction.
Figure 3. Debussy. Violin Sonata, second movement, mm. 11-22. Claude Debussy, Sonate pour Violon et Piano (Paris: Dourand,
n. d).

Figure 4. Franck's Violin sonata, first movement, mm. 1-5. James Mathes, The Analysis of Musical Form (New Jersey: Prentice
Hall 2007), 64.

The theme in mm. 19-26 features the aspect of a musical sentence. The basic idea (mm.

19-20) repeats on the following two measures with a slight but noticeable difference in harmony

(the G minor chord on the second measure of B.I. appears as G major on its repetition). The

increased motion of both harmony and rhythm on the next bars (mm. 23-26) work as a
continuation until the cadence on m. 26. A neat harmonic analysis is not an intention in this

paper, however, the motion D-G in the bass line suggests an authentic cadence (V-I), in the key

of G major, at m. 26 (Figure 3).

______Basic idea______ ____B.I. (sequential)_____ _________Continuation_____________________

G minor G major

D G
(V - I)

Figure 5 Debussy. Violin Sonata, second movement, mm. 19-26.

Although symmetry is not a vital concern generally in this piece, this phrase features a

proportion 2:2:4, a very common pattern for classical and romantic; for instance, Beethoven in

his fourth violin sonata (figure 4).

_________Basic idea________ ______B.I. (sequential)____ _________Continuation_________________

I iv6/4 V6 I V2/iv iv6 V7 i [PAC]

Figure 6. Ludvig van Beethoven, Sonate für Pianoforte und Violine no. 4 (Leipzig: Breitkopf und Härtel, n. d.)
 The second appearance of this theme (m. 46) has different phrase rhythm elements: an

extended upbeat in m. 45 (figure 5); and a cadential extension in mm. 54-55 (figure 6).

__Upbeat__

Figure 7. Debussy. Violin Sonata, second movement, mm. 45-47.

_____Cadential extension____________

Figure 8. Debussy. Violin Sonata, second movement, mm. 52-55.

Another sentence can be interpreted in mm. 60-71, though not in the proportion 1:1:2

(Figure7). The four-measure basic idea (mm. 60-63) is literally repeated (64-67) and the

continuation ends in an open cadence on m. 71, forming the pattern 4:4:4.

 (m. 60) Basic idea

B. I. (repeated) Continuation

(Cont,)______________________

Figure 9. Debussy, Violin Sonata, second movement, mm. 58-73

The idea of continuation in mm. 68-71 is reinforced by the “driven”

elaboration/fragmentation of the motive; here, the motive from the basic idea appears

rhythmically diminished, inverted and with intervallic expansion. In the last two measures, the

motivic elaboration continues and it ends becoming an ascending scale (figures 8 and 9).
 -------------x-------------
Figure 10. Debussy, Violin Sonata, second movement, mm. 60-
62

-- x’--
---- x’’--- -------- x’’’--------
Figure 11. Debussy, Violin Sonata, second movement, mm.68-71.

Considering its length and shape, it is arguable that the basic idea (mm. 60-63) remains

on its own as a phrase, ending with a sort of half cadence and somehow grouping with the next

two. In this interpretation, one might think about an asymmetric period with two four-measure

antecedents (mm. 60-63 and mm. 64-67) and one four-measure consequent (68-71). Thus, one

should also see an elision on mm. 71-72 instead of an open cadence on m. 71, otherwise the third

phrase would miss its “consequent” character.

The comparison between two recordings might fortify this discussion. On one side,

Shlomo Mintz and Yefim Bronfman’s performance18, the pianist (Bronfman) clearly “gives up”

at the end of m. 71, bringing a contrasting softer mood on 72; while in Ivry Gitlis and Martha

Argerich’s version19, she “celebrates” the arrival in m. 72, provoking more the feeling of an

elision.

As an attempt to understand this harmony, assuming that the arrival point as an authentic

cadence should be G-flat major, m. 71 can be seen as an F diminished seventh chord (viiº7 of G-

flat major). For that purpose, the enharmony is considered, thus the B on the piano’s right hand

serves as the C-flat and the D in the bass as the E-double-flat. The G on the right hand on the

second half of the measure sounds as an anticipation of the resolution. The tritone on the left

“Claude Debussy - Violin Sonata” YouTube video, 12:46, posted by “ollavogala,” August 8, 2013.
18

“Ivry Gitlis @ DEBUSSY Violin Sonata - M.Argerich, 1976” YouTube Video, 12:11, Posted by “Emilio
19

Pessina,” January 31, 2012.

hand would then be a properly resolved to the tonic. However, reinforcing the half cadence

argument, the bass and the energetic violin line remain unresolved, going to a rest on first beat of

m. 72. Other than the texture change, the sequence of chords on the piano’s left hand in mm. 70-

71 making a parallel movement by half step seems to have no relation with the “cadence.”

Finally, there is also a notated tempo change to Meno mosso in m. 72.

The chromatic and ambiguous harmony characteristic of Debussy’s music make it very

interesting, but its analysis is big challenge However, the harmony can many times be secondary

element (be used more intuitively than analytically) in order to define phrasing. Melody and

motivic elements, as already shown, can be useful to define not only phrase, but also phrase

rhythm and grouping. The whole piece has also many tempo and mood changes notated by the

composer, which helps one to understand where a phrase or section ends or starts. Breathing

marks, caesuras, and fermatas also appear.

 BIBLIOGRAPHY

“Claude Debussy - Violin Sonata” YouTube video, 12:46. posted by “ollavogala,” August 8,
2013.

Davidian, Teresa Maria. "Debussy's Sonata Forms." Ph.D. diss., The University of Chicago,
1988. 222 pp. Accessed January 9, 2015, ProQuest Dissertations and Thesis (T-30515).

Debussy, Claude. Sonate pour Violon et Piano. Paris: Dourand, n. d.

“Ivry Gitlis @ DEBUSSY Violin Sonata - M.Argerich, 1976” YouTube Video, 12:11. Posted by
“Emilio Pessina,” January 31, 2012.

Lesure, François and Roy Howat. "Debussy, Claude" in Grove Music Online. Oxford University
Press, 2001-. Accessed January 9, 2015.
http://www.oxfordmusiconline.com/subscriber/article/grove/music/07353.

Mathes, James. The Analyysis of Musical Form. New Jersey: Prentice Hall, 2007.

Somer, Avo. “Musical Syntax in the Sonatas of Debussy: Phrase Structure and Formal
Function.” Music Theory Spectrum Vol. 27, No. 1 (Spring 2005): pp. 67-96. doi:
10.1525/mts.2005.27.1.67.

van den Bogerd, Nicolette Maria Madeleine. "Musicien Francais: Nationalism and Tradition in
Claude Debussy's Violin Sonata." Master thesis, California State University, Long Beach,
2014. 48 pp. Accessed January 9, 2015, ProQuest Dissertations and Thesis (1526967).
 Lourenço De Nardin Budó
ldbudo@ilstu.edu
Comprehensive Exam – Dr. William Koehler
January 12, 2015

STUDYING THE FIRST MOVEMENT OF PROKOFIEV’S VIOLIN CONCERTO

NO. 1

Historical Perspective

In 1915, while he lived near Petrograd (nowadays, Saint Petersburg), Sergei Prokofiev

wrote a theme that in 1916 would become the opening of his first violin concerto, and, in the

summer of 1917, he completed this score.20 This was a disturbed time in the country. Under the

inept leadership of the tsar Nicholas II, Russia (although ill prepared) had enrolled in the First

World War and “the country was suffering from food and fuel shortages, desertions, strikes and

demonstrations, and outbreaks of (…) diseases.”21 From February to November of 1917 Nicholas

II would abdicate, the royal family be executed and the Bolshevik party take control of

Petrograd, with the aim of reaching the whole country in order to build what they called the

dictatorship of the proletariat.22 The year of 1917 was also a very productive year for Prokofiev,

who, other than the violin concerto, also wrote his first symphony (“Classical”), the third and

20
Henderson Lyn, “The Violin Concertos of Prokofiev,” The Music Review 54, no. 3-4 (1993), 258.
21
Charles E. Ziegler, The History of Russia, The Greenwood histories of the modern nations. (Santa
Barbara CA: Greenwood Press, 2009), 65.
22
Ziegler, The History of Russia, 65-67.
fourth piano sonatas, and the cantata Seven, They Are Seven23; in the same year he also worked in

the opera The Gambler, and the third piano concerto, though these were finished later.24

The turbulent environment led Prokofiev to emigrate and, consequently, the premiere of

his first violin concerto delayed until 1923. After spending a few seasons (from 1918-22) in the

United States, he went to Europe and moved to Paris. There, the premiere finally happened “on

18 October 1923 under Koussevitzky, with Marcel Darieux as the soloist. The reactions of the

press were mixed: in the circle of Les Six the work was criticized as old-fashioned. The Second

Piano Concerto and the Scythian Suite, performed the following year, were much more

successful.”25

Not many sources discuss about the dedicatory of the concert. According to a program

note by the music consulant Lawrence Budmen,

“The Polish violinist Paul Kochanski, professor at the St. Petersburg Conservatory,
advised the composer about bowing and technical problems. Kochanski was to have
given the premiere of the new concerto in November, 1917 but the October Revolution
forced an abrupt change of plans.”26

Budmen also wrote that three days after the premiere (1923), “Nathan Milstein and

Vladimir Horowitz played the violin-piano reduction in Moscow,” and that “Joseph Szigeti soon

became the score’s most fervent advocate.” A review for a Deutsch Gramophone recording of

23
Lyn, “The Violin Concertos of Prokofiev,” 258.
24
Dorothea Redepenning, "Prokofiev, Sergey," In Grove Music Online, Accessed January 06, 2015.
http://www.oxfordmusiconline.com/subscriber/article/grove /music/22402.
25
Redepenning, "Prokofiev, Sergey."
26
Lawrence Budmen, “Program notes: Boca Raton Philharmonic Symphonia January 8, 2006 FAU
University Theater.” Accessed January 7, 2015. http://www.lawrencebudmen.com/program_notes_boca
_raton_philharmonic_1_8_06.html.
Prokofiev concertos27 by Stephen Greenbank seems to agree with Budmen’s version, adding the

fact that David Oistrakh subsequently also championed the concerto.28

Considering the importance of Oistrakh as a performer on the twentieth century and a

notable representative of the Russian school, as well as the fact that he was contemporary of

Prokofiev, his recording of the concerto will be regarded in this paper as a one stylistic reference.

Another recording by Maxim Vengerov (a contemporary performer, though an heir of the same

Russian school) will also be used for comparison.

Prokofiev’s first violin concerto divides in three movements, namely: “Andantino”,

“Scherzo: Vivacissimo”, and “Moderato”. Although the first and third movements have some

clear tempo and mood changes, they have mainly slow or moderate tempi, contrasting with the

second, vivacissimo. This gives the concerto the unusual movement pattern “slow-fast-slow,”

comparing to the classical tradition of “fast-slow-fast”.

The first movement has three evident sections: mm.1-92, mm. 93-165, and mm.166-188.

Henderson Lyn analyzes it as a sonata form29, though the recapitulation does not present the

second thematic group. The piece starts with a lyrical and soft texture (sognando; “dreaming”) in

6/8, transitioning to a contrasting mood in 4/4 (recitando; “reciting”, or “declaiming”) in m. 63.

The expository section ends in m. 92 and the present paper will be limited to discuss this part.

Oistrakh’s performance makes a big case of mood changes. He plays the opening calmly

with not too focused tone. Another characteristic is the rubato, usually by holding a little the

tempo and accelerating later. The tempo signature change to 4/4 in m. 55 seems to be an

27
A recording of both Prokofiev’s violin concertos by St. Petersbourh Philharmonic Orchestra under Yuri
Temirkanov with Sayaka Shoji as soloist.
28
Stephen Greenbank, “Review: Recording of the Month.” In MusicWeb International (website) Founder
Len Mullenger. Accessed January 7, 2015http://www.musicweb-international.com/classrev/2014/Apr14/Prokofiev
_VCs_0580370.htm.
29
Lyn, “The Violin Concertos of Prokofiev,” 258.
important boundary in his interpretation, where the tempo also changes. In fact, there is a

peculiarity in this recording. The orchestra starts playing with the same pulse on m. 55 (dotted

quarter-note in 6/8 equals to half note in 4/4) and the soloist starts at the second measure slightly

faster; nonetheless, Lovro von Matačić and the London Symphony Orchestra do a good job,

adjusting right away (figure 1 illustrates their performance).

Dotted quarter-note = 42 Quarter-note = 84 (2x42) Quarter-note = 92

Vengerov, on the other hand, starts moving before, in the key change (to D major) at m.

Figure
29, 12. Prokofiev,
driving Sergei Violin
to another keyConcerto
changeno.
(to1 (Moscow:
C major)State
andPublishers,
climatic1971), first movement,
section in m. 43.mm. 53-56.
This interpretation

brings out the tempestuous character that the score suggests there: the first forte in the piece;

heavier texture and more complex harmony; big shifts, trills, and accents for the soloist ending

with a long and fast unaccompanied scale arriving on the 4/4. Also as opposed to Oistrakh, the

contemporary performer holds back in the new key signature, playing nearly in the same tempo

as the opening of the piece. The following diagram illustrates this interpretation:

Measures [1-28] [29-38] [39-54] [55-78]

Andantino Accellerando Poco piú mosso Tempo primo
Dotted quarter-note = 40 Dotted quarter-note = 48 Half-note = 40

In the second thematic area, m. 63 (recitando – figure 2), as the score suggests, Oistrakh

presents a new color. Exploring the rubato, he enjoys each ornament and makes unrestricted use

of the open E string. Lyn describes this theme as “quirky and capricious, abounding in ornaments

and syncopated accents and, although written in C major, persistently suggests the E minor
mode.”30 The rhythm suggests a march, a frequent occurrence in Prokofiev’s creation (perhaps in

this case, a “quirky march”31). For instance, it is possible to relate this theme to the march from

the opera The Love for Three Oranges (figure 3), a work from 1919 (two years after the

concerto) that features a marcato 4/4 with accents and dotted rhythms. If the theme from the

violin concerto were performed faster and with steady rhythm, it would surely sound similarly.

His Sonata for Solo Violin op. 115 (figure 4) also features a march-like theme. This theme is

ornamented, accented and with occurrence of dotted rhythms, so, although written decades latter

(1947), it can be closely related to the first violin concerto.

Figure 13. Prokofiev. Violin concerto, First movement, mm. 63-70. Prokofiev, Sergei. Violin Concerto no. 1. (New York: Edwin F.
Kalmus, n. d).

Figure 14. Opening measures of the oboe line in the "March" from The Love for Three Oranges. Prikofiev, Sergei, The Love for
Three Oranges.

Lyn, “The Violin Concertos of Prokofiev,” 258.

30
31
It is valid to mention that at a masterclass once, as a rhetoric subsidy, I heard a violin teacher suggesting
the image of a dizzy soldier carrying a bottle of vodka.
Figure 15. Prokofiev. First measures from the Sonata for Solo Violin. Prokofiev, Sergei. Sonata for Violin Solo (New York:
International Music Company, 1954).

Vengerov’s rendition of this passage explore its peculiarities in a different manner. With

steady rhythm, he does not give the same importance to ornaments as Oistrakh. Although open

strings occur, they are also not explored as much as Oistrakh does. One of the most interesting

aspects of Vengerov’s performance is the exaggerated accent in the gesture in the fourth beat of

m. 63 (see figure 2), repeated in mm. 67 and 73, giving a unique “bizarre” character to the

passage, which, in this context is perfectly suitable. Another difference between both violinists is

the fact that Oistrakh varies the tempo in the second theme of the second thematic area, mm. 79-

92. The score suggests con brio, which could be translated as “with courage,” “with honor,” or

even “with pride,” therefore, a rhetoric idea that does not imply necessarily a changing the

tempo. Oistrakh plays like a subito piú mosso, perhaps suggesting the “pride” option; Vengerov

curiously plays this passage in the same tempo and with a beautiful light articulation, perhaps

suggesting a more broad interpretation of brio than adding momentum and increasing the weight.

Solving technical problems

Despite the possible interpretative speculations around this piece, the first movement of

the concerto is a technically challenging piece that certainly demands much practice from the

most capable player. The difficulties vary from vibrato nuances and tone production to fingering

and bow strokes issues.

 After one has an idea of how phrases should sound, there is the task of finding how to do

it. For instance, in order to produce an ethereal tone in the opening, the sounding point should

probably be closer to the fingerboard than to the bridge; a continuous narrow vibrato is a good

choice; and string changes should be avoided. However, the task of playing this passage in one

string requires shifting positions, which might disturb the general quality of the sound and

difficult the continuity of the vibrato.

The climatic section of mm. 39-55 demands a brighter tone and features repeated shifts

and trills in fast notes. In terms of left hand, the problem might be solved with slow and

metronomic speed-up practice. Here, one of the biggest challenges is to balance the bowing,

since the slurs provoke is an unequal distribution of duration per bow. In order to keep a steady

forte dynamic, it is important to avoid playing the down-bow (first note) too close to the bridge

because it needs speed to get close to the tip to start the up-bow (four-note slur) that plays twice

as much the duration of notes (figure 5). The up-bow, on the other hand, must be played closer to

the bridge to compensate the slower speed.

Figure 16. Prokofiev. Violin Concerto no. 1 mm. 39-46.

Moving to the second thematic area, we discussed how both performers show off the

peculiarities of the march-like theme starting in m. 63. To explore open strings, as both

performers exquisitely do, the string crossing will raise up as a challenge. Before any repetition

of this passage during the practice, one must think about the forearm motion for the string
crossings. The same is valid for the following theme (con brio) in m. 81, and particularly mm. 86

and 88. Here, it is also fundamental to place the left hand fingers in coordination, anticipating the

bowing.
 BIBLIOGRAPHY

Budmen, Lawrence. “Program notes: Boca Raton Philharmonic Symphonia January 8, 2006
FAU University Theater.” Lawrence Budmen. January 8, 2006. Accessed January 7,
2015. http://www.lawrencebudmen.com/program_notes_boca_raton_philharmonic_1_8_
06.html.

Greenbank, Stephen. “Review: Recording of the Month.” In MusicWeb International (website)

Founder Len Mullenger. Accessed January 7, 2015http://www.musicweb-
international.com/classrev/2014/Apr14/Prokofiev_VCs_0580370.htm.

Lyn, Henderson. “The Violin Concertos of Prokofiev.” The Music Review 54, no. 3-4 (1993):
257-64.

“Maxim Vengerov ‘Violin Concerto No 1’ Prokofiev (1. Mov.).” YouTube video, 10:17. Posted
by “Addiobelpassato,” June 07, 2013 https://www.youtube.com/watch?v=vn40bVYNe9c.

Oistrakh, David, violin. “Prokofiev Violin Concerto No. 1 I. Andantino, II. Scherzo.
Vivacissimo, III Moderato.” On Great Recordings of the Century. London Symphony
Orchestra. Lovro Von Matačić. Warner Classics – Parlophone, studio recording 1954,
remaster 2004.

Redepenning, Dorothea. "Prokofiev, Sergey." In Grove Music Online. Oxford University Press,
2001-. Accessed January 06, 2015.
http://www.oxfordmusiconline.com/subscriber/article/grove /music/22402.

Prokofiev, Sergei. Sonata for Violin Solo. New York: International Music Company, 1954.

Prokofiev, Sergei. Suite from the Opera “The Love of Three Oranges”. Moscow: State
Publishers, 1971. Accessed January 11, 2015 International Scores Music Library Project,
http://imslp.org/wiki/The_Love_for_Three_Oranges_(suite),_Op.33bis_(Prokofiev,_Serg
ey).

Prokofiev, Sergei. Violin Concerto no. 1. New York: Edwin F. Kalmus, n. d.

Ziegler, Charles E. The History of Russia. The Greenwood histories of the modern nations. Santa
Barbara CA: Greenwood Press, 2009.