Classical Music | Violin Music

Recorded on 08/06/2013, uploaded on 08/06/2013

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Sonata No. 2 for Violin and Piano (17’)            

This work was composed from 1923–1927. Ravel was inspired by the music of America, namely jazz and blues.  When the composer was living in Montfort-l'Amaury, France, he accompanied Helen Jourdan-Morhange, and they shared a love for jazz. Around this time, the classic blues band of W.C. Handy performed in Paris in the style of St. Louis blues, and Ravel was inspired by both the music and related dances. Jazz elements can also be found in his Piano Concerto for the Left Hand and other works.

Ravel applied the technical and melodic forms of blues, so the sonata is stylistically very different from Ravel's earlier works. The music utilizes bitonality and the horizontal arrangement of voices beloved of Erik Satie, and the harsh harmonies which Igor Stravinsky was beginning to employ.  Satie and Stravinsky may have influenced the early stages of this new creative period during which the blues of Ravel's sonata marked a high point.       Yury Revich

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Sonata No. 2 for Violin and Piano     Maurice Ravel

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

Courtesy of International Music Foundation.