Classical Music | Violin Music

Recorded on 05/29/2007, uploaded on 01/23/2009

Musician's or Publisher's Notes

Camille Saint-Saëns composed on two sonatas for the violin during his long career. The first of these, the Sonata No. 1 in D minor, appeared in 1885 during what is considered the composer’s best period, witnessing the production of The Carnival of the Animals (which regretfully would not attain public adoration until after the composer’s death) and the Symphony No. 3. Assuming its place alongside these other masterworks, it has become a staple of the violin repertoire, outshining its companion piece, the Second Sonata in E-flat major which appeared a little more than a decade later in 1896.

Perhaps the reason for the First Violin Sonata’s success is its effective channeling of a Beethovenian energy—a heroic struggle indicative of that past composer which Saint-Saëns himself greatly admired. Indeed, even the selection of key by Saint-Saëns hearkens back to Beethoven, although not the stormy C minor of his Fifth Symphony, but instead the epic struggle in D minor of his Ninth. Furthermore, the scale of the sonata’s movements is modeled on the grand fashion of Beethoven’s music and augmented even further by the Romantic addition of a fourth movement.

The sonata’s dramatic first movement opens with a turbulent theme, initially piano but growing in fervor until reaching a passionate forte, announced by soloist and accompanist. Twice stated, the first theme leads through A-flat major into the lyrical second theme in F major, which soars atop an accompaniment of broken chords. Without break and following seamlessly from a transitional passage built out of the second theme the Adagio second movement begins with an expressive melody in the violin. Quite different from the prior movement, the Adagio is heartwarming and sentimental, particularly in its central episode.

Though not so marked, the third movement is a lighthearted and jocular scherzo in G minor. The character of the movement is perhaps somewhat reminiscent of Mendelssohn, whose music Saint-Saëns also admired. Despite returning to the minor key, the movement has none of the dramatics of the opening sonata form. In contrast, the trio section features a briefly lyrical tune accompanied by an overhanging motif from the scherzo. This tune, however, returns to form the transition into the finale. An energetic movement in D major, the finale calls on the virtuosity of both performers to create a thrilling and jubilant conclusion to the sonata.     JosephDuBose

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Sonata No. 1 in D minor, Op. 75          Camille Saint-Saëns

Allegro agitato; Joyeusete; Vision congolaise;  Premice

French composer Camille Saint-Saëns was a pianist, not a violinist, but wrote numerous effective works for the violin. Among them are three concertos, several showpieces, and two sonatas. A Romantic composer, all of his works contain passionate highs and lows, sentimental melodic lines, and yet a coolness that would later influence other French composers, including his own pupil, Gabriel Fauré.

Saint-Saens's Sonata in D minor was written in 1885. In this work, he was able to integrate the violin and piano parts such that they not only play off of each other but also substantially support each other during bravura passages. The work is divided into four movements, the first two movements and last two movements of which are played without pause. The first movement introduces a stirring, brewing melodic line that is interrupted at times by a calm and serene, almost reflective melody. The movement winds down and melts into a luscious, passionate second movement that evolves from deeply sentimental to nostalgic flutters of sound.

A pause is needed before the next movement, whose character is completely different from that of the previous two movements. The third movement is whimsical, at times seeming unclear as to where the melody line might go next. This is most evident in the final chords of this movement, in which the piano plays a series of leading notes that seem to be suspended endlessly, until it is finally resolved when the violin breaks the mystery, diving into the last movement with vigor and continuously playing at a fast pace to heighten the excitement. The movement ends with incredible intensity from both violinist and pianist, drawing this exhilarating work to a close.      Christina Castelli

Courtesy of International Music Foundation.