The year 1720 was a time of intense creativity for Johann Sebastian Bach (1685-1750). He was midway through his five-and-one-half-year position as music director at the court of Prince Leopold of Anhalt, in Cothen. Leopold’s fondness for music stimulated an outpouring of sublime, innovative music from his incorrigible employee. While there he produced a stream of instrumental music which included the first book of the Well-Tempered Clavier (1722), the six Brandenburg Concertos (1721), the six French Suites (1722), the six Sonatas for violin and harpsichord (1717-23), the three Sonatas for viola da gamba and harpsichord (1720), the six Suites for solo cello (1720), and the six Sonatas and Partitas for solo violin (1720).
The six works for solo violin (BWV 1001-6) are divided into two alternating groups of three: Sonata no.1 in g minor; Partita no.1 in b minor; Sonata no.2 in a minor; Partita no.2 in d minor; Sonata no.3 in C major; and Partita no.3 in E major. The distinction between sonata and partita in this set of six is quite an easy matter to sort out. The three sonatas are each set in the Sonata da Chiesa (church-sonata) genre, having the formal movement design of slow-fast-slow-fast. The three partitas are set in the less rigid Sonata da Camera (chamber-sonata) genre, with each containing a series of dance movements, much like a suite. An important feature of the partita is its use of variation technique. For example, Partita no.1 in b minor features a movement sequence of four dances: allemanda, corrente, sarabande, and bourree. However, Bach inserts a single large-scale variation, or double, immediately following each of the four movements. In Partita no.2 in d minor, after a similar sequence of movements: allemanda, corrente, sarabande, and giga, Bach adds the monumental Chaconne, which is a set of 64 variations over a ground figure.
The Sonata no.3 in C major, recorded here, is cast in the four-movement Sonata da Chiesa form. Though this form was largely associated with chamber music, predominantly the trio sonata, Bach took great pains in his score to indicate that the work did not contain a figured bass part. The title on the autograph score reads Sei solo a violino senza basso accompagnato (Six solos for violin without bass accompaniment), underscoring the fact that this was a new medium of solo music. In an age where figured bass and continuo ruled compositional technique, this was a breakthrough in compositional technique. The Sonata no.3 in C major opens with an expansive Adagio that features a hypnotic dotted figure that moves through a series of chords. Concluding on the dominant chord of G major, the first movement is structurally linked to the beginning of the second movement, marked Fuga. The subject, also beginning on the dominant, is four bars long and has a lyrical, chorale-like character. The fugue takes on it most striking harmonic feature when we hear the chromatically descending counter subject accompany the entrance of the answer in the upper voice. The fugue progresses through the somewhat free four-voice exposition (a remarkable achievement considering the harmonic limitations of the solo violin medium), and a series of less contrapuntally rigid episodes. The fugue appears to be winding down in a stretto that features a series of thematically-related double-stops over a pedal tone, when Bach shows not only his mastery of the medium but of the form. After a throughly convincing cadence on the dominant at what is now midway through the fugue, Bach presents a counter exposition based on the inverted fugue subject. The second half of this amazing tour de force has a similar structure and eventually returns us to the key of C major. The opening exposition makes a final return, but now serving as the fugue’s coda. The fugue is following by a melismatic Largo that helps return a sense of balance and structural variety. This expressive movement, composed in the key of the sub-dominant (F Major), features a through-composed technique that contrasts starkly with the formality of the proceeding movement. In the works final movement, marked Allegro assai, Bach heads for the double bar with a burst of virtuosity, largely expressed through speed. Where the first three movement search for a balance between vertical harmony, horizontal melody, and counterpoint, this final movement presents a riveting single-line barrage of scales and arpeggios. Cast in a simple binary form, this finale exploits the musical joys to be found in an exhilarating burst of pure stand-and-deliver notesmanship.
Thanks largely to the compositional efforts of Bach’s distinguished son Carl Philipp Emanuel Bach (1714-1788), the instrumental sonata evolved into the most important musical form of the classical period. The multi-movement sonata used by Baroque composers like Bach, Corelli, and Handel changed into a predominantly three movement form of fast-moderate-fast. The greatest change occurred in the opening movement. Where the Baroque composers often used the opening movement as a kind of meet-and-greet prelude, the classical period composers were much more interested in putting their most complex musical material up front. This opening movement, known as sonata-allegro, featured an opening section with two contrasting theme groups. The first was normally cast in the key of the tonic with the secondary theme usually presented in the key of the dominant. This opening part, known as the exposition, is designed place an emphasis on harmonic movement away from the tonic. The exposition is followed by a development section. This section is the least charted terrain in the sonata-allegro form. The normal bill-of-fare is to modulate the thematic materials through distant keys. The end of the development brings the harmonically wayward material back to the tonic key and a recapitulation of the exposition. This recapitulation has one significant difference from its antecedent: the secondary material is now in the key of the tonic.
In his Grand Solo, Op. 14, Fernando Sor (1778-1839) presents the first of his several contributions to the solo guitar repertoire in sonata form. This single movement work is cast in the classic sonata-allegro form with several variants. Like many of the opening movements from the symphonies of Haydn, Sor opens his work with a slow introduction. This short introductory section is cast in the key of d minor and serves notice to the listener that this is going to be a serious “grande” affair. The proper business of the movement begins soon enough when we hear the propulsive bass figure in the key of D major introduce us to the first theme. After some purely instrumental harmonic figurations, the material moves to the dominant for the first of two more lyrical secondary themes. After a brief exposition coda, the work moves into the development section. Though this is a short section, it is notable for its quick movement through keys not normally associated with the solo guitar repertoire. The recapitulation, back in our sunny key of D major, is slightly shortened by the omission some of the secondary material. The coda takes a decidedly melodramatic turn when it returns briefly to the key of d minor. However, all conflicts are finally resolved and the glorious sonority of the final D major chords announce that Sor has triumphed over the stubborn will of the music. What is remarkable about this single movement work is how effortlessly the material fits on the instrument. Sor was arguably the greatest master of the 19th century guitar, and his technical command, as expressed in this work, is awesome.
By the turn into the twentieth century the sonata form, with its reliance on tonal harmony and recognizable melodies and themes, had almost become a thing of the past. Composers in the early part of the century had become absorbed in the difficulties of resolving tonal and atonal worlds. The harmonic language of most composers had become so complex that the expression of music through the classic language of traditional tonality, with its tonic, dominant, voice-resolution, and modulations, had all but become obsolete. Some composers became absorbed in finding a new musical language that boldly moved through areas of dissonance unthinkable a generation earlier. Others followed a path of self-expression that allowed them to use the ethnic idioms which could be found in their native country’s folk music. This nationalistic approach focused on the use of these ethnic elements to provide their music with an indigenous flavor. The first half of the century saw a rise of nationally-flavored music from Spain, Italy, England, France, Hungary, Finland, Norway, and Russia as well as contributions for the new world like America, Mexico, Argentina, Brazil and Cuba. Native dance rhythms and folk harmony seeped into the most high-minded musical efforts. It was an exciting and confusing time: so many compositional choices and traditions to create a personal musical language from. Two composers from this period are represented on this recording: Mario Castelnuovo-Tedesco (1895-1968) and Joaquin Rodrigo (1901-1999). As you will hear, both composers fall squarely in this second nationalistic category, each with his own unique style. Mario Castelnuovo-Tedesco was born and trained in Italy, and his music shows a fondness for traditional classical harmony, melody and form. Recognizing a kindred conservative musical spirit, the Spanish classical guitarist Andres Segovia asked him to compose something for the guitar that he could perform. Castelnuovo-Tedesco obliged with his Variazioni attraverso i secoli, Op. 71. This was followed in 1934 with his ambitious Sonata (Omaggio a Boccherini), Op. 77, recorded here. The work is cast in a four movement frame and is surprisingly free of any of the dissonance or harmonic ambiguity that was characteristic of other European music from this time period. The music is tonal, melodic and convincing on the guitar. (This latter observation is no small feet considering Castelnuovo-Tedesco did not play the guitar. ) The opening movement, Allegro con spirito is in sonata-allegro form and features an opening motive that is a little reminiscent of The Sailor’s Hornpipe. The key of D major (the same key as Sor’s Grand Solo, Op. 14) is handled with guitaristic security and is very light-hearted in nature. His material and harmony never wander too far astray, sticking largly to common chords that are tonally and modally related. His music throughout this and the other three movements is fueled by his unerring sense of melodic direction. His Italian heritage and training make themselves felt everywhere. The second movement, Andantino, quasi canzone, has a lilting rhythm that one normally associates with the Sicilienne or Barcarolle. No matter what the musical association, Castelnuovo-Tedesco is interested here in the expressive nature of the guitar, and scores perfectly with one of the most beautiful movements in the repertoire. The third movement, Tempo di Minuetto, is cast in a classic ternary form with the opening music returning after a contrasting trio and double. The middle two movements are linked by the common key of g minor, which is supported by a fifth-string scordaturra of G. The fourth movement, Vivo ed energico returns the fifth-string back to its normal pitch, and brings back the opening key of D major. This final movement, like the final movement of the Bach C major sonata, is an expression of sprint-to-the-finish-line virtuosity. There are two contrasting themes, the first featuring a rapid rise-and-fall arpeggio and the second is a more stately march. Though the majority of the material in the last movement is related to the opening theme, it is the march music that wins out, bringing the movement and the work to a triumphant conclusion. (This final musical device is one that Castelnuovo-Tedesco would use again in his Concerto in D, Op. 99 for guitar and orchestra. In fact, many of the same memorable figures and harmonies from this work show up in his concerto.)
Joaquin Rodrigo was a lover of the guitar throughout his long compositional career. It became a natural expression of both his musical style and his Spanish heritage. And though he wrote dozens of works for solo guitar, guitar and voice, and chamber music with guitar, his most famous and lasting addition to the repertoire is unquestionably his Concierto de Aranjuez for guitar and orchestra. Like Mario Castelnuovo-Tedesco, his musical language is largely tonal, melodic and conservative. One unmistakable feature in every single composition by Rodrigo is its Spanish flavor. His musical style incorporates the whole of Spanish music, including the classical, popular and flamenco traditions. It is this latter style that Rodrigo most often uses in his guitar music.
His Three Spanish Pieces was composed for Andres Segovia in 1954, and finally appeared in published form in 1963. It was one of the last pieces Segovia was to edit during his long career as a champion of new works for the guitar. Though the three pieces are often played alone, they make their greatest artistic impact when heard as a unified work. The work as a whole could be seen as a Spanish partita. The outer movement use the flamenco dance forms of Fandango and Zapateado, and the central movement uses the variation form of the Passacaglia. The Fandango, in E major, uses an opening gesture of four chords, peppered with Rodrigo’s characteristic minor second interval, which reoccurs throughout the piece in different tone centers, giving the movement a decidedly rondo feel. (This opening theme is remarkably similar to the opening of Alexander Tansman’s Danza Pomposa, another solo guitar work written for and championed by Andres Segovia that predates the Rodrigo by several years.) The Passacaglia is built over an eight bar melodic bass figure in the key of a minor. What immediately follows is a set of eleven variations, each increasing in virtuosity. The last variation features an imitative/canonic treatment of the ground figure. The final Zapateado is a flamenco dance that highlights hand clapping and heel-toe foot tapping. Rodrigo reflects the rhythmic excitement of this dance by using a perpetuum mobile stream of nearly unbroken eight-notes in compound duple time. Much like the final movement of Bach’s C major sonata, this stream of notes is an outpouring of virtuosity that races us breathlessly to the double bar.
The most recent work on this recording was commissioned jointly by Michael Partington and the outstanding guitar emporium The Rosewood Guitar, both of whom are located in Seattle, Washington. Dedicated to Michael Partington, the Partita for solo guitar by Oregon composer Bryan Johanson (the writer of these notes) is cast in three movements: Allegro brioso; Adagio sostenuto; and Tempo di Valse, vivace assai. Set in a straight-forward harmonic language, the opening movement acts as an agreeable introduction, much like the salesman getting his foot in the door. The expressive weight of the work lies in the more harmonically complex second movement, which is cast in a free sonata-allegro form. (It might be of passing interest to the listener to note that the popular song from 1960's, Louie, Louie is quoted in a fairly oblique encrypted form. It might also be worth mentioning that the song was popularized by various bands from the Pacific Northwest, most notably the Wailers from the Tacoma-Seattle area, and the Kingsmen from Portland, Oregon. It is a matter of some dispute which band made the song a hit, but the rivalry that was established between Seattle and Portland as to which city was cooler is finally laid to rest here in the partita.) The final movement is the most overtly dance derived of the three. It fuses the harmonic styles of the first and second movements into a rondo-variation form. It was the intention of the composer to provide Michael Partington with a substantial vehicle for his prodigious technical and musical gifts.
Bryan Johanson, 2003