Janine Jansen and Jean-Yves Thibaudet perform Debussy, Grieg, and Chausson

Dutch violinist Janine Jansen and the French pianist Jean-Yves Thibaudet perform “Sonata for Violin and Piano in G minor, L. 140” (Claude Debussy), “Violin Sonata No. 2 in G Major, Op. 13” (Edvard Grieg), and “Concerto for Violin, Piano, and String Quartet in D Major, Op. 21” (Accompanied by the Dover Quartet) (Ernest Chausson). This concert was recorded at Carnegie Hall (New York, USA), on January 21, 2018.

Claude Debussy’s Sonata for Violin and Piano in G minor, L. 140

Claude Debussy’s Sonata for Violin and Piano in G minor, L. 140 is a remarkable piece that showcases the composer’s unique style and the transition in classical music during his time. Written in 1917, this was one of Debussy’s last works, composed during a period of ill health and amidst the backdrop of World War I. It’s part of a series of six sonatas he planned but ultimately, only three were completed.

This sonata is particularly notable for its departure from the traditional sonata form. Debussy, a leading figure in the Impressionist music movement, infused this work with characteristics that broke away from the norms established by the likes of Beethoven or Mozart. His approach to melody and harmony was innovative, often favoring a sense of atmosphere and color over traditional structures.

The violin and piano in this sonata are treated as equal partners, engaging in a nuanced dialogue throughout the piece. Debussy’s use of the violin was quite modern for his time, employing a wide range of techniques to extract varied timbres and textures from the instrument. This, combined with the piano’s complex harmonies and rhythmic structures, creates a soundscape that is both ethereal and grounded.

Debussy’s harmonic language in this sonata is also noteworthy. He frequently used modes and non-traditional scales, which gave his music a distinctively modern flavor that was somewhat dissonant and ambiguous compared to the tonal music of the 19th century. This harmonic approach lends the sonata an aura of mystery and introspection, reflecting perhaps the composer’s personal struggles and the tumultuous context of its creation.

The sonata’s reception was mixed at its premiere. Some listeners were enthralled by its innovative qualities, while others were disoriented by its departure from more conventional forms. Today, it is celebrated as a masterpiece of early 20th-century chamber music, emblematic of Debussy’s genius and his ability to redefine the boundaries of musical expression.

Movements

1. Allegro vivo

The first movement of Claude Debussy’s Sonata for Violin and Piano in G minor, L. 140, is a captivating and intricate piece that sets the tone for the entire sonata. Known as the “Allegro vivo,” this movement is characterized by its lively and somewhat restless energy.

From the outset, the movement defies traditional expectations. It opens with a playful and somewhat impetuous theme introduced by the violin, immediately establishing a sense of spontaneity. This theme is marked by its rhythmic vitality and is quickly taken up by the piano, which provides a rich harmonic underpinning.

One of the defining features of this movement is the fluid interchange between the violin and piano. Debussy treats both instruments as equal partners, with the piano often echoing or complementing the violin’s lines. This conversational aspect creates a dynamic and engaging texture, with both instruments sharing the spotlight.

Harmonically, the movement is quintessentially Debussian. The music frequently shifts between different tonal centers, creating a sense of ambiguity and fluidity. Debussy’s use of non-traditional scales and modes adds to the coloristic and impressionistic quality of the music. These elements combine to create a soundscape that is both dreamy and grounded, with moments of lyrical beauty interspersed with more turbulent passages.

Rhythmically, the movement is also intriguing. Debussy employs a variety of rhythmic motifs and irregularities that contribute to the overall sense of movement and spontaneity. These rhythmic elements, coupled with the intricate interplay between the violin and piano, make the “Allegro vivo” both challenging and rewarding for performers.

The movement concludes with a sense of unresolved energy, leading naturally into the subsequent movements of the sonata. Overall, the “Allegro vivo” serves as a brilliant introduction to Debussy’s innovative approach to composition, blending traditional elements with new ideas to create music that is both familiar and strikingly original.

2. Intermède: Fantasque et léger

The second movement of Claude Debussy’s Sonata for Violin and Piano in G minor, L. 140, titled “Intermède: Fantasque et léger,” offers a contrasting yet complementary character to the first movement. This movement is noted for its whimsical and light-hearted nature, showcasing Debussy’s mastery in creating vivid musical landscapes.

“Intermède,” meaning interlude, lives up to its name by providing a playful and somewhat capricious break between the more serious outer movements. The movement is characterized by its lively rhythms, fluid melodies, and a sense of whimsy that is both charming and intriguing.

The opening of the movement features a sprightly theme introduced by the violin, which is immediately notable for its light and airy quality. This theme is punctuated by staccato notes and is supported by a piano part that is both rhythmic and harmonically colorful. The piano provides a delicate but lively accompaniment, with rapid figurations and syncopated rhythms that complement the violin’s melodic line.

Throughout the movement, Debussy employs a variety of textures and timbres. The interplay between the violin and piano is less about dialogue, as in the first movement, and more about creating a tapestry of sound. The violin part often includes spiccato (bounced bow) techniques, adding to the movement’s effervescent quality.

Harmonically, this movement continues Debussy’s exploration of non-traditional scales and modalities. The harmonic language is fluid, with unexpected turns and shifts that add to the movement’s fantastical and dream-like atmosphere. These harmonic explorations contribute to the overall impressionistic quality of the piece, evoking images and moods rather than presenting a straightforward narrative.

The structure of the movement is somewhat free, with Debussy avoiding the traditional sonata form in favor of a more rhapsodic and spontaneous structure. This approach allows for a range of expressive possibilities, with the music flowing organically from one idea to the next.

The “Intermède” concludes with a sense of playfulness and charm, leaving the listener in a state of delight and anticipation for the final movement. This movement, with its combination of technical virtuosity and imaginative writing, is a testament to Debussy’s innovative spirit and his ability to reinvent traditional musical forms.

3. Finale: Très animé

The finale of Claude Debussy’s Sonata for Violin and Piano in G minor, L. 140, is titled “Finale: Très animé,” and it serves as a powerful and compelling conclusion to the sonata. This movement is marked by its vibrant energy, rhythmic drive, and the intricate interplay between the violin and piano.

“Très animé,” meaning “very animated,” perfectly captures the spirit of this finale. The movement opens with a sense of urgency and dynamism, featuring a brisk and rhythmic theme that immediately grabs the listener’s attention. This opening sets the stage for a movement that is both technically challenging and emotionally engaging.

One of the striking aspects of this movement is the rhythmic complexity. Debussy employs a range of rhythmic motifs and patterns, including syncopations and irregular accents, which contribute to the movement’s driving momentum. These rhythmic elements are interwoven with the melodic lines in a way that creates a sense of constant motion and excitement.

The interplay between the violin and piano is particularly noteworthy in this movement. Debussy treats both instruments as equal partners, engaging in a vigorous musical dialogue. The violin part is characterized by its virtuosic demands, including rapid passages, double stops, and a wide range of expressive techniques. Similarly, the piano part is equally challenging, with its intricate figurations, powerful chords, and agile accompaniment patterns.

Harmonically, the movement continues the exploration of Debussy’s unique tonal language. The harmonies are rich and complex, often blurring the lines between traditional tonal centers. This harmonic ambiguity adds to the movement’s intensity and enhances the overall dramatic effect.

The structure of the movement is cohesive yet flexible, allowing for moments of lyrical introspection amidst the energetic passages. Debussy masterfully balances these contrasting elements, creating a finale that is both cohesive and varied.

The movement builds to a thrilling climax, with both violin and piano pushing the boundaries of their expressive capabilities. The conclusion of the “Finale: Très animé” is exhilarating, bringing the sonata to a close with a sense of triumph and fulfillment.

Edvard Grieg’s Violin Sonata No.2, Op.13

“Violin Sonata No. 2 in G major, Op. 13,” composed by Edvard Grieg, is an expressive and romantic work that highlights Grieg’s distinctive compositional style, imbued with the spirit of Norwegian folk music. Composed in 1867, this sonata is one of three violin sonatas written by Grieg and is considered a significant work in the violin repertoire.

The sonata reflects Grieg’s deep connection to his Norwegian roots, with melodies and rhythms that are reminiscent of folk tunes and dances. This incorporation of folk elements is a hallmark of Grieg’s style and contributes to the sonata’s unique character and charm. The folk influence is not just in the use of specific melodies but also in the rhythmic vitality and the use of modal harmonies, which give the music a distinctively Norwegian flavor.

Grieg’s Sonata No. 2 in G major is notable for its lyrical melodies and rich harmonies. Throughout the work, Grieg demonstrates a masterful balance between the violin and piano, with both instruments playing integral roles. The interplay between the two is characterized by a close dialogue, with themes and motifs passed back and forth, creating a sense of partnership and mutual expression.

The emotional range of this sonata is considerable. It encompasses moments of tender lyricism, passionate intensity, and playful light-heartedness. This emotional depth is a key feature of Grieg’s music, reflecting his ability to convey a wide range of feelings and moods through his compositions.

Structurally, the sonata adheres to the traditional sonata form but is infused with Grieg’s personal touches and innovations. The form serves as a framework within which Grieg explores a variety of textures, timbres, and thematic developments. The sonata is a testament to his skill in blending traditional forms with his own distinctive voice.

The sonata’s reception has been positive, with its blend of lyrical beauty and rhythmic energy making it a favorite among both performers and audiences. It showcases Grieg’s talent not only as a nationalistic composer but also as a creator of music that resonates on a universal level.

Movements

1. Lento doloroso – Poco allegro – Allegro vivace – Presto (G minor – G major)

The first movement of Edvard Grieg’s “Violin Sonata No. 2 in G major, Op. 13,” is a compelling and expressive piece that beautifully sets the stage for the entire sonata. This movement, marked “Lento doloroso – Allegro vivace,” is characterized by its dramatic contrasts in mood and tempo, showcasing Grieg’s ability to weave together different emotional and musical textures.

The movement begins with a Lento doloroso (slow and sorrowful) introduction, immediately establishing a mood of introspection and depth. This opening section features a somber and expressive melody, first introduced by the piano and then taken up by the violin. The music in this section is rich in harmonic color, with Grieg using lush chords and poignant dissonances to create a sense of yearning and melancholy.

This mood of contemplation, however, is soon contrasted with the Allegro vivace (fast and lively) section, which bursts forth with energy and vitality. This section introduces a new, spirited theme that has a distinctly Norwegian character, reminiscent of folk dances. The rhythm is lively and the melody is marked by its catchy, rhythmic drive, providing a stark contrast to the somber opening.

In this Allegro vivace, Grieg demonstrates his skill in thematic development and his ability to seamlessly integrate the violin and piano parts. The violin sings with a broad, lyrical melody, while the piano provides a rhythmic and harmonic foundation that is both supportive and intricate. The interplay between the two instruments is dynamic and engaging, with the melody often passed back and forth in a lively dialogue.

Throughout the movement, Grieg employs a range of textures and techniques to keep the music fresh and engaging. There are moments of lyrical beauty, interspersed with more energetic and rhythmically driven sections. This contrast between the introspective and the exuberant is a key feature of the movement, reflecting the composer’s ability to convey a wide range of emotions.

The movement concludes with a return to the spirited energy of the Allegro vivace, ending on a note of optimism and vitality. This conclusion effectively rounds off the first movement, leaving the listener with a sense of completeness and anticipation for the movements that follow.

2. Allegretto tranquillo (E minor)

The second movement of Edvard Grieg’s “Violin Sonata No. 2 in G major, Op. 13,” is a beautifully crafted and emotionally resonant part of the sonata. Marked “Allegretto tranquillo,” this movement contrasts markedly with the dynamic and energetic first movement, offering a more introspective and serene musical experience.

“Allegretto tranquillo” translates to moderately fast and tranquil, and this perfectly encapsulates the mood of the movement. It opens with a gentle, flowing melody that is immediately engaging in its lyrical simplicity. This melody, first introduced by the violin and then echoed by the piano, is evocative of Norwegian folk tunes, a characteristic feature of Grieg’s music.

The tranquility of this movement is one of its defining characteristics. The melody flows smoothly, with a tender and almost dreamlike quality. The violin’s line is expressive and singing, while the piano provides a delicate and supportive accompaniment. Grieg’s use of dynamics and phrasing in this movement contributes significantly to its peaceful and reflective atmosphere.

Throughout this movement, Grieg demonstrates his skill in creating a cohesive and seamless musical narrative. The development of the thematic material is subtle yet effective, with variations in the melody and harmony that enrich the movement without disturbing its tranquil mood. The interplay between the violin and piano is more about creating a unified texture than engaging in a dialogue, as in the first movement.

Harmonically, the movement is rich and colorful, typical of Grieg’s romantic style. While it maintains a sense of tonal center, Grieg often employs chromaticism and unexpected harmonic shifts that add depth and complexity to the music. These harmonic nuances enhance the movement’s expressive quality and add to its overall sense of serenity.

The movement concludes with a gentle and satisfying resolution, providing a moment of calm and reflection before the sonata moves into its final movement. The “Allegretto tranquillo” stands as a testament to Grieg’s ability to compose music that is both deeply emotional and exquisitely crafted, making it a highlight of the sonata and a favorite among audiences and performers alike.

In essence, the second movement of Grieg’s Violin Sonata No. 2 is a beautiful interlude that showcases the composer’s lyrical talents and his ability to evoke a sense of peaceful contemplation through music.

3. Allegro animato (G major)

The finale of Edvard Grieg’s “Violin Sonata No. 2 in G major, Op. 13,” is a vibrant and dynamic conclusion to the sonata. Marked “Allegro animato,” this movement is characterized by its lively spirit, rhythmic energy, and the compelling interplay between the violin and piano.

“Allegro animato” translates to fast and animated, and Grieg certainly delivers on this promise. The movement bursts into life with an energetic and rhythmically driving theme that immediately captures the listener’s attention. This opening sets the tone for a movement that is both technically challenging and emotionally engaging.

A key feature of this movement is its rhythmic vitality. Grieg infuses the music with a strong sense of forward momentum, using a variety of rhythmic patterns and accents to create a sense of excitement and urgency. This is complemented by the melodic content, which is both catchy and expressive, often featuring bold, sweeping phrases that showcase the violin’s capabilities.

The interplay between the violin and piano is particularly notable in this final movement. The two instruments engage in a spirited musical dialogue, with themes and motifs passed back and forth in a manner that is both playful and intricate. The piano’s role is not merely supportive but equally prominent, providing a rhythmic and harmonic foundation that drives the movement forward.

Harmonically, the movement continues the exploration of Grieg’s rich tonal language. While maintaining a clear tonal center, Grieg incorporates chromatic elements and unexpected harmonic turns that add complexity and interest to the music. This harmonic approach contributes to the overall sense of dynamism and keeps the listener engaged throughout.

Structurally, the movement balances a sense of spontaneity with cohesiveness. Grieg masterfully develops his thematic material, building to climactic moments that are both thrilling and satisfying. The movement’s conclusion is particularly effective, bringing the sonata to a close with a sense of energy and triumph.

Ernest Chausson’s Concerto for Violin, Piano, and String Quartet in D Major, Op. 21

Ernest Chausson’s Concerto for Violin, Piano, and String Quartet in D Major, Op. 21, is a unique and captivating work in the chamber music repertoire. Composed in 1891, this concerto stands out for its unusual combination of instruments, blending the distinct qualities of a solo violin, solo piano, and a string quartet. This instrumentation creates a rich and varied sonic palette, allowing Chausson to explore a wide range of textures and colors in his composition.

The concerto is known for its lyrical beauty and emotional depth, characteristics typical of Chausson’s style. He was a composer of the late Romantic period, and his music often reflects the influence of his contemporaries like César Franck and Richard Wagner, yet with a distinct personal voice. The concerto is imbued with lush harmonies, expansive melodies, and a sense of passionate expressiveness.

One of the striking aspects of this work is how Chausson manages to balance the soloistic and ensemble elements. The violin and piano are not just soloists in the traditional concerto sense; they are integrated into the texture in a way that allows for both soloistic display and collaborative interaction with the string quartet. This creates a fascinating interplay between the individual and collective voices, making the concerto a highly cohesive and yet multi-dimensional work.

The concerto’s structure is also noteworthy. Chausson combines elements of traditional concerto form with a more free-flowing, almost symphonic approach. This allows him to develop his musical ideas in an expansive way, with each instrument contributing to the evolving musical narrative. The work’s architecture is such that it maintains a sense of unity and direction throughout, despite its large scale and the complexity of its textures.

Emotionally, the concerto ranges from moments of intimate introspection to passages of grandeur and intensity. Chausson’s use of dynamics, along with his skillful orchestration for this unique ensemble, enables him to convey a wide spectrum of moods and feelings. The music often has a dreamlike quality, with a sense of yearning and melancholy that is very characteristic of Chausson’s oeuvre.

Movements

1. Décidé – Animé

The first movement of Ernest Chausson’s Concerto for Violin, Piano, and String Quartet in D Major, Op. 21, is a compelling and complex piece that sets the tone for the entire concerto. This movement, marked “Décidé,” embodies a sense of determination and vigor, showcasing Chausson’s skillful blending of the concerto and chamber music genres.

The movement opens with an immediate sense of energy and purpose. The introduction of the main theme is robust and commanding, setting a strong foundation for the development of the movement. Chausson’s writing here is characterized by its rhythmic drive and the bold interplay between the piano, violin, and string quartet.

One of the most notable aspects of this movement is the way Chausson handles the textural interplay between the soloists and the quartet. The violin and piano are not mere soloists in the traditional sense; they are intricately woven into the fabric of the ensemble. This creates a rich tapestry of sound, where the solo lines emerge from and blend back into the collective texture seamlessly.

Harmonically, the movement is lush and expressive, typical of Chausson’s Romantic style. The harmonies are rich and often chromatic, adding to the emotional depth of the music. Chausson’s use of harmony contributes significantly to the dramatic and sometimes brooding character of the movement.

The development section of the movement is particularly noteworthy. Here, Chausson explores and expands upon his thematic material, demonstrating his compositional prowess. The music evolves through a series of variations and transformations, with the solo violin and piano often engaging in a dynamic dialogue against the backdrop of the string quartet.

Throughout the movement, the mood shifts between moments of passionate intensity and more reflective passages. These contrasts add to the movement’s dramatic impact and showcase the expressive capabilities of the ensemble.

The movement concludes with a return to the initial energy and thematic material, bringing the first part of the concerto to a powerful and cohesive close. This conclusion effectively ties together the various elements introduced throughout the movement, showcasing Chausson’s ability to create a complex yet unified musical narrative.

2. Sicilienne: Pas vite

The second movement of Ernest Chausson’s Concerto for Violin, Piano, and String Quartet in D Major, Op. 21, offers a striking contrast to the first movement’s vigorous energy. This movement, often described as “Sicilienne: Pas vite” (Sicilian: Not fast), is imbued with a more reflective, lyrical, and serene character, showcasing Chausson’s versatility and depth as a composer.

The Sicilienne, a dance form typically in a slow 6/8 time, provides the foundational rhythm and mood for this movement. Its gentle, rocking rhythm creates a sense of calm and introspection, which is a defining feature of this part of the concerto. The movement opens with a delicate and tender melody, often carried by the violin, with the piano and string quartet providing a soft, harmonious background.

In this movement, Chausson’s skill in creating lush, evocative harmonies comes to the forefront. The harmonic language is rich and nuanced, with subtle shifts that enhance the music’s dreamy, almost ethereal quality. These harmonies support the melodies in a way that enhances their expressive depth without overpowering them.

The interplay between the violin and piano is particularly notable in this movement. Rather than engaging in the dynamic dialogues of the first movement, here they often intertwine and echo each other, contributing to the movement’s overall sense of tranquility and contemplation. The string quartet’s role is more subdued in this movement, often providing a gentle cushion of sound that underscores the soloists.

One of the remarkable aspects of this movement is how Chausson maintains a sense of forward momentum while adhering to a slower, more meditative pace. The music flows seamlessly, with each phrase naturally leading into the next. The movement is imbued with a sense of longing and nostalgia, characteristics often found in Chausson’s music.

The Sicilienne’s serene mood is maintained throughout, with the movement concluding in a peaceful and satisfying manner. This conclusion provides a moment of calm and reflection, setting the stage for the final movement of the concerto.

3. Grave

The third movement of Ernest Chausson’s Concerto for Violin, Piano, and String Quartet in D Major, Op. 21, is a vibrant and dynamic conclusion to this unique and intricate work. Marked “Grave,” this movement stands out for its dramatic intensity and expressive depth, bringing together the themes and textures introduced in the earlier movements into a cohesive and powerful finale.

“Grave” in this context suggests a solemn or serious character, and Chausson fully embraces this mood. The movement opens with a sense of gravitas and depth, featuring a rich and expansive theme that immediately sets a solemn and introspective tone. This theme, introduced by the violin and then taken up by the piano and string quartet, is marked by its emotional weight and lyrical intensity.

The interplay between the soloists and the string quartet in this movement is particularly noteworthy. Chausson crafts a dialogue that is both intricate and profound, with the violin and piano weaving in and out of the texture created by the quartet. This interaction creates a rich tapestry of sound, where the individual voices both stand out and blend seamlessly with the ensemble.

Throughout the movement, Chausson’s mastery of harmony and texture is on full display. The harmonies are complex and often chromatic, adding to the movement’s dramatic and introspective character. The textural variations throughout the movement add layers of emotional depth, with moments of powerful intensity contrasted with more subdued, reflective passages.

The development of thematic material in this movement is a key element of its structure. Chausson revisits and transforms themes from the earlier movements, integrating them into the narrative of the finale. This thematic integration helps to create a sense of unity across the concerto, with the third movement acting as a culmination of the musical journey.

As the movement progresses, it builds towards a climactic conclusion. The music’s intensity grows, with the violin and piano often taking the lead in driving the music forward. The final moments of the movement are both powerful and poignant, bringing the concerto to a close with a sense of resolution and emotional fulfillment.

4. Très animé

The fourth movement of Ernest Chausson’s Concerto for Violin, Piano, and String Quartet in D Major, Op. 21, is an exhilarating and intricate finale to this unique and substantial work. Marked “Très animé,” this movement brings the concerto to a vibrant and spirited conclusion, showcasing Chausson’s flair for dramatic and energetic music.

“Très animé” translates to “very animated,” and this description aptly captures the essence of the movement. The movement bursts forth with an energetic and lively theme that is immediately engaging. This theme, characterized by its rhythmic drive and vitality, sets the tone for a movement that is both technically challenging and emotionally compelling.

The interplay between the solo violin, piano, and string quartet is particularly dynamic in this final movement. Chausson crafts a dialogue that is full of life and excitement, with each instrument contributing to the overall energy of the piece. The violin and piano, in particular, engage in a spirited exchange, showcasing their virtuosity and expressiveness.

Throughout the movement, Chausson’s mastery of orchestration and texture is evident. The harmonies are vibrant and colorful, often moving quickly and unpredictably to add to the sense of animation and excitement. The textural variations are skillfully handled, creating a rich tapestry of sound that is both complex and accessible.

One of the remarkable aspects of this movement is its rhythmic complexity. Chausson employs a variety of rhythmic patterns and accents, which contribute to the movement’s driving momentum and lively character. These rhythmic elements are interwoven with the melodic lines in a way that creates a sense of constant motion and exuberance.

The movement’s structure is cohesive yet allows for moments of lyrical beauty amidst the energetic passages. Chausson balances these contrasting elements masterfully, creating a finale that is both cohesive and varied.

As the movement progresses, it builds towards a thrilling climax, with both the violin and piano pushing the boundaries of their expressive capabilities. The conclusion of the “Très animé” is exhilarating, bringing the concerto to a close with a sense of triumph and fulfillment.

Sources

• Claude Debussy’s Six sonatas for various instruments on Wikipedia
• Violin Sonatas (Grieg) on Wikipedia
• Concert for Violin, Piano, and String Quartet on Wikipedia