Complete last week’s reading and viewing if you’re still behind:
Score-read the following violin sonatas. Each IMSLP page has 1 or more good recordings that can be used for listening alongside your score-reading. I have also linked YouTube videos here or there for alternate versions.
• J.S. Bach, Sonata in G for violin and continuo, BWV 1019
Frank Peter Zimmerman’s lively version with piano instead of harpsichord https://youtu.be/CSfw9Yq8YSw
– but also listen to the IMSLP version or other version with harpsichord. Piano is better for really hearing the interdependence of voices, though it’s not period by any means.
• Mozart, Sonata in B-flat for violin and piano, K. 378
The Breitkopf Edition is the most readable.
Anna-Sophie Mutter’s thoughtful, individual reading: https://youtu.be/AKeVF_Dluao
The IMSLP version is also quite nice.
• Beethoven, Sonata no. 9 in A for violin and piano, Op. 47
I like the Joachim edition.
Anna-Sophie Mutter is hard to beat: https://youtu.be/COGcCBJAC6I
Unless you’re David Oistrakh: https://youtu.be/8uPGz7NU-mk
• Schumann, Sonata no. 1 in A minor for violin and piano, Op. 47
Clara Schumann edition of course, top post, not the grainy scan of the Russian printing.
Spoilt for choice on the IMSLP page with good recordings.
I really like this Ari Malikian version, with embedded score to boot: https://youtu.be/uyWg0708Sl0
• Grieg, Sonata no. 3 in C minor for violin and piano, Op. 45
Peters is and always has been Grieg’s best publisher.
Julia Fischer plays it like it was composed yesterday: https://youtu.be/FdYP790fAzM
IMSLP versions good, but not as good as Fischer.
• Ravel, Sonata (no. 2) in G for violin and piano
Capuçon’s version with Ravel specialist Grimaud is spot-on: https://youtu.be/12izIL6Jk38
Worth comparing with Oistrakh’s gypsy-like version of mvt. 2: https://youtu.be/KdyUiiaQee0
Compose a work for violin/piano using the following parameters:
• 2-3 minutes in length
• incorporate Lesson 1’s scoring approaches with those discussed in this week’s video
• study in contrasts – musical, textural, roles, instrumental characters, etc.
• compose in your own artistic voice and idiom (such as film, concert, crossover, etc.)
• continue to compose with an expectation of performance/reading