Corigliano: Violin Sonata - Classic Neo-Classicism

1/19/11 – Corigliano: Violin Sonata

Its language is a language which the soul alone understands,
but which the soul can never translate.

- Arnold Bennett 

Musical trends over the course of history often are seen as depicted as a tree diagram, where certain composers will take influences before them and head in completely different directions.  As such, many composers labeled as neo-classical sound like they are carrying forward traditions started in earlier generations of music. Stravinsky and Gershwin for example both have their roots in Romanticism and late 19^th century expanded tertian harmonies, their music went in totally different directions – Gershwin embraced American jazz in the orchestral setting, whereas Stravinsky incorporated various Russian influences, from primitive paganism in The Rite of Spring to Catholic and Orthodox religious music in Symphony of Psalms among others.

Corigliano on the other hand, seems to be a true neo-Classicist, tracing the roots of his style and musical influences back not to the 19^th century romantics but to the actual Classical period.  While his harmony and some rhythmic gestures are undeniable contemporary, his form and structure and musical sensibilities seem closer to Mozart than his contemporaries.

            There’s a playfulness to Corigliano’s first movement of his Sonata for Violin and Piano that seems to elude many contemporary composers.  There’s a fun, folksy dancelike rhythm to some of it that seems reminiscent of Copeland’s tone poems, such as Billy the Kid or Appalachian Spring.  The bouncy nature gives the violinist plenty of room to fiddle about with tremendously wide sevenths and octave double-stops, and the waltzy (with a beat thrown in or missing here and there to keep you on your toes) accompaniment seems joyous despite often being dissonant in its own right.

            The second movement has a soft, romantic quality to it that really underscores Corigliano’s strengths as a film composer, and would be right at home is certain jazz clubs.  His tonality is not only present, but doesn’t stray too far from conventional harmony, but still maintains a fresh-yet-familiar quality.  Not being too familiar with Corigliano’s larger works, I would like to check out some of his larger scale orchestral works, most likely starting with his Red Violin Suite.

            The piano introduction to the third movement has a certain heaviness to it I often associate with Beethoven’s piano sonatas.  The lamenting violin comes in and weeps dissonantly over large, angular intervals, requiring a masterful control over the instrument and extreme emotional sensitivity.  The central, unaccompanied cadenza portrays both elements of forceful lashing out in anger but also melancholy and deep sadness.  For once, however, I find myself not longing for the slow movement, but a return to the boisterous qualities of the first movement.

            And sure enough, the final movement delivers just that.  The singsong opening theme of the final movement plays like a child’s nursery rhyme – carefree and laughing.  There is a bit of a modal jazz feel in some of the accompaniment, which contrasts nicely with the violin melodies.  Eventually, things whip up into a frenzy before a brief return to the romantic themes of the second movement.  All in all, a good piece, but not necessarily one that I find sticks with me.  I do, though, think it points favorable into looking at some of his other works.

Tomorrow – A Love Supreme (John Coltrane)

Next week – Hindemith: Kleine Kammermusik