Student Recital: Kathryn Pappalardo, Violin

J.S. BACH: Violin Partita No. 1 in B Minor, BWV. 1002
I. Allemanda – Double
II. Corrente – Double
III. Sarabande – Double
IV. Tempo di Bourrée – Double

Kathryn Pappalardo (G.P.D. ’23), violin

—BRIEF INTERMISSION—

J. BRAHMS: Sonata for Piano and Violin in G Major, op. 78
I. Vivace Ma Non Troppo
II. Adagio
III. Allegro Molto Moderato

Kathryn Pappalardo (G.P.D. ’23), violin
Haram Kim, piano

J.S. BACH: Violin Partita No. 1 in B Minor, BWV. 1002

One of six works for unaccompanied violin composed by J.S. Bach, the Partita No. 1 in B Minor is a suite of four baroque dances in which each dance movement is followed by a corresponding double. Each double acts as an expansion and variation of the preceding dance and follows similar harmonic patterns. The Partita begins with an allemanda, which has a stately feel, characterized by dotted rhythms that are often interrupted by slurred triplet figures, that add an improvisatory feeling to the work. The corrante is written in three-four time and alternates between separated and more lyrical, slurred notes. In the development, Bach changes the placement of the slur creating an off kilter feel. The following double, a perpetual motion composed of mostly 16th notes, is marked “Presto” which translates to “very fast.” The sarabande, also in three, is the slowest and most introspective movement. It is characterized by the emphasis on beat two of each measure, instead of beat one, as in the preceding corrente. The following double has an ethereal feel. The work concludes with a lively tempo di bourrée, filled with multi-voice lines, and a corresponding double which expands the chords into single note lines.

J. BRAHMS: Sonata for Piano and Violin in G Major, op. 78

Brahms’ Sonata for Piano and Violin in G Major was composed during the summers of 1878 and 1879. The work is subtitled “Regensonate,” or rain sonata. The first movement begins with quiet piano chords and the descending melody line when the violin enters seems to imitate gently falling summertime rain. A stormy development section returns gently to the wistful mood of the opening. The second movement consists of a lyrical melody shared by violin and piano that is juxtaposed with a mid-movement funeral march. The third movement recalls the opening of the first movement with a “sped up” version of the rhythmic figure. The piano and violin parts are full 16th note lines that suggest rain, yet again, throughout. A direct quote of the melodic theme from the second movement is followed by a build to the peak of the movement before winding down to a more serene state that brings the work to a close.

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