Violinenstück Nr. 1

I had planned to write a piece for solo violin and piano for a while, but it only materialised after listening to John Williams' score for 'Schindlers' List' [1993].

In many of the pieces composed for that film, one can often find very singable melodies carried by solo violin, almost akin to the voice in a song. This reminded me of a chord progression I was working on for quite some time but I never knew what to do with it. But since it seemed most appropriate to function as the foundation of a song, I thought it would work well with a melody played by solo violin instead of being sung by a human voice.

But since I have never embarked on writing such a piece, I needed to do some research, which mainly focused on listening and score-reading of well know pieces.

My listening list conained the following pieces:

L. v. Beethoven - Violin Sonata No.9, Op. 43 'Kreutzer'
S. Rachmaninoff - Cello Sonata, Op. 19

S. Rachmaninoff - Vocalise, Op. 34 No. 14 

F. Chopin - Cello Sonata, Op. 65

A. Dvorak - Violin Sonatina, Op. 100 + 5 Romantic Pieces, Op. 75

E. Elgar - Violin Sonata, Op. 82

J. Brahms - Violin Sonatas 1-3 (Op. 78, Op. 100, Op. 108) 

C. Franck - Violin Sonata A major

M. Ravel - Tzigane

C. Debussy - Violin Sonata, L. 140

C. Ives - Violin Sonatas 1-4

A. Schönberg - Phantasy for Violin and Piano, Op. 47

My main concern in terms of arranging both instruments was for the piano part, as the appropriate melody for violin came naturally to me. Learning a lot by doing my research, I eventually figured out that contrast is most likely the best way to arrive at a part that is interesting to perform, coherent and contributing in the overall sonority of the piece. Contrast was mainly achieved by rhythmic variety as can be best seen in the opening phrases starting at A, which change their rhythm every four bars. But also at B, where the piano part becomes the main focus and plays solo.

The underlying structure is best divided into four parts: opening, main motif (A), contrasting theme (B) and resolution (C). The harmonic basis is very simple. The opening is demonstrating a simple I-IV progression in g minor, although it feels like a V-I in C minor. 

The main motif (A) is dominated by a IV-I progression in G minor, with an emphasis on the major 9th and minor 7th respectively. The contrasting theme (B) is constructed by a I-V progression in g minor, using 9^th and 7^th again until it reaches its harmonic climax on an E-flat major chord in bar 43. After a short modulation, the resolution (C) is being approached in the key of D major with IV-I progressions to create a calming effect but also to complement the initial progression of the opening.

Overall, I have learned a lot by writing a piece for two solo instruments which will help me to improve as a composer writing for a variety of ensembles.

-PW