Sonata F major: for viola and piano. op. 101. viola and piano. Partition et partie. (en Alemán)
Reseña del libro "Sonata F major: for viola and piano. op. 101. viola and piano. Partition et partie. (en Alemán)"
The second Sonata F major for viola and piano op. 101 was composed in 1943 and is a fascinating testimony to its time. It stands in the tradition of the great classical sonata literature and yet is characterised by Senfter’s unique voice. Johanna Senfter – herself a violin and viola player – knows how to exploit the full expressive potential of this instrument – from the deep, melancholy tone colour to virtuoso brilliance. The piano enters into a dialogue with her on a more than equal footing. The interaction between the two instruments is complex and subtle, with the dynamic contrasts and harmonic density of the work intensifying the dramatic effect of the sonata. The sonata is Senfter’s most comprehensive work for this instrumentation with a total length of 38 minutes and is divided into five movements. The sequence of movements alternates between fast and slow. I Frisch und lebendig (Fresh and lively) The most substantial movement of the sonata is interspersed with great harmonic density, but also has lyrical elements and many dialogue sections. The brief but memorable opening motif is illuminated from all angles through motivic work. II Sehr ruhig (Very calm) Coming from a more introverted mood, the slow movement develops into emotional outbursts through constantly pressing and lively elements, only to finally dissolve at the end in a manner typical of Senfter, here in an upwardly striving but at the same time quietly ending pure C major. III Lebhaft (Vivid) A cheeky Reger-esque scherzo in alternating time signatures and a quiet intermediate section with many unexpected twists and turns. IV Gemächlich (Leisurely) The multi-layered slow movement begins with a calm, peaceful F major section with mostly falling motifs in 2/4 time, followed by an initially calmly flowing B flat minor section in 3/4 time, which becomes more agitated through rhythmic intensification. This is followed by a more virtuosic section in polyrhythmic time signature, which becomes more urgent and threatening, rising to a seemingly f inal conclusion in F major, only to return to the calmer mood of the beginning. A short fugal section follows before finally returning to 2/4 time, which ends quietly in a bright D major. V Lustig, nicht zu schnell (Jolly, not too fast) Humour is rarely to be found in Senfter’s music. For the most part, her music is characterised by great, often chromatic density and rather dark colours. The final movement in dance-like 3/8 time is probably only partly an exception here – despite the movement indication. However, the surprising structural and dialogue elements can bring a smile. However, the end of the sonata in very quiet 2/4 time leads us into a very conciliatory, peaceful and hopeful mood in pure F major. Instrumentation: viola and piano op. 101
