Programme note
For my semi-final recital program, I have chosen to play pieces by Grieg, Bacewicz, and Schubert. I selected these works because they are remarkably evocative, with a rich capacity for expression and story-telling. Although these pieces were originally written for the violin, studying them on the viola has given me a wonderful opportunity to explore the art of transcription.
Edvard Grieg’s Sonata No. 3, Op. 45 is a piece full of passion and drama, along with moments of great tenderness. This arrangement by Thomas Riebl keeps the piece in its original key of c minor, and therefore employs several octave-down transpositions. This key suits the viola well, with the c-string being particularly advantageous in providing additional resonance and depth when needed.
Grażyna Bacewicz’s 4 Capricci are characterized by her unique and original compositional style, with many playful musical patterns and unexpected non sequiturs. Most prominent throughout each movement is a sense of humor: moments of high tension are followed by bizarre and sometimes ridiculous responses. Stefan Kamasa’s transcription brings down the key by a perfect fifth from the original version, so the playability remains just as idiomatic as Bacewicz conceived it for the violin.
Franz Schubert’s Fantasie in C Major, D. 934 is a special composition, combining long lyrical lines and sections of dance-like gesture with both simplicity and virtuosity, resulting in a satisfying and mesmerizing experience. This is an arrangement that I made myself: I have always wanted to learn this piece, and it has been incredibly rewarding to be able to transcribe it for viola and piano. I have kept the original key of C Major, so similar to the Grieg Sonata, many passages are written octave-down, again with the c-string allowing for a great range of expression in this version.
I am thrilled to be able to perform these works here in the Concours de Genève, and I hope that you enjoy this program as much as I have enjoyed preparing it!
Brian Isaacs