Jen Grubbs
Senior Viola Recital
Recital Hall I Saturday, April 8'", 2017112:00 PM

Program

Johann Sebastian Bach
(1685-1750)

Suite No. 2 in D Minor, BWV 1008 for solo viola
Prelude
Gigue

Marchenbilder (Fairy-Tale Pictures) for Piano and Viola, Op. 113
I. Nicht Schnell
II. Lebhaft
Ill. Rasch
IV. Langsam, mit melancholischem Ausdruck

Robert Schumann
(1810-1856)

Henri Vieuxtemps
(1820-1881)

Elegie for Viola and Piano, Op. 30

Karen Nguyen, piano

lti1J Herberger Institute
FOR DESIGN AND THE ARTS

ARIZONA

STATE

UNIVERSITY

School of Music

Program Notes

When Johann Sebastian Bach died in 1750, his music was considered old-fashioned, and he was mostly
remembered as a keyboard virtuoso. His compositions, including the Suites for Unaccompanied
Cello, remained obscure and forgotten. In 1889, a thirteen-year-old cello prodigy named Pablo Casals
(1876-1973) found a copy of the suites in a used music store. He wrote later that he was so excited by his
discovery that he "hugged his treasures all the way home." Because of his efforts, this set of Suites is now
an important part of the solo cello repertoire. The suites have since been transcribed to 19 different
instruments, including the viola. Casals' one-word characterization of Suite No. 2 in D minor was
"tragic." From the first three notes of the intensely emotional Prelude, we feel immersed in a dramatically
dark d minor world. The Prelude has an improvisatory feeling, moving up and down the notes of the
chords rather than melodically. The Gigue is a lively, driving, and uplifting movement, characterized by a
sort of rocking motion.

Gennan composer Robert Schumann is widely regarded as one of the greatest composers of the
Romantic Era. He was committed to the idea of music being composed to register the feelings, thoughts,
and impressions garnered by a sensitive spirit on its journey through life. Unfortunately, Schumann
suffered throughout his life from depression, hallucinations, insomnia, schizophrenia, and bipolar
disorder. In 1852, he lapsed into insanity, and was placed in an asylum after attempting suicide. He
remained there for 2.5 years until his death at age 46. Marchenbildcr for Viola and Piano was composed
one year before Schumann's mental collapse: The first movement, marked "Nicht schnell" (not fast)
begins with a melancholy melody in the viola followed by a more rhythmic second idea beginning in the
piano. Both ideas constantly recur throughout the movement in various guises. The second movement,
"Lebhaft" (lively), seems a gallop through fairy woods, beginning with a fanfare-like idea. The third,
"Rasch" (swiftly/wild), is a rush of slightly menacing triplets. The final movement, "Langsam, mit
melancholischem Ausdruck" (Slowly, with melancholic expression) vividly invokes the dreamlike world
of the tortured artist.
One of the great violin virtuosos of the 19th century, Henri Vieuxtemps was also an accomplished
composer. While most of his compositional output is for the violin (seven violin concertos, a violin
sonata, and numerous short pieces for the violin), Vieuxtemps also played the viola and composed a
number of beautiful, highly-regarded works for that instrument as well. The Elegie for viola and piano,
written in 1854, is one of Vieuxtemps' earliest pieces for viola and shows off the composer's knowledge
of the instrument's deep, rich timbre. Seldom has the viola been written for so brilliantly, excitingly, and
effectively.

My sincere thanks to my viola professor Nancy Buck, the ASU Viola Studio, my pianist Karen Nguyen,
and all who are here to support me.

ARIZONA

STATE

UNIVERSITY

School of Music