Debussy Violin

LEOŠ JANÁČEK’S VIOLIN SONATA AND HOW IT COMPARES TO THE VIOLIN
SONATAS OF BRAHMS AND DEBUSSY
by
DANIJELA ŽEŽELJ-GUALDI
(Under the Direction of Michael Heald)
ABSTRACT
The turbulent period in Europe before and during World War I was one of the main causes of
development in the Arts. The old Romantic world was collapsing in a most violent manner.
Composers responded to the changes and aggression differently. Leoš Janáček composed the
Violin Sonata as a reaction to the war, and with intensified nationalistic feelings. The
characteristic compositional style found in his Violin Sonata was a result of the influences he
was exposed to during his growth as a composer, and his original ideas conceived while
researching folk music of his native Moravia and speech inflections in the Czech language. This
study compares Janáček’s Violin Sonata to those of Brahms and Debussy on historical, social,
and stylistic levels.
INDEX WORDS: Janáček, Leoš, Violin Sonata, Debussy, Brahms

by
Foreign Bachelor, Academy of Arts, Novi Sad, Serbia, 1998
M.M., Carnegie Mellon University, 2001
A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial
Fulfillment of the Requirements for the Degree
DOCTOR OF MUSICAL ARTS
ATHENS, GEORGIA
2006
© 2006
Danijela Žeželj-Gualdi
All Rights Reserved

by
Major Professor: Michael Heald
Committee: Leonard Ball

David Haas
Mark Neumann
David Starkweather
Electronic version approved:
Maureen Grasso
Dean of the Graduate School
May, 2006
DEDICATION
This study is dedicated to my husband Paolo André Gualdi, to whom I am grateful for his
support, patience and enormous love.
iv
ACKNOWLEDGEMENTS
I am grateful to my advisory committee, without whom this study would not have been
possible: Leonard Ball, David Haas, Mark Neumann, David Starkweather, and my major
professor, Michael Heald. Their time and expertise are truly appreciated. I am indebted to
Michael Heald, whose guidance and insight have been an invaluable resource.
Finally, I would like to give my deepest thanks and love to my parents and my sister, who have
supported me and loved me unconditionally throughout this and many other processes.
v
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS.............................................................................................................v
LIST OF MUSICAL EXAMPLES...............................................................................................vii
INTRODUCTION ...........................................................................................................................1
CHAPTER
I. LEOŠ JANÁČEK; A BIOGRAPHICAL SKETCH ............................................................3
II. THE MUSICAL LANGUAGE OF THE VIOLIN SONATA...........................................16
III. JANÁČEK’S DEPARTURE FROM THE TRADITIONS OF THE GERMANIC
VIOLIN SONATA, AS REPRESENTED BY BRAHMS’ VIOLIN SONATAS.............63
IV. DEBUSSY’S VIOLIN SONATA COMPARED TO JANÁČEK’S VIOLIN SONATA
ON THE BASIS OF HISTORICAL BACKGROUND AND STYLISTIC
CHARACTERISTICS .......................................................................................................78
V. CONCLUSION..................................................................................................................99
BIBLIOGRAPHY........................................................................................................................101
vi
LIST OF MUSICAL EXAMPLES
(grouped by work and movements)
Page
Leoš Janáček, Violin Sonata, I. Con moto
Example 2.1 mm. 10-16.........................................................................................................19

Example 2.3 b) mm. 1-2 ............................................................................................................22
Example 2.4 mm. 1-4.............................................................................................................23
Example 2.14 mm. 29-30.........................................................................................................30
Example 2.15 mm. 104-106 ....................................................................................................31
Example 2.20 mm. 33-34.........................................................................................................37
Example 2.25 mm. 17-27.........................................................................................................44
Example 2.26 b) mm. 4-11 ..........................................................................................................45
Example 2.29 mm. 4-16...........................................................................................................54
Example 2.30 mm. 101-102.....................................................................................................55
Example 2.33 mm. 17-27.........................................................................................................57
Example 2.37 mm. 50-53.........................................................................................................62
Example 4.1 mm. 1-16...........................................................................................................80
Leoš Janáček, Violin Sonata, II. Ballada
Example 2.5 mm. 1-2.............................................................................................................24

Example 2.13 mm. 37-40.........................................................................................................29
Example 2.22 mm. 17-20.........................................................................................................39
Example 2.23 mm. 25-28.........................................................................................................40
Example 2.27 First and Second theme......................................................................................48
Example 2.28 a) m. 17 ..............................................................................................................49
b) m. 37 .............................................................................................................49
Example 2.31 mm. 54-65.........................................................................................................56

Example 2.36 mm. 89-107.......................................................................................................61
Leoš Janáček, Violin Sonata, III. Allegretto
Example 2.2 mm. 10-14.........................................................................................................20

Example 2.8 mm. 15-24.........................................................................................................26
Example 2.12 mm. 1-4.............................................................................................................29
Example 2.16 mm. 25-29.........................................................................................................31
Example 2.32 mm. 46-58 ........................................................................................................57
Example 2.34 mm. 1-19...........................................................................................................58
vii
Example 4.4 mm. 1-19...........................................................................................................82
Leoš Janáček, Violin Sonata, IV. Adagio
Example 2.6 mm. 1-2.............................................................................................................24

Example 2.17 a) mm. 33-38.........................................................................................................32
b) mm. 22-26.........................................................................................................32
Example 2.24 mm. 40-50.........................................................................................................41
Example 2.35 mm. 1-26...........................................................................................................60
Leoš Janáček, Violin Sonata, graphs
Example 2.19 graph 1 ...............................................................................................................36

Example 2.21 graph 2 ...............................................................................................................39
Other examples connected with Leoš Janáček
Example 2.3 a) “Rustle of angry water” Napevky Mluvy ...........................................................22

Example 2.26 a) Kata Kabanova, penultimate scene ...................................................................44
Example 2.7 Ej, bola láska .....................................................................................................26
Example 2.9 Pojdem do mlina ................................................................................................27
Example 2.10 a) Lachian dialect...................................................................................................28
b) Standard Czech ..................................................................................................28
Example 2.11 Nesemy Maŕenu .................................................................................................28
Example 2.18 Zakukala zezuleka..............................................................................................34
Johannes Brahms, Violin Sonata in D minor, III. Un poco presto e con sentimento
Example 3.1 a) Violin score, mm.1-24 ........................................................................................75

b) Piano score, mm.1-6 ..........................................................................................76
Johannes Brahms, Violin Sonata, IV. Presto Agitato
Example 3.2 mm. 1-4..............................................................................................................76
Claude Debussy, Violin Sonata I. Allegro vivo
Example 4.6 mm. 1-14.............................................................................................................86

Example 4.7 mm. 29-42...........................................................................................................87
Example 4.8 mm. 98-109.........................................................................................................88
Example 4.10 mm. 22-28...........................................................................................................90
Example 4.11 mm. 43-45...........................................................................................................91
Example 4.12 mm. 283-end .......................................................................................................95
viii
Example 4.13 mm. 106-118.......................................................................................................97
Example 4.14 mm. 131-138.......................................................................................................97
Claude Debussy, Violin Sonata II. Intermède
Example 4.2 mm. 72-79............................................................................................................81

Example 4.9 mm. 60-69............................................................................................................89
Claude Debussy, Violin Sonata III. Finale
Example 4.3 mm. 81-84............................................................................................................81

Example 4.5 mm. 110-112........................................................................................................83
ix
INTRODUCTION
During the first two decades of the 20th century there were composers who further developed
the style of the Romantic era, and there were those who reacted sharply against it. It was a time
of a deepening psychological awareness, as well as a rapid growth of Nationalism. Musical
Impressionism in France and a refreshed interest in folk idioms in Eastern Europe gave the arts a
new direction. Furthermore, World War I brought death and destruction to the doorsteps of
many people living in Europe. Possibly in reaction to such influences, Leoš Janáček and his
contemporaries composed their violin sonatas. Some of these pieces significantly changed the
compositional approach to chamber sonatas for violin and piano. They also carried with them
the first examples of an expanded 20th-century violin technique.
The purpose of this study is to explore the significant changes in the violin sonata genre that
are represented in Janáček’s Violin Sonata. It consists of four main chapters. The first presents
a biographical sketch of Janáček focusing on his education, stylistic and social influences,
together with historical circumstances surrounding the Violin Sonata. The second chapter is a
discussion of Janáček’s compositional style as found in the Violin Sonata. There are analyses of
melody, harmony, and form, as well as observations of the innovations in violin technique. In
the third and fourth chapters, the work is compared to important representatives of the genre
found in the violin sonatas of Brahms and Debussy. Their similarities and differences are
pointed out on an historical, stylistic, and violinistic level, focusing on the manner in which
1
Janáček broke away from the late-Romantic compositional style and at the same time developed
his own musical voice.
2
CHAPTER I
LEOŠ JANÁČEK; A BIOGRAPHICAL SKETCH
Leoš Janáček (1854-1928) was the last and the least known of the distinguished Czech
composers of the late 19th century who included Bedřich Smetana (1824-1884) and Antonin
Dvořák (1841-1904). His own country regarded him as a national hero, a genius composer who
combined ancient and well-loved folk music with modern compositional techniques.
Childhood and Early Music Education
Moravia and Bohemia comprised the former Crown Lands of Bohemia from the 14th
century onwards. Today it exists as the Czech Republic. As a center of many different traditions
of the past, including Byzantine, Catholic, Hungarian, and Hapsburg influences, Moravia
developed distinct cultural characteristics. Despite being overshadowed by Bohemia, a political
center throughout the centuries, works created in Moravia characterized the entire Czech nation.
Moravia was the birthplace of many of Europe’s finest scientists, philosophers, artists, and
musicians, including Sigmund Freud, J. G. Mendel, Alfons Mucha, Leoš Janáček, and others.
Unlike the more pedestrian and conformist character of Bohemia, Moravia was filled with
variety, especially regarding costumes, dialects, and accents, and this tradition continues today.
Before the Czech National Revival in the 19th century, written Czech had been almost
completely lost, and the spoken language survived only among the peasants. Due to this
3
situation, folk song became an important means of keeping both the Moravian dialect and music
alive.
Janáček was born in the small Moravian town of Hukvaldy, in the region of Lašsko, on the
river Ostravice. His grandfather Jiŕí was a kantor (village schoolmaster-musician) and a
dedicated organist. He taught his sons piano, organ, and singing. Janáček’s father, also called
Jiŕí, became a teacher as well. The best musical education in Moravia was available only at
choir schools, and through his father’s connections, the young Janáček was sent to study with
Křížkovský, a renowned composer and a priest at the Augustinian monastery (“Queen’s”) in
Brno, Czech’s second largest city. Aside from following the usual school curriculum, he sang in
the monastery’s famous boys choir, which was nicknamed “Bluebirds” because of the boys’ light
blue, white-bordered uniforms. At the age of fourteen he suffered the usual fate of choirboys; his
voice broke, and he had to leave the school. He continued his private instruction with
Křížkovský, becoming a competent pianist, organist, and violinist, and also gaining valuable
insight into the style and technique of vocal writing, as well as familiarity with a wide repertoire
of choral music.1
Bohemia and Moravia had been vassals of the Hapsburg Empire since the 16th century.
However, in 1848, a short-lived but significant uprising against the Austrians took place, a
repercussion of the French Revolution which had occurred decades earlier. During that year
Austrians installed a new Emperor in Vienna: Franz Joseph I, the last of the Hapsburg rulers. In
1851 he reversed a previous decision to grant freedom to his domains, and imposed an absolutist
government with censorship, martial law, the return of Catholic privilege, and the reimposition
1
Pradhak Pradipasen, “A Study of Leoš Janáček’s Compositional Style and Analysis of Selected Orchestral Music”
(Ed. D. Thesis, Columbia University Teachers College, 1982), 10.
4
of the German language.2 At that time Brno was very much influenced by neighboring Austro-
Germanic culture. As Austrian rule imposed German as the official language, it became the
“native tongue” of both the aristocracy and middle-classes. Since Brno had no Czech school at
the time, Janáček was forced to attend a German secondary school. Furthermore, Czech had
become the language of the Brno underclass, and the Czech minority there was developing
strong nationalistic feelings along with hopes that Russia would support their battle for
independence.
Youth and Formal Music Education
Confused about his own desires for the future, Janáček followed his father’s wish and
enrolled at the Brno Imperial and Royal Teachers’ Training Institute. He became a certified
teacher at the age of twenty. This education helped him gain practical knowledge, but it did not
lessen his love of music.
In 1872 Janáček directed a choir as an unpaid assistant to Křížkovský at the Queen’s Choir
School. In 1873 he obtained a post as choirmaster of the Brno men’s society “Svatopluk,” a
patriotic organization that, under Janáček’s leadership, considerably widened its repertoire and
improved its standards. He also found an opportunity to conduct his first original compositions
on April 27, 1873: Orání (Ploughing), Ženiceh Vnucený (The Imposed Bridegroom), and
Válečná (War Song), all of which were scored for male-voice chorus.
After this experience, Janáček decided to continue his studies at the Organ School in Prague.
During his first year he studied subjects such as theory and orchestration as well as the organ; in
his second year he focused on composition and aesthetics, studying contemporary harmony and
2
Ian Horsburgh, Leoš Janáček (London: David & Charles, New York: Charles Scribner’s sons, 1981), 21.
5
church modes with Skuherský. This training greatly influenced his later work due to its
connection with modal Moravian music.3
At that time Prague boasted a highly active musical scene. Janáček often visited the
St. Vojtěch Church, where he met Dvořák for the first time. This acquaintance developed into a
long-lasting friendship, characterized by a deep mutual respect and admiration. He also met
Smetana at a benefit concert, but this contact did not lead to the same degree of friendship as
with Dvořák. Smetana’s compositions, however, still strongly influenced the young Janáček.
After completing his studies at the Prague Organ School, he returned to Brno and became
choirmaster of the Beseda, the leading Czech choral and concert-giving society. Janáček
improved the society’s performing standards and expanded their repertoire. He played chamber
music and piano concertos by Rubinstein, Mendelssohn, and Saint-Saëns with Amalie
Wickenhauser-Neruda, an accomplished pianist. Under her supervision, he also enhanced his
piano skills and considered a solo career.
His early compositions, which were mostly choral works, exhibited various influences from
Bruckner, Wagner, Smetana, Suk, Beethoven, Tchaikovsky, and Dvořák.
By 1878 Janáček had become completely sure that music was his true vocation; as a result,
he decided to continue his study of composition at the Leipzig Conservatory. Founded in 1843
by Mendelssohn, the conservatory attracted students from all over the world. The city of Leipzig
had a long and impressive musical history; J.S. Bach, Schumann, Mendelssohn and Wagner all
worked and lived there at some point in their careers, and this tradition must have been
impressive to the young composer.
Janáček threw himself into his studies with great vigor, attempting to cram three years of
work into as short a time frame as possible. However, he very soon felt exhausted from
3
Mirka Zemanova, Janáček (Northeastern University Press, Boston, 2002), 27.
6
overwork and decided to drop some of his courses. This decision was also prompted by the
Leipzig Conservatory’s extremely primitive facilities, and teachers whose old-fashioned teaching
methods could not keep his attention. He even rebelled in his main subjects (piano and
composition), refusing to obey the strict rules of his professors.4
In 1879 he fell in love for the first time with Zdenka Schultz, daughter of the principal at the
Teachers’ Training Institute in Brno. Janáček, a passionate young man, proposed to the 14-year-
old girl without much practical thought. Since her parents did not initially approve of the match,
they corresponded by letter for about a year. Meanwhile, Zdenka’s father paid for his private
lessons in composition with Leo Grill in Leipzig. Janáček had difficulty being so far away from
Zdenka and decided to transfer his studies to Vienna, which was only a few hours from Brno.
He studied composition with Franz Krenn and piano with Josef Dachs, both of whom had been
taught by Mahler. However, in Vienna, Janáček’s approach to piano technique was considered
too genteel, and he therefore abandoned piano studies and concentrated solely on composition.
In May 1880, one of his early violin sonatas was rejected at the conservatory competition due to
its being considered too conservative and academic.5 After this experience, Janáček lost his
confidence and returned permanently to Brno without a diploma. Later that year he married
Zdenka, with whom he later had two children, Olga and Vladimir.
4
Ibid., 32.
5
Jaroslav Vogel, Leoš Janáček, revised by Karel Janovický (New York: W.W.Norton & Company, 1981), 73.
7
Musical Career
In 1881 Janáček was appointed director of the new Organ School and, again, the conductor of
the Beseda. Many composers influenced Janáček’s growth during this period, most notably
Chopin, whose harmonic language he absorbed.6
Janáček founded the new periodical Hudbeny Listy (Musical Letters) in 1884, in which he
reviewed the operas performed at the local theatre. He not only criticized intonation, ensemble,
and orchestral playing, but also commented on the structure and psychology of the works
themselves. Through this effort, he hoped to increase the number of performances of Czech
music.7
In his review of the opera Dalibor by Smetana, he commented that the heroine Milada sang
“tunes specifically according to the flow and rhythm of speech.”8 Janáček believed that the
melodic rise and fall and the rhythmic fluctuations of everyday speech reveal our emotions and
states of mind. These years marked the beginning of Janáček’s speech-melody relationship
studies.9
In 1887 he encountered Šárka, a “music drama” based on Czech history, written by Julius
Zeyer. He immediately started to compose an opera by the same name. By then, as an already
rigorous anti-Wagnerian, he hoped to de-romanticize the plot whenever possible. However, his
work clearly revealed a mixture of styles and influences from Wagner, Smetana and Gluck, all of
which Janáček had absorbed during his classically-oriented musical grounding. His personal
style clearly developed in this opera, revealed by the tragic tone of the work, the lyrical passages,
and the presence of eroticism.
6
Ibid., 48, 276.
7
Ibid., 51.
8
Ibid., 52.
9
Ibid., 53.
8
Smetana’s influence was noticeable in the festive scenes, but by far the biggest inspiration in
Šárka was Dvořák, in both the instrumentation and the use of harmony. He often used ninth-
chords to evoke a particular mood that, according to some theorists (e.g., Vladimir Helfert), was
reminiscent of late Dvořák and Debussy.10 Janáček’s preference for three-bar phrases, typical of
his late works and deriving from folk music, was also apparent. Unfortunately, Zeyer did not
permit Janáček to use his drama as the framework for his already completed opera. He was not
persuaded by the efforts of this young, unknown composer. As a result Janáček did not see this
work staged until he was 72.
Song Collecting
In 1885 Janáček revisited the countryside of his native Hukvaldy, a trip that had a powerful
impact on him. His first song collections probably date from this period. Together with
František Bartoš, the principal of the Czech Gymnasium in Brno, Janáček established a
significant ethnographic collaboration. They visited villages in the Lašsko and Valašsko districts
and noted not only tunes but also their instrumental accompaniments and the choreography of
local dances. Together they co-edited three volumes of folksongs; Kytice (A Bouquet) from
1890, which contained Moravian, Slovak, and Bohemian folksongs, Kytice z národníh písni
moravských (A Garland of Moravian Folksongs) from 1892; and finally a two-volume collection
Národí písne moravské v nové nasbiraně (Folk songs of Moravia Newly Collected) from 1899
and 1901.11 Janáček also began to arrange folk songs for various instrumentations: voice and
piano, piano, chorus, and orchestra.
10
Zemanova, Janáček, 57.
11
John K. Novak, “What is Folk about Janáček?: The Transformation of Folk Music Concepts in Janáček’s Mature
Orchestral Works,” in International Journal of Musicology, 8 (1999), 243.
9
Compared to those of other musical traditions, Moravian songs are much less rigid and more
irregular in their metrical structure, and also more varied in their choice of melodic intervals;
additionally, they make freer use of minor and modal scales, and modulate to relatively remote
keys. Janáček referred to the particular harmonic flow of the songs as "Moravian modulation,”12
and was intrigued by their melodic shape, dictated by the lyrics. This period also resulted in
Janáček’s first ballet Rákos Rákóczy and orchestral dances titled Dances from Valašsko.
Lidové noviny was a new liberal daily, established in Brno in 1893. This intellectual
newspaper supported the mladočech (Young Czech) political faction and quickly became very
popular. Janáček wrote essays on folk music as a contributor to this publication.
Russian Influence and Speech Melody
In 1891 Janáček’s son, Vladimir, fell ill with meningitis and died. Janáček, grieving deeply,
composed a brief Adagio in D minor for orchestra based on material from Šárka. This was also
the year that he composed a new short folk-opera, The Beginning of a Romance, based on a
novel of Gabriela Preissová, a Czech author greatly influenced by the time she had spent in
Moravia. Janáček struggled with this opera during its creation, attempting to adapt existing folk
songs into the weak libretto. He later denounced the opera, and, in 1894, began to synthesize a
new style which reflected aspects of folk music without imitation.13
The 1890’s were politically stormy years for Czechs as exemplified by the revolutionary
movement of the ‘Omladina’ (The Young Czech movement's new name) and the opening of the
Ethnographic Exhibition, which served as a channel for the Czechs to express patriotic
sentiments. At this time, Janáček began preliminary work on his new opera, Jenůfa, which was
12
Ibid.
13
Ibid., 245.
10
his first major work incorporating his particular manner of using folk music. Jenůfa has been
compared to Smetana’s Bartered Bride as a purely nationalistic work. The opera follows
traditions in late 19th-century Czech literature of social-realism and the operatic realist tradition.
Its grim story of infanticide and redemption is coupled with Janáček’s increasing use of violent
textures and speech melody.
Since he considered Russia as “the mother of all Slavs,” Janáček was always a true devotee of
Russian music and culture, 14 He spent two weeks in Russia in 1896, determined not only to visit
the All-Russia Industrial and Art Exhibition in Nizhny Novgorod and explore Moscow, but also
to visit his brother František in St. Petersburg. Russia’s history, her language (related to Czech),
her folklore, and her literature became very powerful influences on Janáček. He had the
opportunity to hear a Russian choir at a panikhida (mass for the dead) and admired the
characteristic features of Russian orthodox music. Consequently, on return to Brno, he founded
the “Russian Circle.”
Janáček was fascinated by the study of the melodic curves of a person’s speech, called
Napevky Mluvy or “Speech Melody.” His theory must not be confused with musical
declamation; instead, it is his explanation of how everyday speech is affected by changes of
mood and situation. He notated approximately one thousand speech melodies from his
observations of a wide variety of people in different situations. These melodies were not
intended to be sung. Instead, he wanted to turn his research into a scholarly discipline. The
speech melodies he explored and studied signified an entirely new approach to the vocal line and
vocal stylization.
Janáček incorporated his speech melody theory and other folk influences into his opera
Jenůfa. At that time, Western European music offered no analogous approach. In this opera he
14
Zemanova, Janáček, 72.
11
also demonstrated a new concept of tonality, using enharmonically respelled intervals within
major and minor keys. After his daughter Olga’s death in 1903, he finished Jenůfa and dedicated
the work to her.
At the same time he started work on a new opera Osud (Fate). Partially autobiographical, it
was first performed after his death in 1928. Aside from the problematic libretto, its music ranks
among the most lyrical and passionate Janáček wrote. Much of the melodic structure is created
by repetition and the piling up of short units, which create an illusion of longer, freely flowing
cantilenas. He also incorporated speech melodies, which by then had become fully integrated
into his compositional style.15
War Years and Recognition
The devastation of World War I caused Janáček to struggle with his composition, but in 1917
he finally responded with his Violin Sonata, a piano sonata subtitled A Street Scene, and a
satirical opera, Výlety Páně Broučkovy (Excursions of Mr. Brouček).
Jenůfa had been performed in Prague in 1916, for the first time on Czech ground, enjoying
an extremely successful premiere. That same year Janáček met Max Brod, a man of Jewish
heritage with German as his mother tongue. Brod was very impressed with the opera and
translated Jenůfa into German, thereby making Janáček's work known well beyond the Czech
borders. One of the leading singers, Croatian-born Gabriela Horvátová, became Janáček’s lover.
He could not lie about the relationship between him and the talented singer, so he admitted his
adultery to his wife. This led to Zdenka’s suicide attempt, followed by a private agreement
between her and Janáček to divorce. The separation never became legal, but Janáček and
Zdenka would never again be close.

15
Ibid.
12
In 1917 he met Kamila Stösslová in a spa in Luhačovice. Much younger, gypsy-like and
passionate, she became his muse and obsession. From evidence left through their written
correspondence, one can conclude that they never consummated the relationship. Kamila was
married and she did not share the same degree of affection that the much older composer felt for
her. Nevertheless, she became a strong source of inspiration for Janáček during his later years.16
Janáček scholar John Tyrrell classifies the works of this period as “erotic.”17
The last twelwe years of his life proved to be the most productive in Janáček’s career. During
this period he composed his most famous works for stage, chamber music, and choral music.
His most famous operas include Kát’a Kabanová (Katya Kabanova) (1921), featuring a Russian
subject, Príhody lisky Bystrousky (The Cunning Little Vixen) (1923), a modern fairy-tale, Věc
Makropulos (The Makropulos Affair) (1924), and Z mrtvého domu (From the House of the
Dead) (1928), Janáček’s last opera and his most powerful realistic drama. Other masterpieces
from this period include Glagolská maš (Glagoltic Mass) (1926), for soli, chorus, orchestra, and
organ based on a Church Slavonic text; Zápisnk zmizelého (Diary of One who Vanished) (1918),
verses for tenor, contralto, three women’s voices, and piano; and two string quartets carrying
programmatic titles: Kreutzer Sonata (1923), inspired by Tolstoy’s novel, and Intimate Letters
(1928), a clearly autobiographical piece.
After attaining recognition from the music world, Janáček traveled extensively in Europe to
attend performances of his compositions. Three years before his death the University of Brno
(for whose foundation he fought) honored him with the degree of Doctor of Philosophy. Janáček
died of pneumonia on August 12, 1928 in a hospital in Ostrava.
16
Lisa M.Burell, “Music, Narrative, and Sexual Morality in the Kreutzer Sonatas of Beethoven, Tolstoy, and
Janáček” (DMA thesis, University of Houston, 2002), 128.
17
Ibid.
13
Historical background of the Violin Sonata
On June 28, 1914, a Bosnian revolutionary, Gavrilo Princip, fatally shot Archduke Franz
Ferdinand and his wife in Sarajevo, the Bosnian capital and an important center of the Austro-
Hungarian Empire. This event provoked the beginning of World War I. A month later, the
Empire declared war on Serbia, and subsequently all of Europe became involved. The
persecution of Russophiles throughout the Austro-Hungarian Empire began after Russia sided
with Serbia.
In mid-July, 1914, Janáček was forced to cancel his plans to travel with Zdenka to Crikvenica
and Montenegro. Instead, he had to stay in Brno, destroy his pro-Russian documents, and
conceal all of his pro-Russian activities. Janáček was listed only as “politically doubtful.” Some
Czech intellectuals and patriots, including Janáček, viewed Russia's involvement in this war as
an opportunity to achieve Czech independence.
Janáček’s spontaneous response to the war led him to begin his Violin Sonata, which reflected
the mood of uncertainty. This connection with the war was confirmed by the pianist Karel Solc,
who rehearsed the piece with the concertmaster of the Czech Philharmonic Orchestra, Stanislav
Novak, in preparation for its performance at the Second Festival of the International Society for
Contemporary Music in Salzburg during the first week of August 1923. According to Solc,
Janáček insisted on the most agitated rendering of the high piano tremolo over the final
appearance of the chorale-like theme of the last movement, explaining that it signified “the
Russian armies entering Hungary.”18
18
Vogel, Leoš Janáček, 400.
14
The Violin Sonata was not his first work of this genre. He had attempted other pieces,
including one violin sonata dating from his time in Leipzig which was left unfinished, and
another from his Vienna period which has since been lost.
Janáček composed the definitive version of the Sonata over a seven-year period. After the
first attempt was rejected by the Czech virtuoso Jaroslav Kocian, he reworked it, finally
completing it in 1921.19 Janáček juggled the position of movements and replaced several of
them with newly composed movements. The final ordering was as follows: Con Moto; Ballada;
Allegretto; and Adagio.20 The first composed movement of the Sonata was the Ballada, written
around 1913, when it existed as an independent piece.
The first performance of the Violin Sonata’s first edition took place in Salzburg on December
16, 1922. It was given by Stanislav Novák (violin) and Václav Štépán (piano). Janáček
continued to revise it, and finally it was published in Prague by Hudbeni Matice Umelecke
Besedy in 1922. It was first performed in its final version in Brno by František Kudláček (violin)
and Jaroslav Kvapil (piano). A fifth edition was later revised by violinist Josef Suk (1929- ) and
published by Supraphon in 1974.21
In 1926 Janáček traveled to London where his Violin Sonata was played at a concert of his
chamber works. After his return home he wrote notes reflecting upon his experience, describing
the performance and stating that he had been especially impressed with the Hungarian violinist,
Adila Fachiri, Joachim’s granddaughter.
19
Mirka Zemanova, Janáček (Northeastern University Press, Boston, 2002), 118.
20
Ian Horsburgh, Leoš Janáček; The Field that Prospered (London: David & Charles, New York: Charles Scribner
and Sons, 1981), 101.
21
15
CHAPTER II
THE MUSICAL LANGUAGE OF THE VIOLIN SONATA
Janáček’s musical language reflects the constant inspiration he had from Czech folk music.
He based his compositions on tonal harmony but in a less standardized way than that used by
many of his contemporaries. He did not cite folk songs explicitly in the Violin Sonata, but his
use of short and repetitive themes, modal harmonies, ostinato patterns, improvisational passage
work, three-note motives, and modified traditional structural forms can be traced back to folk
music.
The first movement Con Moto reflects Janáček’s tendencies for sectionalized forms. Three-
note motives are used for building short, repetitive, and modally-induced phrases. The formal
structure of the movement resembles monothematic sonata form, but without a development
section.
The second movement Ballada was actually composed first and published separately in 1915.
It has lengthier themes that exchange in a rondo-like manner. The themes are connected by
transitional material.
The third movement Allegretto has the clearest formal structure of all the movements. It is in
ternary form and therefore reminiscent of a traditional third movement. Looking deeper into the
background structure of this movement, Janáček’s individual style emerges from combinations
of simple folk-sounding melodies and unexpected, disturbing intrusions played on the violin.
16
The fourth movement Adagio is similar to the third movement in its character with the same
interruptive, muted figures in the violin. However, its form is closer to that of the second
movement.
Melody
Janáček’s intriguing compositional language is revealed at the very opening of the first
movement of this sonata in the melodic and harmonic structure of its three-bar introduction.
Many analysts have suggested that the soaring entrance of the solo violin is of particular
significance. Ladislav Prick connected these introductory measures with halekacka (call song), a
stylized version of an unaccompanied folk song from Valachia (one of the Czech regions). He
also described it as a declamatory solo voice intended to project a warning prior to the outbreak
of World War I.22 Jaroslav Vogel analyzed it as an improvisation over the dominant seventh of
A♭ minor, which foreshadows the main theme in bar 4, using the motif C♭-B♭-G.23 Skoumal
referred to these introductory three bars as the “violin’s opening fanfare” and linked it to a fifth-
series collection24 (D♭-A♭-E♭-B♭, without A♭ in the introduction); this tactic is used to build
the intensity of the main theme, which appears for the first time beginning in measure 4.
An interesting feature of Czech folk music is its type of modality that differs from that of
church modes traditionally used in Western music. In Czech folk songs for example, a modal
change can affect just a single beat, or several measures. In a traditional view, some of the
22
Ladislav Prick, “Stylistic Evolution of Leoš Janáček’s Lesser Known Compositions for Violin” (DMA thesis,
Arizona University, 1996), 70.
23
Jaroslav Vogel, Leoš Janáček, revised by Karel Janovický (New York: W. W. Norton & Company, 1981), 214.
24
The fifth-series is a cycle of pitches a fifth apart. The cycle goes through all twelve pitch classes before returning
to the starting point. Any seven-note segment of C5 represents one of the diatonic collections.
17
longer alterations can be understood as tonicizations or modulations.25 The main modal features
in Czech folk music are as follows:
1. Alteration of the major and minor mode (expressing a mood change)
2. Lowered 7th degree of the scale (“Moravian modulation”)
3. Raised 4th degree, which, in combination with the minor 3rd degree, becomes “Lydian
minor” (Janáček’s favorite mode).26
Most of these modal features influence certain melodic aspects of the Violin Sonata and
create instances of harmonic ambiguity. The first instance of ambiguity occurs immediately in
the opening theme of the exposition in the first movement. With a key signature of D♭ major,
Janáček provides an opening gesture that incorporates elements of A♭ minor using the pitches
C♭, G♮, and F♭ (here spelled as an enharmonic E♮). The pitch A♭ is omitted in the first three
measures of intermission, and does not sound until the pick-up to measure four. The placement
of the A♭ as a lowest sounding pitch of a quintal formation re-enforces the feeling of A♭ minor.
25
Zdenek D. Skoumal, “Structure in the Late Instrumental Music of Leoš Janáček” (Ph. D. thesis, University of
New York, 1992), 23.
26
Ibid., 27.
18
Example 2.1: Janáček Violin Sonata, mvt. 1, mm. 1-16
The first theme in the second movement develops a modal inflection in m. 11, where the G♮
brings a minor quality to the overall major statement which is in E major. The second subject in
this movement is in D♭ major and consists of a combination of two phrases, the first of which
19
modulates to A♭ major, while the second modulates back to C♯ minor (or D♭ minor). One can
see the major-minor modality in the specific choice of a minor instead of a major key at the end
of the second theme in mm. 51-56.
In the third movement Janáček’s favored mode “Lydian minor” is most apparent. The minor
third of A♭, pitch C♭, which is used in rapid descending passages in the violin part, together
with the pitch D♮ produces the sound of the “Lydian minor.”
Example 2.2: Janáček Violin Sonata, mvt. 3, mm. 10-14; Pitches C♭ and D♮ create a modal
inflection.
Janáček’s melodies are also notable for their terseness and sectional nature. He rarely writes
a melody in a cantilena style.27 Compared to the late Romantics, his melodies are characterized
by brevity and constant repetition. Janáček explained this brevity in his melodies as an attempt
“to satisfy the limited potential of a human mind.”28 He was referring to a general characteristic
of the human mind to remember shorter, simpler melodies more easily. As a result of the
repetition, his music is filled with ostinatos, repetitive figurations, and repeat signs. This
27
“Cantilena style” is characterized by a predominant vocal top line supported by less complex instrumental
accompaniment.
28
Skoumal, “Structure in the Late Instrumental Music of Leoš Janáček,” 31.
20
approach can create choppy, disjointed melodic lines; however, Janáček avoided the problem
with the use of motivic unity and folk-dance rhythmic patterns, thereby preserving the sense of
continuity in the melody.29
Janáček’s predisposition for brief melodies is clearly observed in the main themes of the
Sonata. Most of their subsections are two or three bars long. They become four bars (and no
longer than five bars) in length due only to extensions and prolongations. The first theme in the
first movement has four subsections, excluding the introduction. The first three subsections are
three measures long, and the fourth subsection is prolonged one extra measure (m.16, Adagio
bar).
Janáček made extensive use of what Skoumal calls “real” and “speech–influenced” melodic
motives and their development in the Violin Sonata. From his perspective, almost any existing
sound could become a potential motive, and the ones that occurred naturally had a great
influence upon his thinking.30 He collected these motives from everyday life and called them
“real” motives. According to analysts Skoumal and Vogel, Janáček did not copy these “real”
motives directly into his compositions; rather, he allowed them to become deeply embedded in
his soul and later expressed them through his own compositional language. An extremely
passionate man, he felt that “real” motives were the best way to express feelings, actions, and
thoughts in his compositions.31
Janáček’s interests also extended to researching the intonational patterns of human speech
which he managed to notate in his instrumental compositions. In 1885 he began notating and
collecting patterns of human speech and this research led to his development of a theory labeled
“Speech Melody,” or Napevky Mluvy. This theory was also very closely connected with
29
Ibid., 35.
30
Ibid., 66.
31
Ibid., 69.
21
Janáček’s pursuit of realism: i.e., he was especially interested in the specific circumstances that
produced a given inflection, the emotions associated with it, and the character and dialect of the
person involved. According to theorists Skoumal and Kaderavek, Janáček incorporated this
theory into his instrumental works.32 Skoumal's research points out the connection between one
of Janáček’s notated sounds and the main motive from the Violin Sonata. Example 2.3 shows
similar motives from one of Janáček’s “Speech Melodies” and the main motive from the first
movement of the Violin Sonata.33 The bracket indicates the main motive, and the arrows show
melodic direction. The connections are drawn from the quarter-note flow, similar pitches, and a
rising step at the end of the motive.
Example 2.3:
a) “The rustle of angry waters” b) Janáček Violin Sonata (main motive)
Janáček based the length and shape of his own original melodic motives on his folk-music
research. The first theme’s main motive, the basis of all the thematic material in the first
movement, can be observed in three-note segments with a shape that occurs frequently in
Janáček’s music. Skoumal named it the “hook-motive.” (See example 2.3 b)
The three-note "hook-motive” combines two intervals, one relatively small, one relatively
large. The smaller interval is a minor or major second, while the larger interval typically
does not exceed a sixth.34
32
Milan Robert Kaderavek, “Stylistic Aspects of the Late Chamber Music of Leoš Janáček: An Analytical Study”
(DMA thesis, University of Ann Arbor, Michigan, 1970).
33
34
Ibid., 128.
22
The first appearance of the “hook-motive” occurs in the violin in m. 4. The next bar quickly
repeats the motive in an harmonically consequential manner. This manner of building phrases
fits what one might expect of Janáček’s themes, i.e., a constant repetition nuanced by slight
variations. We can observe the same motivic cells and their overlapping in bars 2 and 3 of the
introduction.
Example 2.4: Janáček Violin Sonata, mvt. 1, mm. 1-4: First three bars of an introduction
In the second movement, the “hook-motive" is changed from the initial prototype since a minor
third is the smaller interval. The answer to the motive is its own inversion in m. 2 in the violin.
This transforms a minor third into a minor second, as one would expect in the “hook-motive.”
23
Another of Janáček’s “named” motives appears in the fourth movement, in the top part of the
piano’s right hand. This motive is referred to by Vogel as the “Dumka”35 and consists of an
arched four-note figure with a chromatic descent. 36 It is dramatized further in the recapitulation
by an accompanying ostinato pattern and tremolo in the piano part.
Example 2.6: Janáček Violin Sonata, mvt. 4, mm. 1-2; Bracket shows “Dumka motive.”
35
Dumka is an instrumental piece with a reflective, often melancholy character, usually composed for chamber
group or solo instrument. It is characterized with frequent alterations between major and minor keys and faster and
slower tempos. Composed by Northern and Western Slavic composers, it was very popular in the late 19th and
early 20th centuries and as such became a musical symbol of pan-Slavonicism. Even though Burghauser speculates
that Dvořák’s conception of a dumka may have been formed through discussion with Janáček, it is widely accepted
that Dvořák established the form in Bohemia and Moravia with his many dumka-like pieces. See John Tyrell,
“Dumka,” Grove Music Online ed. L. Macy (Accessed 2006-03-08), <http://www.grovemusic.com.proxy-
remote.galib.uga.edu:2048>
36
24
Another source of inspiration for Janáček’s Violin Sonata was the ever present Gypsy tradition
that had been a part of the Eastern European culture for many centuries. Janáček was
particularly fascinated by Gypsy bands, songs, and instruments, and the manner in which there
had been gradual blending with the local folk traditions. Some particular features of Gypsy
music are found in his Violin Sonata. The improvisatory character of the entrance of the solo
violin in the introduction of the first movement is a good example. Another instance can be
found in the second movement in mm. 112-120. The additional marking ad libitum gives this
passage a sense of a free cadenza.
In summary, the melodic language of Janáček’s Violin Sonata clearly shows important
changes from the past. Janáček was inspired by specific Czech folk elements and Gypsy
traditions, writing short, punctuated phrases, and repetitive motives. Through it all, however, he
managed to communicate a nationalistic feeling as well as expressing his own compositional
voice.
Rhythm
Many rhythmic aspects of Moravian folk songs and dances are reflected in the musical
language of this sonata. Czech folk song’s rhythmic patterns are usually structured around the
text, preserving the accentual pattern of words which were often extremely irregular in nature.
Janáček was very conscious about the problem of adequately notating these rhythmically
complex folk songs. Example 2.7 shows the Czech folk song Ej, bola láska (Oh, love was here)
and its frequent change of meter.
25
Example 2.7: Ej, bola láska37
In the third movement of the Violin Sonata Janáček changes the meter of the melodic rhythm
by inserting extra measures, containing fewer beats. The specific rhythmic shifts in the melody
of the A section in the third movement are evident in mm. 17-20. (See example 2.8). By
inserting two 1/8 bars in the score, Janáček achieves a more interesting, yet shortened repetition
of the first theme.
37
26
Janáček also uses rhythm drawn from folk dances that, in contrast to folk songs, displayed
rhythmic regularity and certain characteristic rhythmic cells. Example 2.9 shows a Czech dance,
Pojedem do mlýna (We will ride to the mill), which, with the three-measure phrases and the
characteristic rhythmic pattern, largely resembles the first theme from the first movement of the
Violin Sonata.
Example 2.9: Folk dances, Pojedem do mlýna38
38
27
Janáček believed that rhythm gave music life, and therefore should be derived from life.39
On occasion he uses a rhythmic pattern influenced by the Lachian40 dialect, with a stress placed
on the penultimate syllable of the spoken words.
Example 2.10: Difference between the Lachian dialect (a) and the standard Czech language (b)41
a) b)
Ja-ná-ček Ja-ná-ček
The next example is from a folk song from a region adjacent to Příbor. It is notated to fit the
Lachian dialect (notice the word Ma-ře-nu, sma-že-nu, and pro-bé-le-nu, and how the lines
indicate the accent on the penultimate syllable).
Example 2.11: Lachian dialect in folk song42
The third movement of the Violin Sonata is similar in rhythmic pattern and melodic contour
to this folk song, which suggests that it was the source of Janáček’s inspiration.
39
Kaderavek, “Stylistic Aspects of the Late Chamber Music of Leoš Janáček: An Analytical Study,” 51.
40
Lachian dialect is mixture between Czech and Polish languages.
41
42
28
Example 2.12: Janáček Violin Sonata, mvt. 3; Lines indicate optional melodic and rhythmic
emphasis. 43
Janáček’s rhythmic language also demonstrates his particular tendency towards symmetrical
phrases. The phrases are often structured with short note values followed by a longer note value
and then repeated in “mirror” fashion. Janáček uses these “mirror” rhythmic patterns more
freely than other composers such as Messiaen. In the second movement, “mirror” measures are
presented in measures 38 and 40 in a more hidden manner as a part of a larger phrase structure.
Example 2.13: Janáček Violin Sonata; mvt. 2, mm. 37-40
43
This reduced excerpt of Violin Sonata is found in Vogel, Janáček, 214.
29
Additional rhythmic characteristics in Janáček’s works include: frequent changes of pulse,
free alternation between simple and irregular division of the beat, and a combination of the two
in polyrhythm.44 Janáček’s frequent use of ostinatos emphasizes the polyrhythmic effects.
Polyrhythm emerges in the first movement in measures 29-30 and 90-91. In most instances, the
triplet is opposed to the beat divided in four.
Examples 2.14: Janáček Violin Sonata, mvt. 1, mm. 29-30
It is also interesting to observe the shift of accents, which create the feeling of a changed beat.
Especially noticeable is the shift of a down beat, achieved by placing an accented note on the
fourth sixteenth note in the piano left hand. This happens two measures before the coda in the
first movement, mm. 104-105, hiding any clear sense of the beat.
44
30
The third movement features considerable metrical instability. The second theme uses
contrasting meters in mm. 25-29. Janáček combines the simple duple meter found in the violin
part (2/8) with a simple triple meter (3/8) in the piano part.
A similar contrasting meter, which in the following example creates a polyrhythmic effect,
occurs in the fourth movement in mm. 35-38, where Janáček opposes four sixteenth notes with
triplets.
31
Example 2.17: a) Janáček Violin Sonata, mvt. 4, mm. 33-38
b) Janáček Violin Sonata, mvt. 4, mm. 22-26; In mm. 23-24 the left and right hands play triplets
and duplets simultaneously.
Janáček’s use of various rhythmic ideas clearly helped to develop the musical language in this
Sonata in new and interesting ways. No one before Janáček had used speech inflection as an
indication of rhythm in a violin sonata. Moreover, his willingness to incorporate elements of
Czech folk music such as “mirror” rhythm, polyrhythm, frequent meter change, and metric
shifts, created an idiosyncratic result never before heard in this genre.
32
Harmony
Complex traditions and certain keys found in Moravian folk music add to the particular
harmonic language of Janáček’s Violin Sonata. The most interesting aspects of his harmonic
language are as follows:
1. Modulations to related keys and modulation types
2. Key floatation (suspended tonality) and tonally open works
3. Fifth-series motives and semitone shifts
4. Modality
5. Repeated figurations
6. Enharmonic pitch spelling
Novak’s article concerning the influence of Moravian folk music on Janáček’s compositions
reveals that the majority of folk songs that Janáček collected and researched began and ended in
the same key and contained a contrasting middle key. In minor-key songs, the contrasting key is
usually the relative major (III). Janáček called this “Lachian melodic modulation.”45 The next
most common key of modulation is the subtonic (♭VII), which Janáček himself labeled the
“Moravian modulation.”46 This latter occurs very frequently in the folk music of Moravian
Slovakia. Janáček often adopted this type of sudden shift, taking the key down by a whole step.
The next example shows a folk song with the Janáček’s “Moravian modulation.” In mm. 4-5 the
melody momentarily shifts tonal focus to the pitch F♮.
45
Novak, “What is Folk about Janáček,” 253.
46
Ibid., 254.
33
Example 2.18: “Moravian modulation” in a folk song 47
The type of modulation in Czech folk music least represented in Janáček’s work is, according
to Novak, the tonicization of the major dominant.48 As opposed to Bohemian folk music and
other Western art music, Moravian folk songs used V-I progressions at their cadences, but not as
part of a large-scale tonal scheme.49
It is important to understand that in Czech folk music a distinction between tonicization and
modulation is not always clear. The modal-fixion tones50 and non-tonal relationship between the
tonic and dominant scale degrees help to further reduce the sense of a tonal center. Janáček
achieves the impression of floating key centers by adopting these features, moving freely from
one to another without confirming any of them through standard chord progressions or
cadences.51 Arnold Schönberg’s idea of floating tonality as an harmonic ambiguity between two
key areas is also important. This results when common chords found in two keys are used, but
without emphasis on any of the key centers. Novak compared Brahms’ techniques to Janáček’s,
noting that Brahms typically floated between third-related keys, where one key would usually
47
Ibid., 268.
48
Ibid., 254.
49
Ibid., 255.
50
The modal-fixion tones are the notes shifted up or down a semitone, altering the position of semitones in the mode
and sometimes the perception of the tonic.
51
34
“win” at the end of the composition.52 Janáček, in contrast, experimented with keys a fifth apart;
however, there was no certainty that either of these keys would dominate at the end. Sometimes
a third key would finish the piece. Janáček drew his tendency towards tonally open works from
Moravian folk song, which typically ends in a fifth-related key.
Theorists Skoumal and Novak researched Janáček’s practice of using harmonic motion in
perfect fifths. This was an uncomplicated method of achieving suspended tonality.53 In
Janáček’s style the fifth-series54 does not require the inclusion of exclusively perfect fifths;
diminished fifths and augmented fifths are also possible.55 Although the practice of shifting the
pitch up or down a semitone, called the “semitone shift,” creates a large number of scales and
fifth-series, Janáček generally limits his choices to harmonic and melodic minors, Lydian minor,
and the whole-tone referential collection.56 When a fifth-series collection of pitches57 continues
beyond the seventh member and in so doing, beyond the diatonic scale, it automatically
modulates from one key area to another a fifth away.58 Janáček tends to use smaller numbers of
key sub-collections and to introduce them as a motive. At a later point in the composition he
often adds the other pitches from the fifth-series, thus forming a diatonic scale. Skoumal's
research reveals the first fifth-series used in Janáček’s Violin Sonata. Note the presence of both
augmented and diminished fifths in the series.
52
Ibid.
53
Each new chord in the cycle of fifths can be tonicized by the previous chord.
54
The fifth-series present in Janáček’s work include both the circle of fifths and the circle of fourths. Both generate
the same pitches. According to Skoumal, Janáček used the circle of fourths even more frequently. Fifth-series and
diatonic collections are associated. A seven note segment of the fifth-series contains the pitches of a diatonic
collection.
55
56
Ibid.
57
The collections of pitches or pitch-regions refer to all the pitches in one passage. Analyzing Janáček’s Sonata,
one can notice that the collections of pitches are mostly diatonic collections which behave as keys in traditional
tonality.
58
When two pitches are shifted by a semitone in the fifth-series, the resulting collection of pitches can be regarded
as a shifted fifth-series.
35
Example 2.19: Fifth-series from the first theme (first movement)
The first theme (first phrase) consists of a fifth-series pitch collection D♭-A♭-E♭-B♭. The
pitches, F♭, C♭, and G♮ are added later (second and third phrase) to create A♭ harmonic minor.
As stated earlier, the majority of the pitches of this fifth-series, minus only A♭, are also
presented in the introduction.
Looking closer at measure 16 in the first movement, which is generally understood as a
transition or the beginning the second section of the first movement, one finds that it adheres to
the same pitch collection; however, the bass notes now reinforce D♭ and by doing so create a
sense of a D♭ diatonic referential collection. The whole first section of the movement emerges
from a flux between A♭ and D♭ diatonic collections. Analysts have always argued whether or
not the movement is in either A♭ or D♭.
Throughout the first movement the key centers change, emphasizing different pitches from
the fifth-series collection. These changes define the structural sections of the movement.59 For
59
Since the fifth-series collection in this Sonata acts as the key area, certain pitches behave as a tonic or an axis.
36
example, section 3 of the movement (mm. 28-33), features an axis around E♭, which then
“modulates” back to A♭ on the first beat in bar 31.
The first radical change in the fifth-series collection appears in measure 33, where the ostinato
pattern, together with motivic development, introduces a semitonal shift from A♭ to A♮, creating
a whole-tone referential collection incorporating the pitches A♮, B♮, C♯, E♭(D♯), F♮, and G♮.
Example 2.20: Janáček Violin Sonata, mvt. 1, mm. 33-34; Whole-tone referential collection
The pitches must be observed as relative because of constant enharmonic respelling, which is
characteristic of Janáček's compositional approach. As previously discussed, modal scales and
inflections occur frequently in Janáček’s music, and these can be explained in terms of semitonal
shift. In addition to modal scales, he frequently uses whole-tone scales. Skoumal explains
Janáček’s “creation” of the whole-tone scale as the product of a semitone shift from melodic
minor.60 A more structural implication of this type of shift can be found in larger harmonic
blocks that move entire passages up or down by a semitone. Interestingly, one can detect the
60
37
presence of this fifth-series in the recapitulation of the first movement, without the modal
inflections of the minor mode (C♭) and lowered VI (F♭).
The coda (m. 106) reintroduces the D♭ key center, the same fifth-series pitch collection as at
the beginning of the movement, this time using only pitch subsets from the D♭ major chord. The
first movement of the Violin Sonata begins with an ambiguous key center, where A♭ and D♭
diatonic collections exchange in dominance. Therefore, both keys can be understood having
both a tonic and subdominant function. This uncertainty between key centers gives more
opportunity for an unusual ending. Knowing Janáček’s tendency to typically end pieces in the
subdominant, D♭ can be considered as a subdominant of the beginning A♭ key.
In the second movement, striking tonal ambiguities result from the fifth-series semitonal-shift
modulations and an overall tonal dualism. The first subject’s fifth-series is characterized by a
pitch axis on E, giving the impression of E major. E major is confirmed by the V-I progression
in mm. 8-9, and becomes modal in feeling with a lowered third scale degree in m. 11 (G♮). The
series changes and a modulation to D♭ major is accomplished by means of a semitone shift from
B♮ to B♭ in m. 13, and E♮ in m. 11 to E♭ in m. 14.
38
Example 2.21: The fifth-series of the second movement.
Another interesting aspect of the harmonic language in this sonata is the way in which
Janáček writes chords over pedals. In the second movement D♭ serves as a pedal tone between
measures 17 and 20, while the chords stacked above it are B♭ minor and D♭ major.
In measure 25 Janáček changes the pedal to two pedal pitches; E (semitone shift from E♭
pedal in measure 21) and F♯ (violin). Stacked chords over the pedal tones are composed of the
E7 chord (+C♯). These chords form a motive that sequences through the next 4 measures.
39
Janáček’s harmonic language in the transition section of the fourth movement (mm. 40-59) is
highly modulative as seen from the example 2.24. Janáček achieved a sense of motion and
suspended tonality by using a constant semitone shift to transition from one temporary tonal
center to another. This can be seen in the octaves of the piano right hand.
40
Example 2.24: Janáček Violin Sonata, mvt. 4, mm. 40-50; The brackets indicate semitonal shifts
Janáček’s rich harmonic language used in this sonata was the consequence of many different
influences as well as personal choice. The most prominent influences as seen from my research
are the elements drawn from Czech folk music and Gypsy traditions such as: Czech folk song
melodic and harmonic modal characteristics, “Moravian” and “Lachian” types of modulations,
and floatation of keys. Janáček’s most original input included the fifth-series pitch collections
used as keys and semitone shifts used as modulation devices. This composition helped to
develop the harmonic language of the violin sonata genre, and made it a source of inspiration and
point of reference for compositions that followed.
41
Form
Janáček generally avoided the traditional forms used by many of his contemporaries and
immediate predecessors, and this had a strong bearing on the musical language of the Sonata.
Some writers have attempted to explain Janáček’s sectionalized forms as a response to particular
influences. They explain it as a part of Janáček’s view of music as a flow of dramatic events,
that caused him to allow the programmatic material to dominate the design. And, as always,
there was the strong Moravian folk music influence. Most Moravian folk songs are generally
four phrases long, built upon repetition and variation (especially repetition of the motives and
phrases), and are formally divided into two, three, or four parts. Janáček was mainly interested
in songs that had the return of material incorporated in the form, and he called them kolečky or
“small wheels.” In traditional terms, they are actually varied types of ternary and small rondo
forms.61 Janáček’s pieces are usually based on repetition, variation, and contrast. It is rare in his
music to find movements based on strict classical forms, such as sonata or rondo form. Instead
Milan Kaderavek relates the resulting formal schemes in Janáček’s music to something he calls
“dramatic form.”62
One of Janáček's characteristics is to compose a small motive (usually consisting of a
melodic fragment) that is repeated, embellished, altered, and subsequently used as a base for a
larger structure until a pattern emerges. He presents new material when a particular motive is
exhausted. Within this constant repetition, Janáček often introduces sudden tempo shifts and
changes in mood and dynamics. This approach increases the dramatic quality of his
61
62
Kaderavek, “Stylistic Aspects of the Late Chamber Music of Leoš Janáček: An Analytical Study,” 19-21.
42
compositional style and thus establishes a connection between his operatic works and
instrumental music.63
Clearly, the first movement of the sonata does not adhere to the strict classical scheme of
sonata form. However, we can consider it to be a clever combination of a number of sections
that resemble, in some respects, a monothematic sonata form scheme. For example, all of the
sections contain similar thematic material. Instead of two contrasting themes, Janáček presents a
single motive. Thus the motivic cell from m. 4 (pitches: D♭, E♭, B♭) becomes the main
structural unit underlying the entire movement. Theme 1 (mm. 4-16) can be sectionalized into
four sub-phrases (see the schematic outline of the first movement on page 47). In the first sub-
phrase mm. 5 and 6 again arise from the main motive, which is now transposed and modified.
This type of accumulation, variation, and modification of micro-texture can also be found in the
compositional techniques of Mussorgsky, whom Janáček greatly admired.64
The second sub-section (mm. 7-9) repeats the motive, expanding it in bar 8 (adding a C♭),
and creating a modified leap to G♮ in bar nine to conclude the section. The third and fourth sub-
sections begin with an inverted main motive, and the entire section concludes with a
whole-tone scale ascending by step. This scheme not only presents another modification of the
motive, but also imparts to it a modal feeling. Close study of each section reveals that all of the
sections are actually built upon one central idea, the original motivic cell in m. 4 of the first
movement.
The second section (mm.16-27) is derived from the same motive; the derivation is found in a
deviated tail.
63
Ibid.
64
Prick, “Stylistic Evolution of Leoš Janáček’s Lesser Known Compositions for Violin,” 84.
43
Example 2.25: Janáček Violin Sonata, mvt.1, mm. 17-27
The whole first theme has been pointed out by Vogel as having a connection with Janáček’s
opera Kata Kabanova 65 and its closing theme from the penultimate scene. (See example 2.26 a).
Example 2.26: a) Motive from the penultimate scene of the opera Kata Kabanova.
65
Kata Kabanova was composed from 1919-1921. According to Vogel, the Russian atmosphere that dominates the
Violin Sonata is even more striking when compared with the motivic material that is affiliated with this opera’s
motivic material. Vogel, Leoš Janáček, 214.
44
Example 2.26: b) Janáček Violin Sonata, mvt.1, mm. 4-11
The third section (mm. 28-32) has been designated as a second theme by Vogel,66 but neither
the melodic material (the same motive) nor the use of repeated figurations as an accompaniment
helps to support this idea.
The fourth section (mm. 33-36) acts as connecting “bridge-like” material. An ostinato-like
pattern in the right hand of the piano introduces a new mode, while the violin and left hand of the
piano exchange the repetition of the “hook-motive.”
Theorists Burghauser and Vogel believe that the fifth section (mm. 38-42) consists of the
second and third subjects respectively.67 The material of this section appears at first to be
different, but is simply another transformation of the main motive. Where the fifth section begins
is debatable because of the introduction of the group of thirty-seconds in measure 37, the last
measure of the fourth section. This formation later becomes the head of the “new” motive that is
used to build section five. One cannot help noticing that these thirty-second notes are simply an
enharmonically respelled reference to the accompanying ostinato that supports the transition
section four bars earlier. These small motivic formulations were, for Janáček, very
characteristic. He called them sčasovky: short, repetitive figures of static harmonic content.68
The repeated combination of the upbeat sčasovky and the transformation of the main motive
66
Ibid., 215.
67
Prick, “Stylistic Evolution of Leoš Janáček’s Lesser Known Compositions for Violin,” 85.
68
45
define this section. Being very short compared to section one, it is highly unlikely to be
understood as the second subject of this piece. J. Vogel proposes that this section should be
heard as a codetta.69
The traditional key choices in the recapitulation section show that this movement conforms
in part to sonata form. The majority of the recapitulation sub-sections have A♭ as the tonal
center, reminding us of sonata form, in which the two contrasting subjects return in the same
key. The coda section (mm. 106-end), which modulates to D♭ major, is particularly interesting
since it is the subdominant of the key in which the movement starts.
69
46
Schematic outline; Mvt. 1 measure numbers keys
Exposition:
Introduction 1-3 V7/a♭
Section 1 4-16 (3+3+3+4) a♭

Section 2 16-27 (1+3+3+5) d♭
Section 3 28-32 (4+3) e♭/C♭
Section 4 33-37 (2+3) WT1
Section 5, codetta 38-42 (2+2+2) V/E
Development: a♭→ mod→V/a♭
Section 6 43-49 (4+2)

Section 7 50-54 (3+2)
Section 8 55-65 (3+2+1+2+2+1) mod.→V/a♭
Recapitulation :
Section 9 66-77 (3+3+3+3+1) a♭

Section 10 78-88 (1+3+3+4) a♭
Section 11 89-93 (4+3) A♭-f-D♭
Section 12 94-100 (2+3) W1
Section 13 “codetta” 101-105 (2+2+2) a♭-V/D♭
Coda: 106-110 (2+3) D♭
47
The second movement displays a rondo-like structure, in which two themes are exchanged
with intervening episodes.
Example 2.27: Janáček Violin Sonata; Mvt. 2; Two alternating themes
a) Theme 1
b) Theme 2
These episodes are built from material drawn from both themes. Observing measure 17 in
example 2.28, we can see that the piano (left hand) presents material similar to that of the first
48
subject. For example, the notes repeated by the left hand in measure 17 foreshadow the second
subject's leading motive, that appears in the violin part in measure 37.
Example 2.28: Janáček Violin Sonata, mvt. 2; comparison of mm. a) 17 and b) 37
a) b)
Analysts regard the themes in this movement as rare moments in which Janáček expresses
himself in extended, fully developed subjects. As Vogel writes:
The second movement, the Ballad, alternates a lifting, imitative version of the main
theme...with an “extended,” soothing melody of a typically Valachian atmosphere...70
Interestingly, the “lengthy” themes in this movement are also built from repetitive sections.
Instead of simply repeating the earlier pattern, Janáček reverses the order of the themes and, in
the second half of the movement, the second theme appears first, in a varied and extended
manner.
70
Ibid., 215.
49
A-theme one: 1-17 (4+6 + 4+3) E
Transition: 17-36 (4+4+4+4+4) (b♭), D♭, (B♭), A♭, (B♭7),

E7, d♭, A♭7, g♯V/D♭
B-theme two: 37-57 (4+6 + 4+6) D♭, b♭, C♭, E, c♯(d♭)
Transition: 57-76 (4+4+4+4+4) D♭~modulation~a♭ (g♯)
B¹-theme two: 77-107 (4+4+6 + 6+4+7) A♭, f~modulation~V/C♯
A¹-theme one: 108-129 (4+1+2 +6 + 4+5) c♯, B, E
Coda: 129-end (2+3+3+3) C♯
B¹ begins with the theme in the piano and remains there even when the violin enters in m. 81.
A major extension begins in m. 90, where the improvisation described above takes place. The
accompanying segments are in the violin part, while the piano takes over the main subject
throughout this set of sequences.
A¹ also exhibits a cadential improvisatory character. The rhapsodic figure elaboration (m.
111) is expanded in mm. 114 and 116. Janáček modulates with this “cadenza” into B major,
which then becomes the dominant for the return of the first subject’s motive in m. 121 in E
major.
50
The third movement displays a compound ternary, scherzo-trio-scherzo-like structure
(Allegretto-Meno mosso-Allegretto). Both the Allegretto and the Meno Mosso are sectionalized
in structure and are reminiscent of ternary (a b a¹) forms. The simple folk-sounding tune is
basically repeated three times with slight variations that make the second one more
developmental, and the third one more of a recapitulation. Of all the movements, the third
presents the most clearly outlined form.
Allegretto (A)
Section 1 1-5 (1+2+2) a♭
Section 2 6-14 (2+2+2+2) a♭
Section 3 15-24 (2+2+2+3+3) a♭
Meno mosso (B)
Section 1 25-34 (5+5) B♭,G♭
Section 2 35-45 (5+6) D, c#, V/A♭, A♭
Section 3 46-65 (5+4+10) b♭, V/B♭, a♭
Section 4 codetta 65-79(1+6+8) V/a♭
Allegretto (A)
51
The fourth movement exhibits a formal structure similar to that of the second movement: i.e.,
a rondo-like alignment of sections with an improvisatory character. In this movement the
overlapping of sections and misalignment of voices that create the polyphonic illusion, especially
in the transitional sections, becomes more noticeable.
Introduction 1-2 g#
Section 1 (A) 3-26 g#

(violin and piano have overlapping sections)
Section 2 (B) 27-39 (4+4+2+2) E
Section 3 Transition 39-59 modulatory

4+3+polyphonic misalignment of voices
Section 4 (A¹ ) 60-68 (2+2+5) g♯
Section 5 (B¹) 69-80 (2+6+5) a♭
Section 6 Coda 81-end g♯
Many analysts describe Janáček’s style in this sonata as “anti-developmental.” It is debatable
whether this description is due to a lack of the true development section in the first movement, or
because of an extensive use of repeated motives, phrases, and sections. In any case, Janáček’s
use of these unique structural forms in each of the movements gives this Sonata an individual
musical personality that had not been seen before.
52
Violin techniques
There are various features of violin technique required to successfully perform this sonata. In
the left hand there are specific problems connected with fingering, intonation, and vibrato. In the
right hand the violinist must understand certain bowing articulations and different sound effects
peculiar to Janáček.
Left hand techniques
In his dissertation about the development of violin technique at the beginning of the 20th
century Ernest Periera wrote:
In the left-hand technique, the invention of the chin-rest and the (by now) nearly
universal way of holding the violin permitted a free left hand that allowed all the
following: extensive use of positions on all strings, including single-string playing;
natural and false harmonics, including double-stop harmonics; glissandi; single-and
double-trills of various kinds; continuous and selective vibrato; double-, triple-and
quadruple-stops; extension- and contraction-fingering, including unisons, fingered
octaves and tenths; sliding chromatic fingering and, in isolated cases, contiguous
chromatic fingerings and left-hand pizzicato.71
All of these techniques, with some of them being expanded and intensified, appear more
regularly throughout the 20th century.
Otakar Ševčik (1852-1934) was one of the most influential violin pedagogues of the time,
and responsible for many innovations in violin technique. Ševčik was Janáček’s contemporary
and countryman, and was famous for his left hand exercises based on hand frame positions.
These are still used by many violin students today. The increased chromaticism of the late 19th
century induced Ševčik and others to “rediscover” the fingering for chromatic scales that
Geminiani (1687-1762) had suggested: using a new finger for every semitone (contiguous
71
Ernest Periera, “Twentieth-Century Violin Technique” (DMA thesis, University of Texas at Austin, 1987), 17.
53
fingering) as opposed to the sliding type more commonly used. This allowed performers to
respond to the demands of the music from the late 19th century onwards.72
Carl Flesch (1873-1944) was another prominent pedagogue of the early 20th century. In his
famous publication, The Art of Violin Playing, which includes the supplements titled Scale
System, Basic Studies, and Violin Fingering, he indicated extensions and contiguous fingerings
as necessary to avoid slides.
Janáček's Violin Sonata qualifies as difficult material because of the intonation problems73
and specific fingerings required. A need for a more advanced left hand technique is created by
the use of modality and chromaticism, extensive use of enharmonically respelled pitches, and
difficult keys often using many flats. For example, at the beginning of the first movement, in
the first theme Janáček’s use of D♭ as the tonal center obliges the left hand to use non-fixed
positions and finger extensions in order to remain on the A string and in that way preserve
same color and timbre.
72
Ibid., 18.
73
To achieve a “perfect” intonation or to play “in tune” is an ongoing task for every violinist. With the more
chromatic and modal language that we find in Janáček’s Violin Sonata, this task is even more challenging.
54
Another example of non-fixed left hand positions and further finger extension passage can
be found in the first movement in example 2.30 when the first finger must reach from fifth to
fourth position. This edition of the Violin Sonata suggests this specific technique in order to
preserve the color of the D string (avoiding clumsy string crossing) and to efficiently execute
the passage. This creates a double extension where the first finger reaches back a step to A♭,
and it is immediately followed by the fourth finger reaching back up a step to E♭.
In the second movement mm. 24-57 the left hand is required to be extremely flexible with
only a few moments when it is in a set position. A violinist must specifically learn the steps of
the fingers in the more modal and chromatic passages. There is no actual set of standard
fingerings that fit this passage, and one is forced to “cripple”74 with fingers in order to reach
the pitches fluently.
Janáček writes many wide leaps for the violin, causing particular difficulties for the violinist.
A shift from G♮, second position on the D string, to G♭ in sixth position on the E string is in my
opinion a difficult passage to play in tune even though the violinist has three measures to get
prepared. This high-lying extended melodic passage was very unusual in previous violin
74
The “cripple” fingering is an expression used by Ernest Periera in his dissertation about 20th century violin
technique. It vividly explains the extensions a left hand has to perform in different directions.
55
sonatas. Janáček’s Violin Sonata brings this technical advancement as a new element in the
development of the 20th-century violin sonata.
Example 2.31: Janáček Violin Sonata, mvt. 2, mm. 54-65; The brackets show the jump from
G♮ to G♭ two octaves higher in the violin.
Enharmonic respelling of pitches makes the music difficult to read, but once the folk tunes
themselves have been heard, a particular passage becomes easier to hear and to play. An
excellent example of this is the double-stop passage in the third movement, mm. 46-59. Such
an extended double-stop passage was very rare and unusual in the violin sonatas of the pre-
20th-century period and therefore it represents a technical advance.
56
In this composition, left hand pizzicato is used not only as an effect, but as part of the
overall dramatic and musical texture. The following example illustrates the combination of left
and right hand pizzicato with fast rhythmic figures that make the music much more dramatic.
Example 2.33: Janáček Violin Sonata, mvt. 1, mm. 17-27; The + sign indicates left hand
pizzicato.
At the beginning of the third movement Janáček presents exceptionally rapid descending
scales in the violin. This type of fast scale passages have not been featured, especially not so
extensively in the pre-existing violin sonatas. Therefore they could be seen as another element
of technical advance presented in this sonata.
57
Right hand techniques
At the beginning of the 20th century, all the bowing articulations known today were already
in standard use. These included: détaché, staccato, martelé, legato or slurred bowing, col
58
legno, ricochet or jeté, spiccato, saltando or sautillé, flying staccato, tremolo, the Viotti-
bowing, the louré or portato, arpeggiando bowing, sul-ponticello and sul-tasto.75
In Janáček’s Violin Sonata, as in other works of the time, many of these features are used
to create different characters. The specific bowings Janáček uses in this piece are an indication
of the type of sound he was seeking. From the previous analysis and historical background,
one can conclude that these sounds are closely connected with timbres of folk music (for
example the passage with extended repeated figurations in the second movement mm. 94-106,
see example 2.36), human speech (we have already observed the particular impact of the
Lachian dialect in the first theme of the third movement, see example 2.12), and the
environment (the main theme of the first movement resembling one of Janáček’s “real”
motives, see example 2.3). Being aware of the folk influence in this sonata helps a violinist
strive towards the textures Janáček adapted from folk bands, gypsy fiddlers, cimbalom
players,76 and the unrefined voices of folk singers.
In his Violin Sonata Janáček uses more traditional bowing techniques as well as more
inventive ones. But it is the use of the latter that makes this composition different from other
violin sonatas. Such an example is the rapidly serrated interjections at the beginning of the
fourth movement.
75
Ibid., 17.
76
The cimbalom is a Hungarian stringed folk instrument played with mallets.
59
The repeated figures support the melody harmonically and invoke memories of folk
instrumentation (such as the cimbalom). They increase the level of intensity throughout with
the use of specific modal and harmonic choices. One example of disruptive repeated figures
occurs in the second movement, mm. 92-106 (see example 2.36), where varying dynamics
support the thematic development in the piano part. Some of the figures require challenging
finger extensions in the left hand, and together with the prolonged loud dynamics they
represent a further addition to the range of techniques used in violin sonatas at the beginning of
the 20th-century.
60
Example 2.36: Janáček Violin Sonata, mvt. 2, mm. 89-107; The brackets show the beginning and
the end of the section with repeated figuration.
Janáček achieves a similar effect through the use of trills. These trills are intensified with
forte dynamics and are unusually long, three or four measures, which makes them more difficult
to play. This is a new element in the development of the violin sonata. In the first movement,
these can be found in mm. 44-47 and mm. 50-52, both supported by a repeated figuration pattern
in the piano part. (See example 2.37).
61
Example 2.37: Janáček Violin Sonata, mvt. 1, mm. 50-53; Trill in violin is supported by a
descending figuration texture in piano.
The different emotional characters and sound effects Janáček notated had repercussions in the
increased technical difficulty required to perform this composition. Wide leaps, finger
extensions, un-fixed left hand positions, and enharmonic spelling are just some of the elements
Janáček incorporated into this piece. Like many aspects of his musical language, some of these
techniques such as repeated figurations, lengthy trills, and left hand pizzicatos were also a direct
influence of traditional folk-band players.
62
CHAPTER III
JANÁČEK’S DEPARTURE FROM THE TRADITIONS OF THE GERMANIC VIOLIN
SONATA, AS REPRESENTED BY BRAHMS’ VIOLIN SONATAS
Janáček made an effort to turn away from Germanic traditions of compositional form and
structure. He renounced Wagner and most Western-derived characteristics, looking instead to
Russia and his own country's music traditions for inspiration. The three violin sonatas of
Brahms serve as some of the most prominent representatives of the genre in the late Romantic
period, and act as reference points for comparison with Janáček’s Violin Sonata.
Brahms is one of the greatest representatives of German instrumental music from the
19th century. His violin sonatas create a completely different atmosphere from that of Janáček’s
Violin Sonata. Brahms’ sonatas offer a palette of sweetness, love, nature, and melancholy.
Janáček’s Sonata creates a special feeling of suspense and fateful gloominess, truly setting it
apart from the violin sonatas written before. The historical circumstances of Brahms’ violin
sonatas are as follows. The first, most lyrical Sonata in G major, op. 78, also called “Rain-drop,”
was composed in 1878-79 and inspired by a Brahms song from 1873, “Regenlied,” op. 53, no. 3.
Brahms wrote this sonata, as well as the Second Symphony and the Violin Concerto, during
summer vacations at Lake Worth in Pörtschach. He commented that the lovely natural
surroundings had an extraordinary effect on these compositions: “Here the melodies are flying so
thick that one must be careful not to step on one.”77
77
Alfred von Ehrmann, Johannes Brahms: Weg, Werk und Welt, (Breitkopf & Härtel, Berlin, 1933), 287.
63
The second sonata in A major, op.100, is considered songlike in a specific way since it
alludes to many of Brahms songs, e.g., “Komm bald!” (Come soon!) (op. 97, no. 5), “Wie
Melodie zieht es mir” (How the Melody draws) (op. 105, no. 1), “Aut dem Kirchhofe” (On the
Church Roof) (op. 105, no. 4), “Meine Lieder” (My Songs) (op. 106, no. 4), and “Meine Liebe is
grün” (My love is green) (op. 63, no. 5). All of these songs were inspired by love, and,
consequently the atmosphere of the sonata is engulfed in warmth and beauty.
The third Sonata in D minor, op. 108 was dedicated to his friend and conductor, Hans von
Bülow. This work, especially its first movement, is more suppressed, mysterious, and
provocative in character. The dramatic impact of the two first movement themes is very
operatic, and can be compared to the dramatic level of Janáček’s Sonata.
The development of the violin sonata as a genre at the beginning of the 20th century can also
be observed through a comparison of the historical circumstances that surrounded Brahms’ violin
sonatas and Janáček’s Violin Sonata. Czech folk music and the programmatic sounds of
upcoming war inspired Janáček’s music and increased the level of realism in his sonata. While
Brahms used his own songs in his first and second sonata, Janáček was influenced by Czech folk
songs, although he never cited them explicitly.
Brahms was strongly influenced by both Mozart and Beethoven, and especially by their
chamber works. According to Imogen Fellinger, in Brahms’s inscription of a copy of the
original edition of his Violin Sonata in G major, Op. 78, he referred to both Mozart and
Beethoven by writing the words spoken by “Himmelskonigin” (Queen of Heaven) from Faust’s
“Verklärung” (Transfiguration) in Goethe’s Faust: “Komm, hebe dich zu hohren Sphären!/
Wenn er Dich ahnet, folgt er nach” (Come, rise to higher spheres/ If he senses, he will follow).
64
This shows us that Brahms was fully aware of the tradition of sonata writing, and how he
adapted in to that tradition.78
In contrast, Janáček studied and admired the 18th- and 19th-century Germanic composers,
but did not choose to follow and develop all their forms directly. His compositional style cannot
be completely understood, however, without realizing that it grew out of those traditions.
Skoumal addresses Janáček’s Romantic heritage as follows:
Janáček reveals his nineteenth-century heritage through his interest in ‘unity’ and
motivic relationships. Composers of the time seem to have striven to achieve
unity in their works; indeed, the artistic merits of nineteenth century composition
were often judged on the basis of whether or not they were deemed to display
unity. For nineteenth-century composers, the quest for unity became paramount.
The gradual dissolution of established structural paradigms (and ultimately
dissolution of tonality itself), as well as the changing make-up of audiences, made
unity a more pressing problem.79
Brahms cultivated long-established genres of orchestral and chamber music. He was
strongly oriented towards “absolute” music, avoiding the programmatically driven style of the
time. Although Janáček contributed greatly to chamber literature with his two string quartets and
the Violin Sonata, his style was definitely not dedicated to absolute music. He was primarily an
opera composer. Even in his strictly instrumental compositions, Janáček tried to incorporate
elements typically reserved for more dramatic works.
Brahms’ style comes across clearly in his chromatic language, constant motivic development,
thematic transformation, and metric and rhythmic complexity. In his compositions he had a
tendency towards “total organization,” despite his frequent functional and formal ambiguity. In
contrast, Janáček's style, as already discussed in the previous chapter, is “anti-developmental.”
78
Max Kalbeck, Johannes Brahms, vol. 3 (Berlin: n.p., 1913), 383-4, n.1. This reference is found in Imogen
Fellinger’s article “Brahms’ View of Mozart” in Brahms, ed. Robert Pascal, (Cambridge: Cambridge University
Press, 1983), 53.
79
Zdenek Skoumal, “Janáček’s Folk Settings and the ‘Vixen,’” in Janáček Studies, ed. Paul Wingfield, (Cambridge:
University Press, 1999), 128.
65
In other words, he builds his form not by developing and transfiguring motives, but rather
through constant motivic and phrase repetition, which is one of the reasons why his movements
in this sonata are noticeably shorter in length than Brahms’ movements. Brahms, however, has
an ability to maximize the opportunities for development without endangering
comprehensibility.80 He exploits repetition only as much as necessary to give coherence to his
ideas and their rapid evolution, and he tends to avoid literal repetition in favor of continuous
development of the musical prose.81
While Brahms employs the traditional sonata and variation forms, his late-career violin
sonatas fit into a new compositional style due to certain structural and tonal contexts. Many
analysts categorize Brahms’ form as “organic,” or growing out of his musical ideas.82 Still,
many aspects of Brahms’ sonata forms in these compositions are regular, following historical
tradition. He preserved “the uniformity of proportions, internal dynamics, and large-scale
rhythmic structure, and also took care to mark his large-scale formal restatements with signs of
developing variation.”83
Both Brahms and Janáček were interested in folk music. Brahms set over two hundred
folksong texts, keeping pace with the dialect of the text by using diatonic and often static
harmonies, modality, tonic pedals, and resultant second-inversion triads and syllabic settings of
the text. Often the lilting melodies, simple rhythms, triple meter, tonic drone, and parallel thirds,
hint at a pastoral character.
Scientific study of folk music did not develop until the beginning of the 20th century, with the
arrival of ethnomusicology. Janáček was one of the first well-known composers of the time
80
Peter H. Smith, Expressive Forms in Brahms’ Instrumental Music (Indiana: University Press, 2005), 67.
81
Ibid., 108.
82
James Webster, “The General and the Particular in Brahms’ Later Sonata Forms,” in Brahms Studies: Analytical
and Historical Perspectives (Oxford: Clarendon Press, 1990), 49-51.
83
Smith, 68.
66
caught up in the subject. He collected and studied the structure and harmonic aspects of folk
songs, and then incorporated them into his original compositions. Also, when compared to
Brahms’ works, the stronger sense of modality in Czech songs, as opposed to that of German
folk music, inspired the more modally influenced compositional style of Janáček’s pieces.
Form
The thematic designs of sonata movements by Brahms and Janáček differ significantly. All
three of Brahms’ sonatas feature both a first and a second theme group. In contrast, Janáček's
“sonata form” is monothematic. Regarding its sectionalization,, JanáčekViolin Sonata could be
described as consisting of a single theme group.
The most atypical aspect of sonata form occurs in Brahms’ D-minor Sonata, where the long
first group appears to compensate for the unusually short development, performed entirely over a
dominant pedal. The recapitulation adds a secondary development that not only extends the
developmental process but also explores a new tonal region (F♯). We have already discussed
Janáček’s lack of a secondary theme, or even a second group in his “sonata form” scheme within
the first movement. However, in examining Brahms’ prior deviation from the traditional
concept, we can detect the appearance of the unusually short development in the third violin
sonata’s first movement. Janáček also emphasizes the short “development” section in the first
movement of his Violin Sonata by the use of pedals as well as the chromatically induced choice
of keys. In Brahms we find F♯ major hinted at in the development and referenced again in the
second section; in Janáček, we encounter A minor (♭ii), and E minor (♭vi).
67
An interesting way to describe Brahms’ organization of music is Schönberg’s idea of
“developing variation.” In Schönberg’s view this meant that “variation of the features of a basic
unit produces all thematic formulations that create fluency, contrasts, variety, logic, and unity on
the one hand, and character, mood, expression, and every needed differentiation on the other
hand, thus elaborating the idea of the piece.”84 Many theorists have embraced this idea and they
have recognized an entire era dominated by thematic procedures. This era extended from about
1720 to 1950 and included figures as diverse as Vivaldi and Janáček.85
In Brahms’ Sonata in G major, op. 78, this principle is clearly and immediately seen at the
beginning of the first movement, which presents, in Frisch’s view, “the limpid art of developing
variation.” The violin sets forth a handful of motives from which the “variations” are spun,
especially by the flexible development of their rhythmic aspects. The opening section in this
movement has an A B Aˡ structure, followed by the development section which, according to
Frisch, starts in the middle section and is based primarily on polymetrical devices. The violin
part reshapes the notated 6/4 meter into 3/2 in measure 11, and then completes the phrase over
the bar line into a 3/4 measure. This process repeats in measures 12 and 13. Underneath the
irregularly expanded violin theme, the piano provides a steady flow of eighth-notes, but their
arpeggiated pattern suggests another subdivision of the notated meter. This polymetric
relationship between the instruments is one of the most complex in all of Brahms’
compositions.86
The second theme consists of elegantly modified motives drawn from the first theme, and
provides the stable thematic group (especially in terms of the metrical aspect) of the sonata form.
84
Arnold Schonberg, Style and Idea, ed. Leonard Stein (New York: St. Martin’s Press,1975), 397.
85
Walter Frisch, Brahms and the Principle of Developing Variation (Berkeley: University of California Press,
1984), 24.
86
Ibid., 119.
68
Thus, the “variations” of the basic motive shape the entire exposition, or, more precisely, “evolve
into a fully continuous process.”87 According to Frisch, this sonata adopts “the motivic legacy in
which pure horizontal dimension unfolds with both sophistication and flexibility.”88 We have
already mentioned how this process was both inherited and further developed by Janáček.
Traces of it clearly appear in the first movement of Janáček’s Violin Sonata. Relating to our
earlier discussion of the motivic structure in Janáček’s music, in his first movement he develops
the overall texture through the highest degree of motivic use, including obsessive repetitions.
In his Sonata in A major, Brahms uses hybrid form, combining what would have been the
second and third movements by way of an alteration of sections in slow and fast tempos,
producing a single movement. It is similar to a rondo form. There are no hybrid forms in
Janáček's Sonata, but the similarity between Brahms’ movement set in rondo-like manner and
Janáček’s second and fourth movements is apparent.
It is clear that Brahms’ formal structures of the specific movements in his violin sonatas are
quite progressive. Even though some of his sonata movements show unexpected forms that
differ from the Romantic period traditions, Brahms’ innovations cannot be applied to his
compositional style as a rule. He followed the traditional forms in many aspects, such as
movement and section lengths, their key choices, and manner of development. In contrast,
Janáček broke many of the rules established by Romantic composers. He was one of the first to
incorporate folk elements of repetition and brevity in a violin sonata. In this way, he sent the
genre in a new direction. Czech composer Bohuslav Martinů (1890-1959) was one of the most
important followers of Janáček legacy. In his violin sonatas he incorporated folk music
influences, extremely brief musical ideas, and modality.
87
Ibid., 120.
88
Ibid.
69
Harmony
The harmonic vocabulary in Brahms’ compositions, including his sonatas, is enriched by his
juxtaposition of distant keys, use of dissonance, and chromaticism. He was fond of subdominant
harmony, especially in minor keys, and this emphasis on the plagal division of the octave can be
heard both as a relic of older music and as antithetical to the tonic-dominant relationship so
characteristic of major-minor tonality.89 This preferred concept of subdominant relations
replacing the dominant later became the rule in Janáček’s work. Another common harmonic
relationship in Brahms’ music that Janáček developed in his work is the semitone interval,
frequently occurring as ♭II-I.90 The flat supertonic is one of the oldest, most commonly used
modal inflections in music. It has it roots in the Phrygian mode. In her dissertation Biamonte
discusses Rey W. Longyear’s concept of the nineteenth-century version of modal harmony as an
emphasis on secondary triads (ii, iii, vi in major; III, v♭, VI and ♭VII in minor).91 Longyear
explains that these harmonies became a means of widening tonal spectra among various
composers, especially Brahms.
The harmonic language in Brahms’ Violin Sonata in D minor exhibits traces of modality in
the first movement. In the third measure Brahms uses the III chord. This is a typical choice in
modally inflected works in a minor key. Only a few measures later (measures 6, 7 and 8) he
temporarily modulates to ♭VII, which is yet another modal inflection in the minor. In this
movement Brahms’ choices of secondary keys are very much expanded from what one would
expect in the typical schemes of classical composers. For example, one of his modulations in the
89
Nicole Biamonte, “The Modes in the Music of Beethoven, Schumann, and Brahms: Historical Context and
Musical Function” (Ph.D thesis, Yale University, 2000), 218.
90
Ibid.
91
Rey W. Longyear, Nineteenth-Century Romanticism in Music, quoted in Biamonte, 218.
70
same movement of this sonata is to C major in measure 40 (♭VII of the initial key). The second
theme is in F major, understood as III of the movement’s tonic. In comparison to the modal
inflections in the Brahms Sonata, Janáček’s composition amplifies this approach through the
much-extended use of modal and exotic scales, as well as whole-tone and pentatonic scales.
These types are not found in Brahms’ violin sonatas, but nonetheless, we can definitely observe a
rebirth of modality in comparison to his predecessors.
As we have seen, Brahms uses modally inflected harmonies in his violin sonatas. Most of his
harmonic language’s modal peculiarities come from well known German folk music and from
the church modal scales which had been used in Western music since the 9th century. Janáček
uses modal infections in a different manner and much more extensively. First, modally changed
harmonies came from a completely new source, Czech folk music, unfamiliar to Western
composers up to that time. Secondly, Janáček uses whole-tone and gypsy scales not only to
enrich the harmonic vocabulary and to enhance the timbre of the music, but also to create mood
changes and the feeling of an exotic Eastern European culture.
Rhythm
In Brahms’ violin sonatas we encounter one of his most significant rhythmic techniques,
namely hemiola. The word hemiola derives from the Greek word hemiolios, meaning “one-and-
a-half.” It was originally used in music to refer to the frequency ratio 3:2, but it can also
represent two measures in triple time articulated or phrased as three measures in duple time.92
An example of the hemiola pattern is apparent in the first movement of the Sonata in A major,
measures 33-34 and 37-38. Hemiola does not exist in Janáček's Violin Sonata. Both composers
92
Young In Cho, “A Study of Brahms’ Compositional Techniques in the Violin Sonata no. 2 in A Major” (MM
thesis, Ball State University, 2005), 10.
71
manipulated their compositions by use of displacement of meter and complexity of rhythm, and
for Brahms this was an especially powerful tool for developing variation.93
Violin techniques
Being a pianist, Brahms turned to the violinist Joseph Joachim for help in editing string-
related works. From the Joachim-Moser Violinschule of 1905, published in both Germany and
England, and from the correspondence between Brahms and Joachim, we can draw certain
conclusions about how their relationship affected his compositions. We can also ascertain
interesting information about the style of violin technique in the second half of the 19th century.
Unlike Brahms, Janáček was a violinist. He studied the instrument in his youth with the
famous violin pedagogue Henry Schradieck at the Leipzig Conservatory; thus he was familiar
with all the violin techniques existing at the turn of the century. There is no evidence that he
consulted with any other contemporary violinists, resulting in a composition that is not
influenced by anyone else.
The changes in left hand fingering that emerged at the start of 20th century were commented
upon by Joseph Szigeti (1892-1973), a Hungarian-American violinist trained in the older style.
Addressing the passages in the Janáček Violin Sonata that were practically impossible to execute
with old-fashioned fingerings, he hailed the new modern chromatic fingerings as “liberation.”94
Clive Brown argues, however, that something is lost by adopting the new fingering technique.
93
Frisch, Brahms and the Principle of Developing Variation, 8.
94
Bernard D. Sherman, “How Different was Brahms’ Playing Style from our own?” in Performing Brahms: Early
Evidence of Performance Style, ed. Michael Musgrave and Bernard D Sherman (Cambridge: University Press,
2003), 5-6.
72
He states that the old-fashioned finger-sliding from one position to another95 was very
characteristic of Joachim’s style of playing. In Brown’s opinion, much of the seamless legato
and portamento96 style of playing that is the “real sound” of Brahms and his contemporaries
disappears with the application of the new fingering method.97 In short, he questions today’s
obsession with clarity at the expense of a more vocal approach for Brahms’ music.
Janáček’s sonata is very chromatic and modal in tonal language and requires flexible hand
positions and nearly “crippling” fingerings. In Brahms, it is appropriate to keep fingerings
simple in order to remain closer to the originally desired phrasing and articulation. Portamento
used in Brahms’ sonatas on occasion is necessary while playing Janáček’s sonata. It features a
technical advance in Janáček’s composition. Knowing his infatuation with folk and Gypsy
music, I believe that Janáček wanted to imitate Gypsy fiddle playing on purpose, and portamento
was an integral part of its character and expression.
Interestingly, Brahms was also very concerned about the playability of his compositions. In
correspondence with his musician friends, he expressed a particular interest in fingerings. His
ideal was to compose for strings so that the player did not need to add any fingerings. He said,
“To me, (marked) fingerings are always just evidence that something is rotten in violin
scoring.”98
Joachim’s concept of tone production came from the violinist and composer Giovanni
Battista Viotti (1755-1824), whose traditional concept of a beautiful and powerful sound did not
95
This mannerism is connected with the old-fashioned way of shifting between positions on the fingerboard. Using
the same finger to move the hand from one position to another produces a slight glissando effect.
96
Portamento is an audible technique of shifting between the left-hand positions on the fingerboard. (A sort of a
short glissando). It was used in the past as one of the major decorative techniques. It was also very characteristic in
the playing of Gypsy and folk musicians. Today, using too much portamento in performance is considered bad
taste.
97
Sherman, “How Different was Brahms’ Playing Style from our own?,” 5-6.
98
Styra Avins, “Performing Brahms’s Music: Clues from his Letters,” in Performing Brahms: Early Evidence of
Performance Style, ed. Michael Musgrave and Bernard D. Sherman (Cambridge: University Press, 2003), 26.
73
depend on vibrato as one of its basic elements. Violinists Joachim, Beriot and Spohr used
vibrato selectively, and portamento as a more important expressive device.99 No 19th-century
violin method recommended anything resembling a continuous vibrato. In practice, the violinists
Ysaÿe and Kreisler were the first to use wider and more continuous vibrato, a few years after
Joachim. Through their efforts the violin acquired a more sensuous sound. Both of these
violinists were contemporaries of Janáček. One question emerges: being influenced by folk
music and musicians, did Janáček hear a constant vibrato in their playing; or was vibrato more of
an unconscious, instinctive, occasional reflex? Whatever the answer, it seems appropriate that
performers need to aim for the same approach as the Gypsies did when playing Janáček’s sonata.
It is a very well known fact that Brahms was meticulous in his score markings, and extremely
detailed in expressing the desirable particularities of a certain work. To ensure a more
expressive performance Brahms and his contemporaries had to add more detailed indication to
the score. According to Brown, one such sign was < >, recognized as a sign for vibrato, or ~~,
recognized as a sign for gypsy vibrato.100 In my opinion, both approaches to the marking < >
should be taken into account; a violinist should play a dynamic swell (contemporary
understanding of the marking) as well as with a more vivid vibrato (Brown’s view).
Joachim was considerably more advanced in the matter of bow strokes than he was in his
treatment of vibrato and portamento. He had developed his technique under the influence of
Paganini (1782-1840), and used a variety of bow strokes that were unknown to Viotti and the
Mannheim School. A pupil of Viotti, Baillot wrote a publication L’art du violon (1834) that
99
Clive Brown, “Joachim’s Violin Playing,” in Performing Brahms: Early Evidence of Performance Style, ed.
Michael Musgrave and Bernard D Sherman (Cambridge: University Press, 2003), 64-65.
100
“Gypsy vibrato” is a term used by Brown for a wider, less focused vibrato.
74
contains a range of strokes unfamiliar to Rode and Kreutzer (his contemporaries), while Spohr
(1784-1859) and other German violinists continued to insist that springing strokes were
unidiomatic in classical repertoire.101 Perhaps due to this heritage there are no spiccato bowings
in Brahms.
From the Brahms-Joachim correspondence, we learn that they discussed the meaning of
slurs, staccato notes, and portato articulations. They tried to understand what each of these
particular markings meant for violinists and how they differed for pianists. They attempted to
mark scores in ways to create similar sounds from the two different instruments. As a result,
there are inconsistencies in markings. Their agreement to differ on the matter of portato is
shown in the first edition of the third movement of the Sonata in D minor, op. 108. The score
prints the portato indications in the violin and piano as dots under slurs, but the separate violin
part presents them as horizontal lines under slurs.
Example 3.1: Brahms Violin Sonata in D minor, mvt.3
a) Violin score, mm. 1-24
101
Brown, “Joachim’s Violin Playing,” in Performing Brahms: Early Evidence of Performance Style, 79.
75
b) Piano score, mm. 1-6
In Janáček’s scoring, one does not need to speculate on this matter due to his intimate
knowledge of the violin. He also clearly indicates when he wants a different articulation on the
same motivic material. In the fourth movement, the aggressive violin intrusions are sometimes
marked with dots under the note heads and sometimes without dots. This little detail in
articulation should be performed differently when marked differently. (See example 2.35).
On the other hand, even though Brahms did not use specifically the spiccato bowing in his
sonatas, there are instances when this bowing is simulated. At the beginning of the fourth
movement in Brahms’ D minor Violin Sonata the rapid triplets are not marked with dots but
should be performed close to the frog in order to obtain accurate results in dynamic and
character.
Example 3.2: Brahms Violin Sonata in D minor, mvt. 4, mm. 1-4; Rapid triplets
76
In summary, the ethnomusicological basis of Janáček’s work appears to be the key to his
contribution to the violin sonata genre, and the main departure from the Romantic traditions of
composers like Brahms. Czech folk traditions affected the form, harmony, and melody, in his
Violin Sonata, and Gypsy music in particular affected aspects of the violinistic writing.
77
CHAPTER IV
DEBUSSY’S VIOLIN SONATA COMPARED TO JANÁČEK’S VIOLIN SONATA ON THE
BASIS OF HISTORICAL BACKGROUND AND STYLISTIC CHARACTERISTICS
Claude Debussy (1862-1918) greatly influenced his contemporary Janáček. An important
connection between these two composers was their shared affection for Russian music. Even
though Janáček did not attend any operas during his two-week trip to Russia in 1896, and neither
studied directly nor met with any Russian composers, he was inevitably intrigued by the sounds
of Russia as they were heard in the marketplace, the churches, and at funeral masses. Debussy
traveled to Russia at the recommendation of his teacher, Antoine Marmontel, when he was only
20 years old, and managed to obtain the mentorship of Nadezhda von Meck, Tchaikovsky’s
patron. Although there is little concrete evidence to confirm his knowledge of contemporary
Russian composers’ works, it is highly likely that he responded well to Tchaikovsky’s music
and, even more, to that of the “Mighty Five.” From the same trip, Debussy brought home
another inspiration: the music of Russian gypsies, whose improvisational style influenced his
work.102 Gypsies also provided great motivation and inspiration for Janáček's work; however, he
did not have to go to Russia in order to hear and observe them. They could be seen and heard in
all the Slavic countries as a part of everyday life.
In the manner of the Impressionist painters, and later the French Symbolist poets, Debussy
wanted his art not merely to represent nature, but to reflect “the mysterious correspondences
102
Jann Pasler, “Impressionism” in New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrell
(London: Macmillan, 2001), vol. 12, 91.
78
between Nature and Imagination.”103 The term “Impressionism” was linked to his music and his
contemporaries. Certain characteristics of this musical direction have become significant in
identifying Debussy’s stylistic signature, and even though his Violin Sonata (1917) was written
much later than the heyday of Impressionism, some of these characteristics can be observed in it.
Debussy additionally explored the sounds of nature and seemed to express the fleeting moments of
life. He used extended tremolos and other kinds of repeated figurations in order to convey the
flow of time. For him, form emerged from successions of colors and rhythms, a series of
sensations rather then the deductions of a musical thought.104 Janáček also used repeated figures
and tremolos to preserve floating tonalities and at the same time achieve a sense of time
suspended. It is probable that Janáček studied Debussy’s work in general and was influenced by
Impressionism. The following examples illustrate Janáček and Debussy’s similar approaches to
the use of a pedal tone and an effect characterized by a combination of repeated figurations and
tremolo. Janáček achieved a suspension of the A♭-minor mode using the repeated pattern in the
piano right hand, which can be described as an imitation of the folk instrument the “cimbalom.”
103
Ibid.
104
Ibid., 92.
79
Example 4.1: Janáček Violin Sonata, mvt. 1, mm. 1-16; The “Cimbalom” effect
80
Example 4.2: Debussy Violin Sonata, mvt. 2, mm. 72-79; Separated dual pedal; Debussy prolongs
the modal area, introducing the new material of the movement. (A similar passage
appears in mm. 101-108).
Example 4.3: Debussy Violin Sonata; Finale, mm. 81-84; Use of trill as a pedal. Debussy uses
pedal in the cadenza, dissolving the melodic line.
81
Example 4.4: Janáček Violin Sonata, mvt. 3, mm. 1-19; In both the violin and piano parts, trills
serve as folk-like accompaniment to a simple tune.
82
Example 4.5: Debussy Violin Sonata; Finale, mm. 110-115; “Quasi tremolo” is an effect between
a trill and a tremolo, changed by the use of harmonies.
Debussy gave the musical line a decorative function in his Violin Sonata, fragmenting it into
short motives and using repetitive figurations resembling those of Russian composers, especially
the “Mighty Five,” and Liszt, who was one of his teachers. In Debussy’s compositions one can
feel the sense of timelessness established by creating chords that have been liberated from their
dependence on functional harmony. Debussy’s melodies were often derived from old French folk
songs and French traditional music, such as medieval organum from the 16th century,105 creating a
nationalistic musical style, just as the Eastern European composers used nearby folk influences.
Debussy also studied and admired troubadour music and the Renaissance chanson.106 According
105
Ibid.
106
Charles Lamar Barrus, “Interpretation and Analysis of Four Works for the Violin” (MM Thesis, University of
Utah, 1964), 41.
83
to Lockspeiser, Debussy was inspired by the Pierrot image through his entire collection of sonatas.
In Lockspeiser's words,
...The second movement (of the Violin Sonata) is again one of those Harlequinesque
interludes, the last of Debussy's serenades, less mordant than the slow movement of the
Cello Sonata, but with many touches of a tender, benign melancholy.107
Debussy started work on the Violin Sonata in 1916, just two years later than Janáček. It was
during World War I and he was in an advanced stage of the cancer that would eventually kill him.
This was the last of the three late sonatas; Sonata for Cello and Piano (1915), Sonata for Flute,
Viola and Harp (1916), and Sonata for Violin and Piano (1917). Debussy originally intended to
compose six sonatas: Six sonatas pour divers instruments. The Violin Sonata is in three
movements. The first movement Allegro vivo is in a modified sonata form. The double exposition
of this movement features sectionalized themes and tonal ambiguity, in contrast with the
development section and its tonal stability. The second movement Intermède and third movement
Finale remind us of sonata-rondo form with an introduction. The introduction material is later
incorporated into the exchanging themes.
Some theorists and historians linked the influence on Debussy’s style in this composition to
World War I, thus incorporating his emerging nationalistic feelings. They found the sonata to be
rebellious against the prevailing Germanic sonata forms. Very similar motives and nationalistic
feelings moved Janáček in his own Violin Sonata.
This sonata was not a composition created in one breath. Like Janáček, Debussy struggled for a
long time over the final versions of its movements, especially the second and third. The definitive
version of the finale was completed by April 1917.
107
Edward Lockspeiser, “Debussy” Master Musician Series (London: J.M.Dent and Sons Ltd., 1951), 177-181.
84
Melody
Abravanel describes Debussy’s melodic and rhythmic peculiarities in general in the following
observation:
Debussy’s melody is not a product of the Italian bel canto tradition. Rather, it is closest
to French recitative in the aesthetic of Lully and Rameau. It is formed by motives of
varying length, whose rhythms are adapted directly from the spoken language. These
rhythmic motives are the foundation of melody, which provides for large or small
melodic intervals or for repeated notes. They are always to be sung naturally and without
emphasis. Here is an astonishing plasticity, the rhythmic patterning for an extraordinary
suppleness that allows this melody the power of translating exactly the slightest affective
signification of words.108
These general observations of Debussy’s melodies are easily applied to the themes of his Violin
Sonata. Parks describes the beginning of the first movement:
The character of the first fourteen measures of the Sonata pour violin et piano is
improvisatory, tentative and contemplative....This material serves as an introduction for
the main body of a work that is more conventionally expository, more straightforward in
metric and phrase structure....The opening passage harbors obscurities in the domains of
meter and phrase...109
108
Claude Abravanel, “Symbolism and Performance,” in Debussy in Performance, ed. James R. Briscoe (New
Haven and London: Yale University Press, 1999), 36.
109
Richard S. Parks, “Structure and Performance: Metric and Phrase Ambiguities in the Three Chamber Sonatas,” in
Debussy in Performance, ed. James R. Briscoe (New Haven and London: Yale University Press, 1999), 213.
85
Example 4.6: Debussy Violin Sonata, mvt. 1, mm. 1-14
There are obvious similarities between certain melodic aspects of Janáček’s and Debussy's
violin sonatas. In analyzing both works, we see that they are sectional in nature, with individual
sections that are mostly brief and repetitive. Both composers use motives and transform them in
order to create new material and new themes, rather than simply developing them. As Kwon
states:
Debussy’s use of various types of melodic figures as motives and the use of extensive
and elaborate repetitions are some of the principal ways in which melodic structure
replaces tonal operations as determinant of formal structure.110
110
Yoohee Kwon, “Tradition and Innovation in Three Late Sonatas of Claude Debussy” (DMA theses, University of
Minnesota, 1997), 64.
86
Example 4.7: Debussy Violin Sonata, mvt. 1, mm. 29-42; The brackets show the motivic
repetition and sectionalized phrases.
This so-called “anti-development style” is apparent in both sonatas. Comparing Debussy's work to
Janáček's, it is possible to detect very similar treatment of motives. They are used until exhausted,
then repeated, and thus act as referential points that unify the structure.
Harmony
Both Debussy and Janáček explored a number of similar tonal language techniques in their
violin sonatas, such as how they positioned the subdominant key in their compositions. Debussy
extensively exploited tonic and subdominant versus dominant and tonic key relationships
(heightened by modal mixture). This was typical for Janáček as well. For major keys, extended
subdominant or dominant prolongation without tonicization of these scale degrees alludes,
87
respectively, to the Lydian and Mixolydian modes.111 In minor keys, when the subdominant is
transformed into a major triad by alteration, its juxtaposition against the tonic produces a Dorian
modal effect. The Violin Sonata begins with just such a passage in G minor (see example 4.6).112
Further on in the movement we reach C major at m. 105, achieved by the open fifths movement
from measure 98 (see example 4.8).
Example 4.8: Debussy Violin Sonata, mvt. 1, mm. 98-109; Modulation to C major, brackets show
the movement of fifths.
No modulation is performed to establish the C-major key area, but the following fifteen measures
clearly sound in C major. There is also no confirmation of C as the tonal center. This is a typical
111
Richard S. Parks, The Music of Claude Debussy, Composers of the Twentieth Century, ed. Allen Forte (New
Haven and London: Yale University Press, 1989), 42.
112
Ibid., 41.
88
example of floating tonality and modal inflections on a higher structural level. A similar moment
is found in the second movement (mm. 60-69), where Debussy rests his harmonic flow on a D♭
major/minor tonal center, a flat dominant, but without its confirmation. It is also interesting to
point out the effect of bitonality in the same passage, juxtaposing the keys of C major in the violin
melodic line and D♭ major in the piano.
Example 4.9: Debussy Violin Sonata, mvt. 2, mm. 60-69
89
Modality is often cited as an important feature of Debussy’s music. Passages evocative of
Dorian or Phrygian rather than minor, and Lydian or Mixolydian rather than major, are often found
in his compositions. In comparison to Janáček who favored Lydian minor, alterations of major and
minor, and other folk-influenced modal characteristics, Debussy uses more modal variety, together
with synthetic modal scales in his sonata. Besides Mixolydian and Lydian modes (mm. 35-45), the
second movement brings with it a more complex set of modal scales just a few measures later
(mm. 72-78 and mm. 101-107). Debussy smoothly moves from Super Locrian (or Phrygian), over
Lydian to Major. The third movement (mm. 45-48) presents a leading whole-tone scale G, A, B,
D♭, E♭, F. Like Janáček, Debussy favors whole-tone and pentatonic referential collections. In his
Sonata, he finds several occasions to use these particular scales. For example, in the first
movement exposition, mm. 25-28 and m. 33 are basically whole-tone collections. In both cases,
they are used as bridge-like connecting material.
Example 4.10: Debussy Violin Sonata, mvt. 1, mm. 22-28; The whole-tone measures are
bracketed.
90
An example of the pentatonic scale is found in measure 44 of the same movement.
Example 4.11: Debussy Violin Sonata; Mvt. 1, (mm. 43-45); G pentatonic scale
Debussy’s extensive use of modality points to influences from a variety of sources; church
music, Russian music, folk music from various regions, as well as music from the Far East. The
inspiration from folk music and Russian music in particular connect Debussy’s work to that of
Janáček. In 1893 a Papal decree113 allowed for the singing of Gregorian chant again, so Debussy
proceeded to attend services at the Abbey of Solesmes. At the same time his classmate D’Indy114
inspired him to take more of an interest in folk songs and their modal qualities.
In addition to modality, Janáček and Debussy shared other harmonic language characteristics.
Both composers frequently used lengthy pedal points in their works. Pedals had a particular
purpose to limit or avoid, rather than emphasize, any clear harmonization of the melody they
supported. Specifically, Debussy used parallel chords of the fifth (see example 4.8), octave, and
ninth. These were called “choral melodies” or enriched unisons, and contributed to the
development of bitonality by serving as pedals over which different chords could be placed.
113
Virginia Raad, Folklore and Reminiscence in Claude Debussy, Liber Amicorum Isabelle Cazeaux: Symbols,
Parallels and Discoveries in Her Honor, ed. Paul-André Bempéchat (New York: Pendragon Press, 2005), 45.
114
Ibid.
91
Form
According to Kwon, Debussy had previously avoided the term “sonata,” preferring
programmatic titles.115 Many Debussy scholars have argued about the formal structure of his
Violin Sonata movements, particularly the first. Some of them tried, as in the case with Janáček’s
Sonata, to analyze it from the standpoint of conventional sonata form; others, however, completely
rejected that approach.116 Wilson classified all the movements of the Debussy’s last three Sonatas
as “anti-developmental,” and in that way proclaimed them more typical of French classical
sources, rather than of German romantic instrumental traditions.117 Historians Hsu, Grolnic and
Peters comment that, in his letters to Hartmann, Debussy invariably rebuffed Hartmann for
proposing a work in Germanic form.118
In her dissertation on Debussy’s sonata forms, Theresa Davidian summarizes the analytical
approaches of several Debussy’s scholars familiar with the Violin Sonata’s form. The theorists
Wilson, Park, and Kecskemeti, together with Davidian, agree that the first movement displays a
strongly modified sonata form.119 Davidian finds it difficult to recognize the full significance of
the second theme (m. 18), which in her opinion contains no contrasting tonal area and only a
succession of descending parallel chords over a tonic pedal.120
Remembering Janáček’s first movement, it is possible to identify similarities between these two
sonatas on a structural level. There is a tendency for both composers to sectionalize the texture.
According to Davidian’s analysis and my own research, the first movement of Debussy’s Sonata
unfolds into three general parts, just as in Janáček’s first movement. These general parts are
115
Yoohee Kwon, “Tradition and Innovation in Three Late Sonatas of Claude Debussy,” 42-43.
116
Theresa Davidian, “Debussy’s Sonata Form” (Ph. D. diss. University of Chicago, 1988), 186.
117
Ibid.
118
Hsu, Samuel, Sidney Grolnic, and Mark Peters, eds. “Claude Debussy As I Knew Him” and Other writings of
Arthur Hartmann (Rochester, NY: University of Rochester Press, 2003), 297.
119
Davidian, “Tradition and Innovation in Three Late Sonatas of Claude Debussy,” 186-191.
120
Ibid., 191.
92
divided into a number of sections, (the first part containing two main sections, each with five
subsections.)121 The subsections in Debussy’s Sonata are fairly short and repetitive. Even though
this repetition of melodic material throughout the Sonata brings it closer to a classical sonata
scheme, as does its cyclic structure, it is not as obsessive as in Janáček’s Violin Sonata, where the
composer uses only a single motive to build up sections. The first movement of Debussy's work is
much closer to the textbook model of sonata form, simply by virtue of his opposing two themes in
the opening part of the first movement. Janáček uses just one.
Debussy’s development section is longer than Janáček’s, yet based equally on pedals and key
center floatation. Both Sonatas lack an extensive development section because of the two
composers’ similar tendencies to repeat and vary already stated themes and sections, instead of
developing one through the motivic, melodic and harmonic modification techniques used in the
Romantic period. Romantic composers used development sections to manipulate motives and
themes from the exposition taking them through different keys, extending, liquefying, and
ornamenting the material. In this way they created extreme contrast for the recapitulation section,
which brings the same key for the two themes from the exposition. The final sections in the
sonatas of Debussy and Janáček differ from the opening; however, they nonetheless act as returns,
with the same melodic material recurring in Debussy’s Violin Sonata, though in a different context
and with a varied order.
The second and third movements of Debussy's Violin Sonata feature ternary design and employ
different principles of reprise that provide the basis for unique forms. Parks explains this
phenomenon, called “endless variation,” as opening material modified to generate new, but related
music fabric, which then becomes the basis for still more new material.122
121
For a more detailed structural overview, see the Davidian dissertation, 192.
122
Parks, “Structure and Performance: Metric and Phrase Ambiguities in the Three Chamber Sonatas, “ 220.
93
A schematic overview of the second movement follows:
[A B A′ ] [C ] [A² B² Coda]
This scheme can also be understood as being in a sort of sonata-rondo form.123 None of the
material is exactly repeated since Debussy always employs variation to the repeated material. The
third movement in particular is also comparable to Janáček’s work with the incorporation of varied
repetitions.
A schematic overview for the third movement follows:
[A B B′ ] [C ] [A′ B² B³] Coda
This ternary-derived arch-type is essentially a tripartite design, where, in the B² section, inner
subsections are reversed in appearance, adding to the cyclic form of the entire movement. We find
a similar effect in the second part of Janáček’s second movement, where he reverses varied
repetitions of the themes. (See schematic outline of this movement on page 50).
Violin technique
Violinists need to achieve similar left hand technical accomplishments in both these sonatas.
Like Janáček, Debussy imposes unusual modal inflections and chromatic changes upon the player,
thereby increasing intonation difficulties. The already mentioned whole-tone scales, as well as
different church and synthetic modes, ostinatos, tremolos, and other means of suspended harmony,
all impose additional demands on the left hand.
As with Janáček’s Sonata, when playing Debussy’s violin part, one must apply “crippling”
fingering, finger extensions, and non-fixed left hand positions. Because of increased difficulties
for the left hand an especially good sense of intonation is essential in this composition.
123
Ibid., 222.
94
Some examples of awkward intervals are found in mm. 116-125 and from m. 238 through the end
of the first movement.
Example 4.12: Debussy Violin Sonata; Mvt. 1, (mm. 238-end); difficult passage for intonation.
Debussy's new approach to left hand technique that includes forward and backward glissando
effects represents a musical and technical advance. This specific technique is not found in
Janáček's work. Specifically indicated by the composer, it creates an impression of smooth
change, a sort of an “endless note,” and contributes to the overall improvised mood. An example
of it is found in the first movement mm. 72-73, 136-137, and 140-141; in the second movement
in mm. 61-62, 65-66, 121-122 and 125-126; and in the third movement in mm. 85 and 88. (See
example 4.12).
Another left hand technique used by Debussy but not by Janáček involves harmonics.
Although not used extensively, their purpose is to achieve different shadings or colors in the
composition. Two such places are found in the first movement, in measures 106-110 and 163-170
95
where the harmonics serve as a pedal tone (see example 4.8). As in Janáček, the left hand in
Debussy’s Sonata is exposed to long trills and intruding ostinato patterns.
Debussy’s Violin Sonata presents a tremendous challenge when it comes to the bow arm and
the need to be very expressive in this music. The performer is constantly confronted with
impressionistic colors, and the expression of despair, pain, and death. Achieving the precise
quality of sound at any given moment is essential in order to approach the interpretation Debussy
might have imagined. However, other than the music itself, Debussy gives us very few other clues
as to how he might have wanted it to be played. Debussy uses specific bowing techniques such as:
staccato (to evoke the sound of the bells in Finale, see example 4.7 and 4.13), sur la touche (to
create the impressionistic flautando sound and enhance mysterious texture, see example 4.14), and
expressive, long legatos (to create subdued articulation and accentuate colors above the real
pitches). In contrast, knowing more about Janáček’s compositional style and the historical
circumstances surrounding his Violin Sonata helps the violinist approach an interpretation with
more certainty, and it is perhaps easier to relate to those everyday sounds that he heard all around
him.
96
Example: 4.13: Debussy Violin Sonata, mvt. 1, mm. 106-118
Debussy uses another technique that is rarely found in Janáček’s Sonata: spiccato. With it he
maximizes the lightness of texture and adds to the overall elegance in color, an effect particularly
well done in the first movement in mm. 30-37 as well as in mm. 42-56 and similar places. It also
acts as a unifying feature between movements as it is transformed in the first theme of the second
movement by adding pp dynamics and marking the theme au mouvement (indication for a tempo).
Portato bowing is found in both sonatas, although notated differently in each. In Debussy's
first movement the notes in mm. 87-94 and 109-117 have dots and are slurred, while in Janáček’s
second movement mm. 37, 39, 41, etc., portato is marked as a dash over the note heads, but still
with the slur.
Example: 4.14: Debussy Violin Sonata, mvt. 1, mm. 131-138
In summary, the connection between Debussy’s Violin Sonata and Janáček’s Violin Sonata is
clearly shown on many different levels. Both composers were influenced by the traditional
97
music from their respective countries, by modern music trends such as exotic scales and modes,
and by sociological circumstances surrounding these compositions. The innovations on the level
of melody, harmony, form, and violin techniques employed in these sonatas make them unique
and progressive.
98
CHAPTER V
CONCLUSION
The beginning of the 20th century brought many different directions to the development of
the violin sonata as a genre. The most interesting transitions that occurred were those that
departed from the essentially Germanic dominant traditions of late Romanticism.
Although Janáček was fully aware of the historical traditions and contemporary trends of the
time, he maintained his originality throughout his work. The Violin Sonata stands as a true
representation of his unique style. To comprehend Janáček’s works, and especially his Violin
Sonata, one must first become acquainted with his life’s philosophy, the historical circumstances
surrounding him, and his compositional influences. Each of these factors can help to explain
something about Janáček’s unconventional music. His unusual way of handling harmony,
melody, and form broke down the "uniformity" of his predecessors.
Even though Brahms was always incorporating new and progressive elements in his music,
his violin sonatas are highly romantic in their compositional style. Some of the elements Janáček
uses in his Violin Sonata already existed in music for a long time, such as modality, rhythmic
complexity, and uniquely developed forms. In Brahms’ compositional style these were devices
for enriching his musical language. In Janáček’s music they were used to extend elements of
expression.
There are many similar techniques and points of interest in both Janáček’s and Debussy’s
violin sonatas, though these were handled differently in the two composers’ works. Possibly in
99
reaction to general music trends, World War I, and the resurgence of nationalism at the time, the
two composers generated similar atmospheres in their sonatas. Connections can also be made in
certain aspects of form and harmonic language.
Throughout the analysis and the comparison of these three compositions it has become clear
that Janáček’s Violin Sonata broke away from the prevailing Germanic genre of the Romantic
period. He courageously chose the difficult path of changing musical traditions and creating new
rules and conventions. Often misunderstood, he suffered throughout his creative life, but he
never gave up his basic beliefs. Today his Violin Sonata stands as a testament to him, his
culture, and the times in which he lived. Many composers were potentially influenced by
Janáček, among them Martinů, Enescu, and Ravel. This connection opens up many questions
and is possibly a subject for further research.
100
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What is the thesis of the dissertation?

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LEOŠ JANÁČEK’S VIOLIN SONATA AND HOW IT COMPARES TO THE VIOLIN

SONATAS OF BRAHMS AND DEBUSSY

(Under the Direction of Michael Heald)

INDEX WORDS: Janáček, Leoš, Violin Sonata, Debussy, Brahms

SONATAS OF BRAHMS AND DEBUSSY

Foreign Bachelor, Academy of Arts, Novi Sad, Serbia, 1998

M.M., Carnegie Mellon University, 2001

A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial

Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

All Rights Reserved

SONATAS OF BRAHMS AND DEBUSSY

Major Professor: Michael Heald

Committee: Leonard Ball

support, patience and enormous love.

LIST OF MUSICAL EXAMPLES...............................................................................................vii

I. LEOŠ JANÁČEK; A BIOGRAPHICAL SKETCH ............................................................3

II. THE MUSICAL LANGUAGE OF THE VIOLIN SONATA...........................................16

III. JANÁČEK’S DEPARTURE FROM THE TRADITIONS OF THE GERMANIC

VIOLIN SONATA, AS REPRESENTED BY BRAHMS’ VIOLIN SONATAS.............63

IV. DEBUSSY’S VIOLIN SONATA COMPARED TO JANÁČEK’S VIOLIN SONATA

ON THE BASIS OF HISTORICAL BACKGROUND AND STYLISTIC

(grouped by work and movements)

Example 2.1 mm. 10-16.........................................................................................................19

Leoš Janáček, Violin Sonata, II. Ballada

Example 2.5 mm. 1-2.............................................................................................................24

Example 2.31 mm. 54-65.........................................................................................................56

Leoš Janáček, Violin Sonata, III. Allegretto

Example 2.2 mm. 10-14.........................................................................................................20

Leoš Janáček, Violin Sonata, IV. Adagio

Example 2.6 mm. 1-2.............................................................................................................24

Leoš Janáček, Violin Sonata, graphs

Example 2.19 graph 1 ...............................................................................................................36

Other examples connected with Leoš Janáček

Example 2.3 a) “Rustle of angry water” Napevky Mluvy ...........................................................22

Example 3.1 a) Violin score, mm.1-24 ........................................................................................75

Johannes Brahms, Violin Sonata, IV. Presto Agitato

Example 3.2 mm. 1-4..............................................................................................................76

Claude Debussy, Violin Sonata I. Allegro vivo

Example 4.6 mm. 1-14.............................................................................................................86

Claude Debussy, Violin Sonata II. Intermède

Example 4.2 mm. 72-79............................................................................................................81

Claude Debussy, Violin Sonata III. Finale

Example 4.3 mm. 81-84............................................................................................................81

of a deepening psychological awareness, as well as a rapid growth of Nationalism. Musical

the first examples of an expanded 20th-century violin technique.

his own musical voice.

LEOŠ JANÁČEK; A BIOGRAPHICAL SKETCH

Childhood and Early Music Education

developed distinct cultural characteristics. Despite being overshadowed by Bohemia, a political

Křížkovský, a renowned composer and a priest at the Augustinian monastery (“Queen’s”) in

Youth and Formal Music Education

lessen his love of music.

connection with modal Moravian music.3

Wickenhauser-Neruda, an accomplished pianist. Under her supervision, he also enhanced his

piano skills and considered a solo career.