Glinka Viola Sonata for Viola - d minor

The opening of the piece is one of the many main themes of the piece, and it is marked as Allegro Moderato; a lyrical line of music played by the piano. In the score, I have labeled this as the introduction. This theme is repeated throughout the movement of the sonata in both the piano and viola parts, and often not in its entirety. When the viola first plays this theme, it has already changed from what the piano played, although it can be easily recognized as the same theme. The introduction is mainly focused on the dominant key of A minor.
When the viola plays the theme, the rhythm changes, and embellishments are added- this is the beginning of the exposition, and I have labeled this as the first subject group. By this time, the main theme has already been established (in the introduction), and the listener is able to recognize that it is similar to what was already played by the piano. While the viola plays the main theme for the first time, the piano plays mostly block chords as harmonic support. However, the piano also plays repetitions of parts of the viola solo, mostly in groups of three notes that are played when the viola has rests or sustained notes. Thus, the music begins to sound like a complex musical conversation between two different musical parts. This makes the piece sound more like an ensemble than a solo viola with accompanying piano. Due to the musical conversation that begins to take place, the sonata has added texture and color.
A transition at the end of the first subject brings the piece into a cantible that is marked as Poco Tranquillo in a contrasting key – C major. The expressive lines that are played by the viola are repeated with the same exact notes in the piano, with extra chords that are used as harmonic filler to add texture. This section transitions, and the transition is one that adds intensity and excitement to the music. The viola plays notes that increase in pitch, and the rhythms are syncopated, pushing the music forward toward the next subject. This third subject, marked at measure 88 brings the music back to the original tempo. Although the transition between the second and third subjects is fast with intensity, the music is pulled back into a lyrical line of dolce music at the Meno Mosso- the third subject of the exposition. This third subject is placed in the dominant key that the piece stated with – a minor.
The end of the third subject has a transition in which the first subject is played by the piano, but not in its entirety. The viola plays an expressive line of beautiful sustained notes. Additionally, the dynamics indicate multiple crescendos over these sustained notes, and the intensity of the part hints to the listener that something different is about to take place in the music.
The development occurs at measure 130, and is marked with Agitato in the viola part, while the piano part plays notes similar to what we heard before in the main theme, but now in a different key. We as listeners are introduced to both a new rhythmical motif and a harmonic structure. The viola part plays moving triplets with accidentals, giving the listener a feeling of suspense in anticipation of what is to come later in the music.
The retransition that occurs at measure 152 marks the end of the development brings the listener back into the main theme. This is the start of the recapitulation, in which the first second and third subjects are brought back, with slight variations of what we heard earlier.
The recapitulation brings the piece to a close; the subjects of the exposition are played once again, with slight changes.

Michail Glinka - historical information

Michail Glinka (1804-1857) is known widely as the “Father of Russian Music.” I have chosen to analyze the first movement of his Viola Sonata in D minor. This piece was written sometime in between 1825 and 1828. Unfortunately, Glinka was not the one to complete this piece. I have chosen to analyze the structure of an edition of this sonata that was completed by V. Borisovsky. Borisovsky also edited the viola part, which I have performed; in my opinion, it is an exceptional piece of viola repertoire. The complexity of the music in both the viola and piano parts makes it a worthwhile piece for any musician to analyze in order to enhance one’s understanding the musical structure of a sonata.
From a family of nobility, it was expected the Glinka would study music. He had played the violin and piano, and out of chance, began to compose music, at first for his cousin. We eventually toured Europe, taking compositions with some of the most well known composers of the era. At the time of Glinka’s work, nationalist music was at its peak, and Glinka’s music strongly reflects Russian culture and nationalist themes.
At the time of the peak of Glinka’s composing career, Russian folk music was the most popular music genre. Russian folk music had eclectic influence, from various eastern countries. Long melismatic melodies were typical and, over time, the influences from other countries combined together in order to solidify one form solid form of Russian music, as we know it today. It is apparent that Glinka was the first major composer who began to establish a recognizable genre for nationalist Russian music.