- Jörg Widmann (b. 1973)
- Composition Year
- Carolin Widmann [violin]
|Composer||Jörg Widmann (b. 1973)|
|Work Title||etudes I – III for solo violin|
|Artist(s)||Carolin Widmann [violin]|
|Performance Date||Wednesday 2nd July 2014|
|Performance Venue||Bantry House Library, Bantry, Co. Cork, Ireland,|
|Event||Main Evening Concert|
|Recording Engineer||Richard McCullough, RTE|
|Programme Note Writer||© Fíacha O'Dubhda|
Widmann's etudes for solo violin are composed without key or time signature, like fleeting mutterings against a backdrop of silence. Each one glides thematically into the next, throwing into question the very boundaries of the composition and our divisions of time.
The first etude was
composed in 1995 while Widmann studied clarinet at the Julliard School of Music
The second etude was composed in 2001 and dedicated to Isabelle Faust. It begins where the first ends, opening with a plaintive theme punctuated by the violinists voice. The playing slowly gathers momentum, racing towards increasing complexity and violence. The disembodied voice occasionally returns, taking the listener by surprise, adding a touch of humanity to the lattices of fierce and alienating phrases.
The third etude was composed in 2002, inspired by Jörg's sister Carolin Widmann rehearsing Eugène Ysaÿe's Solo Violin Sonatas, and is dedicated to her. The seams between the second and the third are almost inaudible, the muted rustling tremolo of the second pausing for no more than a breath before gaining momentum at the start of the third. The opening direction reads Frantic agitation, as fast as possible and that is exactly what we get. A slowly ascending scurry of notes increases in clarity, the phrases expanding alongside the distances between the notes, until the lowest and highest pitches of the violin are tied together in breathtaking phrases; the extremities of the instrument touched almost simultaneously. The muted and murky depths of the instrument are forever present and contrasted with the crystalline and piercing clarity of the highest notes. The etude dwindles into tentative pizzicato, fading gradually and introspectively into silence.