The Violin Sonatas given in the original style by William Primrose (with bass played on the Violoncello by Ambrose Gauntlett)
Mr. Primrose, who has of recent years rapidly become well known, was born at Glasgow twenty-three years ago. He comes of musical stock, for his grandfather on his mother's side, and his father, were both professional musicians, and the father is a well-known Viola player in Glasgow to-day. The son studied there with Camilla Ritter, and his playing attracted the attention of Sir Landon Ronald, and afterwards won him a Scholarship at the Guildhall School of Music. He worked there for four years with Mr. Max Mossel, and then for a further three years with Ysaye.
The works we are to hear this week are by that great Violinist-Composer of the seventeenth century, Arcangelo Corelli (1653-1713), a contemporary of our Purcell, whom, it is said, he greatly admired. There is a tradition (it may or may not be true) that in 1695 Corelli set out to meet Purcell, got as far as Dover, heard that he had just died, and without even troubling to travel on to London, set off at once on the long return journey to Italy.
Corelli, the first of the great Violinists, may be said to have established the basis of modern Violin technique, and his style in the composition of Sonatas was adopted by Handel in his later instrumental works.
The edition of the twelve Violin Sonatas to be used this week is an old one, dating from about 1780, that has long been in Mr. Primrose's family. It differs in some respects from modern editions, so listeners who know any of these works may expect a few little surprises.
In older days the bass of many pieces was not fully written out ; a single line of melody had various figures set below its notes, which indicated to the bass player what chords to employ. This bass part could either be put into shape by a Harpsichord player or (as we shall hear it this week) by a 'Cellist.
The Sonatas are constructed on the general plan of placing slow and quick Movements in alternation. There is a good deal of diversity in the nature and mood of these, and in their length. Tonight we are to hear the first two of the twelve Violin Sonatas that Mr. Primrose is playing this week.
The FIRST, in the key of D, has five Movements, with a few bars of slow music connecting the Second and Third. (It should be noted that the First Movement itself consists of very brief slow and quick portions in alternation).
The SECOND SONATA, in B Flat, has a slow First Movement, followed by a brisk Fugue, and then by a still livelier-running dance-like piece, in which the Violinist, beginning with two notes to a beat, works up the excitement by breaking into three-notes-to-the-beat, accompanying the bass player for a little, before going back to his former style. With alternations of these rhythms the piece goes on its brief, bright way.
A very short slow section and a leaping Finale conclude the Sonata.
