The fourth (and final) movement of Leoš Janáček’s beautiful Violin Sonata (written
in 1914, first performed in 1922) is a slow movement (Adagio). However, frequently,
when performed, it doesn’t give the impression of a slow movement but of a very
energetic one, and if played well, it gives the impression of a continuation of the
scherzo-like, folksy third movement. This is the end of the third movement:
And this is the beginning of the fourth:
The fourth movement, as I see it, should be played with a lot of rubato, and should give the sense of a “free” movement. I see the complicated rhythmic patterns as an expressive tool, not as a metronomic one (as in Chopin and Beethoven, when a lot of notes are crammed into one or two beats, they shouldn’t be played metronomically). Consider this bar:
Although the 32nd notes fit perfectly into 6/8, I think it is more of a gesture of freedom, invoking a Gregorian/religious atmosphere. Generally, in Janáček’s music the emotional atmosphere is more important than the metronomic rhythmic presence. First comes the imagery (impressionism), and then the analysis. (The same is true of impressionist composers like Debussy and Ravel, where a lot of the music-making is in the imagery and in the atmosphere. When playing composers of the Brahms/Wagner type, the rhythmic presence plays a greater role in the music-making than it does in the non-aligned, impressionist composers). The piano solo that comes shortly after this bar must be played in time – there isn’t any other way to play it. It is a continuation/contrast to the bar that came before the piano solo (played only by the violin, and in the same format as the bar above). After a 12-bar piano solo, Janáček introduces a new section.
This section is provides a high contrast to the previous ones. It is in 2/4 time, and the violin plays a clear rhythmic pattern of 16th notes. Although I keep repeating that this movement should be played freely, these 12 bars must be played in time, to contrast with the previous free section and to lead into the next section, especially the next bar. I see these 12 bars as a gap in the flow of the music, something that the audience (especially people who are hearing this sonata the first time) doesn’t expect to hear. So when I’ll play this sonata (I hope soon…), to strengthen the rubato atmosphere of the final movement I’ll play these 12 bars in time. Janáček continues with one connecting bar, then goes on to a different section (beginning with the Poco più mosso).
The transition between the two sections is very “rough” and untraditional. Normally, composers develop more the transition, giving it more time and making sure that there is a “flow” between the sections. Janáček, however, decides to go straight to the next section (which is the build-up to the climax of the sonata) and leave it as is, sort of a “collage.” Note that this is typical of Janáček. He does the same in his piano sonata (I. X. 1905), in the symphonic poem Taras Bulba, and in the opera Jenůfa… This is one of the characteristics that make Janáček’s music so unique and so recognizable.
Janáček uses a certain pattern, a certain motif, to bring us to the climax of the sonata. He repeats this pattern many times, so that the transition to the climax is obvious. The build-up to the climax begins as follows:
The climax:
In a way, Janáček returns to the first movement (Con moto), using tremolos and an energetic atmosphere. The first movement begins with:
After the stormy, energetic climax, the sonata winds down and returns to the opening theme of the fourth movement and to the first motif played by the violin. The sonata closes quietly.
Notice that the opening theme of the final movement is the same theme of the climax.
Performances
This is one of Janáček’s best known pieces, so there are many performances of it. The one I like best is by Vadim Repin and Nikolai Lugansky (especially the final movement). I like other performances by Suk (who died recently) and Kremer (although I generally find him too aggressive for this piece). Vadim Repin and Nikolai Lugansky recorded this sonata on their new disc, which also contains two other beautiful violin sonatas, Grieg’s second violin sonata and Franck’s violin sonata. I strongly recommend getting it.