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The Devil's Sonata
La Sonata del Diavolo in G minor
Fourteen variations from "L'arte del arco" ANDREW MANZE violin
HARMONIA MUNDI HMU 907213
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by Ong Yong Hui
The main controversy over this version of the "Devil's Trill" sonata is that it comes unaccompanied (otherwise by keyboard) unlike all previous recordings of it. Manze dispenses with it and judiciously (capriciously?) adds chords here and there to support the main melodic line on the same instrument. I definitely like it much better without all that mindlessly incessant and
largely unnecessary chordal pounding on the piano in the Kreisler version (all my personal opinions from here...), distracting most of the time and at its worst trivialising the music.
To me, music which is supposed to be inspired by a/the devil, being "diabolical" in spirit, is turned into a tame collection of notes when the piano part is around. For example, the striking
chords which marks the climax becomes a disjointed episode which does not sound as if it belongs when the piano disrupts the flow of the music. Worse still, the piano ruins the music right from the start of the second movement by introducing a sprightly feel to the supposedly demon-inspired
music. The Kreisler arrangement produces a straight and bland encore piece that lacks impact, which really makes me treasure this unaccompanied version on Harmonia Mundi.
Andrew Manze's imagination runs wild here, adding chords, tremolos and other embellishments freely to make every turn of phrase in the music his own. Listen out for those eerie bariolage effects in the second and third movement and that harmonic-tremolo that sounds like an abrupt ghoulish howl, bound to prick the ears.
The music itself is permeated with an air of tension and suspense throughout. I held my breath when hearing the second movement of the sonata for the first time, in anticipation of what was to come after the hestitant start. The music quickly grows in confidence and urgency, each repeat of the theme differs due to the change in nuances and picking up energy despite
the stop and start of the music. A frenzied pace is finally reached but in the next moment the music ends in silence, leaving you wondering whether you really felt that thrill a
minute ago...
The third movement is very agitated and powerfully played, fraught with tension that really grips you in a spell. The rousing trills makes me wish for impossible violence to be conveyed from a mere violin to fully realise what Tartini might have heard in his dream encounter with the devil; This is probably the most fiery account that one can settle for in any case.
The Variations on a Gavotte from Corelli's L'arte del arco comes as a refreshing
diversion after the scare to lighten up the mood. 14 of the total 38 are provided here, all
following the theme, delivered in a light manner and cheerful spirit. It is delightful music
that appeals instantly while being a historical document on the progress of violin-playing through
history. Andrew Manze displays the necessary dexterity to retain relaxed control when handling
the technially problematic variations such as the 12th (doublestop variation with tremolo on one
string), 13th (rapid staccatos) and 23rd (rapid note runs with theme heard on
accentuated notes) variations.
The Sonata in A minor, set in five movements followed by five variations on the last
movement's aria, returns to the atmosphere set by "The Devil's Sonata". Truth to tell, I usually give
this piece, especially its first movement, a miss when the track is reached, the alien and
strange sound scaring me off.
Played here instead with a clean sound without vibrato and suitable messa di
voce (the main factor to that ghostly wail), the Cantabile which begins the sonata has a very
haunting character. With only the solo violin playing, there is this extreme sense of starkness to the music, something which would be lost undoubtedly if there is an accompaniment. Throughout the piece, this lonely mood pervades, and all of the movements carry on in a negative spirit, expressing gloom, wistful sadness and so on. It is attractive in the way baroque violin music can be, but makes for hard listening material - listening to the Cantabile in the wee
morning hours like I do is an unnerving experience...
The Pastorale in Scordatura opens with a serenely beautiful movement that is instantly
recognisable as music depicting a pastoral setting. There is a quaint sort of attractiveness to
it, bringing to my mind images of a distant spring vale touched by a gentle breeze. The
following Allegro is decidedly gypsy in character with the strong rhythmic dance theme, and the
last movement a milder version which ends the piece on a cheerful note.
I would like this disc simply because it is solo violin fare actually. But I think playing these pieces unaccompanied really shows a different facet in the music. The sound of the violin here is very closly recorded and so if you can get into the music intimately you will find that the solo violin can be very expressive and that the music can convey some powerful moods indeed.
Despite my rave review up to this point, I do recognise several faults to this recording that might turn some people off to it. With signs of Andrew Manze's improvisionary style everywhere, and especially in the familiar "Devil's Trill" sonata, it may be seen as a highly indulgent account
in which his interpretation overshadows the music itself. All the personal
improvisionary touches might also get stale when one listens so long enough to be able to remember what they are and when they will appear.
Still, I find Manze's playing style very effective in communicating his
thoughts about the music, and it is clear he has something to say about it that is different from the rest. I delight to hear that spontaneous music-making and the performer's imagination giving new ideas to the works. For those who prefer music-making with a safety net and prefer the music to be strictly note-accurate without any additional input, look elsewhere.
Andrew Manze's recordings seldom get by without being noticed, particularly this one, in my opinion. The approach that he takes for this disc of violin works by Italian Baroque composer Giuseppe Tartini (left) is very idiosyncratic. From the way I argue for its virtues while my friend lambasts it for being untrue to the music (point of debate here; read on), I have no doubt that its appeal will depend on the individual's taste. Marked with his inimitable personality, this disc definitely guarantees the
discovery of new perspectives and perhaps will induce some raised eyebrows too, particularly with a fresh take of the popular "Devil's Trill" sonata, whether you like it or not eventually.
"My little sonatas for solo violin have a bass part for convention's sake (per ceremonia). I play them without bass and this is my true intention."
The ending is also innovative to say the least: in a final burst, a rapid cross-string appeggio phrase is fired which ends as suddenly as it appears, with a quick fading-off along... with some pizzacato notes too (a decidedly modern effect rather reminiscent of Ernst). I do think it is quite a stroke of imagination to conclude the piece in such an ambiguous light, leaving a haunting memory behind. To me, all these shows a true genius in interpretation who is unique in style.
Bariolage a doublestop of same note.
Messa di voce a crescendo- diminuendo effect through the bow.
Scordatura altering the normal tuning of the strings of an instrument to resonate with the key of the music to be played.
In Singapore, this set can be found or ordered from Tower (Suntec City and Pacific Plaza), Sing Discs (Raffles City), HMV (The Heeren) or Borders (Wheelock Place).
Ong Yong Hui is ready to save a forest after recycling his school notes.
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