Justin Almazan, viola

May 4th, 2021

Sorrow and Love:

Exploring and Reconstructing Great Works of German Vocal and Literary Repertoire

This afternoon is an experimental presentation of works from Bach to Brahms. Linked by the shared
emotional depth both in the musical scores and German poetic texts, these selected vocal works
vary from orchestral, choral, to duo in their originally conceived scope. In arranging these works,
they become equalized and intimately pared down to the barest and mellowest of elements--the
viola and the early fortepiano.

Representing the pinnacle of Baroque sacred music, Johann Sebastian Bach’s St. Matthew Passion
was composed during his employment at the Thomaskirche in Leipzig. Also Bach’s longest work, the
St. Matthew Passion dramatizes the life and crucifixion of Jesus Christ in a three-hour work of
monumental emotional and spiritual profundity. Performed this afternoon are two contrasting
arias, “Erbarme Dich, mein Gott” and “Erbarm Dich, from this influential work.

Beethoven’s deceptively brilliant “Adelaide” follows, which--despite its humble conception as a

six-minute micro-cantata for solo voice and piano--endured numerous revisions over the span of up
to three years between 1794 and 1797. Pianist-scholar Charles Rosen describes Beethoven’s song as
more Italian opera than anything else, drawing comparisons to early Bellini, and reinforcing
Beethoven’s role in bridging the classical and romantic eras.

In a similar vein, the first of Schumann’s “Zwei Venetianische Lieder” gently shadows the more
sophisticated “Adelaide.” Translated to “Row gently here,” Schumann depicts a suitor and his hired
gondolier navigating the labyrinth of Venetian canals to meet a lover. Gently ebbing bass rhythms
support hushed lyrical phrases, which are then interrupted by the excited and humorously urgent
stammers of a lovestruck man.

Next, in respective order, are three Schubert lieder from various stages of his life and career: ”Erster
Verlust,” “Auf dem Wasser zu singen,” and “An Sylvia.” Based on a poem by Johann Wolfgang von
Goethe, the first laments and aches for the bygone days of youth and first love. Then, a song
reflecting on the passing of time, symbolized by a passenger’s gliding past scenery on a boat.
Diminishing in severity, the last Schubert work praises the beauty and grace of one woman, Sylvia,
although it is rumored to have been composed on the back of a menu at a beer garden.

“Da unten im Tale” and “In stiller Nacht” conclude the afternoon’s performance, and are both wistful
and plaintive in character. Both are folk songs rendered by Brahms, originally for choir or solo voice
and piano. “Da unten im Tale” depicts a loner in a valley both mourning the conclusion of a romance
and thankfully accepting that the rich moments once shared together are no more. Whereas this
song retains much of the simplicity from the chorale version, “In stiller Nacht” artfully disturbs the
homophonic simplicity of its choral counterpart by displacing the accompanimental harmonies by
one eighth note. The result is a poignant, tenderly disquieting illustration of the text, which
describes a distant lament so touching that the listener and all surrounding nature weeps
empathetically.

By Justin Almazan