Ortho...?

Professor John Frame is known for his triperspectival epistemology. He calls the perspectives: normative, situational, and existential.

I was wondering, if we take orthodoxy as normative and orthopraxy as situational, what would be the existential? The Greek root for being is ont-, so I would suggest the word orthonty to complete the triad. It looks funny though.

Program notes for the 2006 recital

Program

Johann Sebastian Bach
Sonata No. 3 for Violin and Cembalo in E major, BWV 1016
1. Adagio
2. Allegro
3. Adagio ma non tanto
4. Allego

Henryk Wieniawski
Légende, op. 17

Sergei Prokofiev
Sonata No. 2 for Violin and Piano in D major, op. 94a
1. Moderato
2. Scherzo: Presto
3. Andante
4. Allegro con brio

(encore)
Johannes Brahms
Sonatensatz für Violine und Klavier (“FAE”)


Notes

Although Johann Sebastian Bach (1685–1750) was best known as a virtuoso organist during his lifetime, his compositions for the violin testify to his superb knowledge and exceptional skill on the instrument. The Sonata in E major is one among the six for the violin and cembalo (harpsichord) that he has composed between 1717–23 during his career in Cöthen. Like most of his instrumental works, these sonatas exhibit an abstract beauty that is not tied to any particular instrument: many motifs and melodies are expressed equally well, yet musically and technically challenging, on both the violin and the keyboard. The E major sonata begins with an introductory movement in which the violin sings flowing melodies with long phrases supported harmonically by the keyboard. Then follows a seamless three-part fugue, with themes and counterthemes alternating between the violin and the two hands of the keyboard. The opening theme appears also in a modified form reminiscent of the medieval tonus peregrinus (wandering tone), giving a subtle contrast to the cheerfulness of the original form. The contemplative third movement is characterized by simple and steady harmonic progressions on the left hand, with the violin and the right hand of the keyboard sometimes complementing one another, sometimes echoing, and sometimes dialoguing contrapuntally. An allegro final movement, which again weaves together three distinct voices, brings the sonata to a jubilant conclusion.

Henryk Wieniawski (1835–1880) was one of the greatest violinists of all time. Born in Lublin, Poland, he displayed exceptional talent for the violin very early, and was admitted to the Paris Conservatoire at the age of eight. He also studied composition, publishing his first opus in 1847. Légende is one of the best known of his works, published in Leipzig in 1860. It was written for his fiancée, Isabella Hampton, when their engagement was opposed by her parents. However, this work helped change her parents’ mind and the couple eventually married the same year. As a composer, Wieniawski combined Paganini’s mastery of technique with the Romanticism of his time colored with hues of Polish nationalism. His legacy for the violin repertoire includes two concerti, various showpieces, and études, which alongside Paganini’s works are among the most demanding works for the violin.

Sergei Prokofiev (1891–1953) was a Russian pianist and also one of the most prolific composers of his time. He was precocious in his musical abilities both in performance and composition, having written two operas and numerous short piano pieces by the age of 11. The sonata presented in this program was based on the composer’s original work for the flute and piano (op. 94, 1942), which he transformed for the violin and the piano in 1943 at the suggestion of his friend, the famous violinist David Oistrakh, who premièred it the next year. This work, though written relatively late in Prokofiev’s career, is highly classical in form, comprising the standard opening movement, scherzo, slow movement, and finale. The elegant melodies are retained from the flute version, yet the violin part is filled with virtuosic display for the instrument—the piano part being no less demanding. The scherzo movement is truly playful, with many unconventional harmonies and surprising transitions. By contrast, the third movement uses chromatic lines for an impressionistic effect. The finale is built on an exciting marching theme interspersed with lyrical sections; and with a brilliant coda in which the piano’s high notes and dissonant chords resemble clashing cymbals, the sonata concludes triumphantly.

Dedication

“Praise him with strings and pipe … Let everything that has breath praise the LORD” (Psalm 150). Music is a gift of God; skillfully composed music is a reflection of his eternal glory and beauty. Following Martin Luther, who said, “I would rather see all the arts, especially music, in the service of him who has given and created them,” it is our humble desire to present this recital to the glory and praise of God, and for the enjoyment of our friends.


Update: Prokofiev Sonata according to Audacity. The first portion was my telling a few jokes—I think I did not botch the jokes.