Programmes & Programme Notes

University of St Andrews Honors Recital

Sonata No. 2 for Solo Violin in A minor, BWV 1003, Andante, J.S. Bach (1685-1750)

Violin Sonata in D minor, Op. 5, No. 12, "La Follia", Archangelo Corelli (1653-1713)

Violin Sonata No. 5 in F-major, Op. 24, "Spring", Ludwig van Beethoven (1770-1827)

Program Notes

Violinist Ava GianGrasso covers a breadth of different eras and styles while encompassing some of her favorite pieces in this spring recital. Audience members will notice the chronological nature of pieces from baroque to classical era, however, chronology may not be evident while listening. This recital explores how bowing techniques evolve across musical eras, and how historical and modern approaches can shape and differentiate interpretation.

J.S. Bach’s Andante from the A Minor Sonata written c. 1720 exemplifies Baroque bowing ideals—dance-like strokes and organic phrasing that mimic the breath of a singer. Although written for violin, this movement balances an upper and lower voice, necessitating delicate balance between both voices in a single bow stroke. The baroque violin bow is different from the modern bow in multiple different ways: it is lighter, shorter, and concave which helps with playing multiple strings at once. To adjust to this historical context, Ava employs a loose right wrist, consistent with the looser and less tense baroque bow hold, allowing for lighter, connected movement across the strings.

Unaccompanied Bach is some of Ava’s favorite music to play. Much of the music from the baroque period is dance music. This, along with the lack of accompaniment, gives musicians extensive room for different interpretations. Although practice leads you in a certain direction, each performance could be different depending on the musician's feelings at the time. These pieces strengthen Ava’s musicality, creativity, and emotionally influenced playing. This free and beautiful movement is a perfect recital opener. These pieces strengthen Ava’s musicality, creativity, and emotionally influenced playing.

Second on the program, but originally written 20 years before the Bach A Minor Sonata, Corelli’s La Follia presents an opportunity for Ava to approach a Baroque era piece with 20th century bowing technique. Edited by Zino Francesscatti for solo violin and piano instead of basso continuo, the instrumentation alone lends itself to later era interpretations. Ava incorporates a modern approach to bow use throughout the sonata, which consists of a theme and variations.

This piece opens with the La Follia chord progression theme which Ava plays deliberately, using long, heavy bow strokes. This full, sustained opening deviates from baroque style bowing. Compared to the baroque bow, the modern bow is longer and balances more evenly, allowing for more control of style, articulation, dynamics, and a more powerful sound. As the piece progresses into its variations, Ava employs post-baroque techniques, such as sostenuto, détaché, martelé, and spiccato. This blend of contemporary style with baroque music allows for greater variety and differentiates the variations from one another, while still working to preserve the dance-like energy of the Baroque period. Diversifying a theme into variations allows for a sense of familiarity while evoking different feelings, gently guiding listeners on a musical and emotional journey.

Finally, in Beethoven’s Spring Sonata, Ava aligns her bowing and style with Classical era ideals to shape the lyrical and virtuosic passages throughout all four movements. As time went on, the scope of violin technique advanced due to increasing popularity of virtuosos and physical changes to the instrument, such as extended fingerboards. Beethoven is widely known for his complex, dramatic music. This sonata exemplifies this with use of broader range and longer, more technically demanding phrases. Ava stumbled across this fifth sonata while studying the first Beethoven violin sonata, and loves playing these works.

Classical style focuses on clarity, which Ava emphasizes using clear articulation and bright sound, as well as distinct beginnings to each phrase. Staccato with substantial space between notes is also used to clarify fast passages. This clear separation was heard more after the baroque period, partially due to the strength of modern bows and increased articulation possibilities. This clarity can be heard in the first, fourth, and notably the entirety of the short third movement. Additionally, consistent with the Corelli, more dramatic and lyrical bow techniques, like sostenuto bowing, are evident in the second movement and notably enhances the dramatic transition from D major to D minor.

Moreover, Beethoven’s specific dynamic markings throughout the entire sonata keep listeners engaged. This is evident in passages where the violin and piano trade off melodic lines. A listener may expect to hear a crescendo leading to a fortissimo, and instead find it leads to a subito piano while the line continues on in a different voice. These sudden dynamic contrasts require advanced control over the bow and communication between both musicians. This sonata encapsulates many different aspects of violin as a whole, and Ava is excited to share Spring, which is fitting for this beautiful time of year.

This semester, Ava has had the privilege of working with and being accompanied by Ailsa Aitkenhead. Ailsa is a professional pianist, accompanist, and piano teacher. She graduated from RCS, with distinction, where she studied a masters in piano accompaniment. Ailsa is the staff pianist at St Andrews University, and performs with the RSNO, Fever, Three Bridges Opera, Mostly Baroque and many more. She has frequent concert bookings across Scotland both as a soloist and collaborator.

Ava is violin performance major from Washington and Lee University currently studying abroad at the University of St Andrews. A violinist since age seven, she has taken advantage of this course to learn more about the nuances of the bow through her practice. Her programme reflects exploration of bowing as a bridge between historical performance practices and modern expressive possibilities. In her free time, Ava rows for the St Andrews Rowing Team and plays tenor saxophone in the W&L Jazz Ensemble. Planning to pursue a career in medicine, Ava hopes to keep music an integral part of her life through chamber groups and community ensembles while balancing her career as a physician.