🎻 Viola: Luz Elisabeth Sánchez Suero 🎹 Piano: Lisa Rodionova 00:00 1. Movement 03:03 2. Movement 06:57 3. Movement La Sonata para viola y piano Op. 11 No. 4 de Paul Hindemith, compuesta en 1919, es una obra clave en el repertorio para viola, en la que el compositor explora las posibilidades expresivas del instrumento con una escritura audaz y profundamente personal. A través de su estructura en cuatro movimientos, la sonata transita entre el lirismo introspectivo y la energía rítmica, integrando influencias postrománticas con un lenguaje armónico innovador. Esta obra no solo refleja el virtuosismo de Hindemith como violista, sino también su visión vanguardista de la música de cámara. Paul Hindemith’s Sonata for Viola and Piano Op. 11 No. 4, composed in 1919, is a cornerstone of the viola repertoire, showcasing the instrument’s expressive capabilities through bold and deeply personal writing. Spanning four movements, the sonata moves between introspective lyricism and rhythmic drive, blending post-Romantic influences with an innovative harmonic language. This work not only reflects Hindemith’s virtuosity as a violist but also his forward-thinking vision of chamber music.

Viola | Luz Elisabeth Sánchez Suero Horn | Carlos Garre Aniorte Piano | Maximilian Otto

J. Brahms - Viola Sonata in E flat major, Op. 120, No. 2 00:00 Intro 00:15 I. Allegro amabile 08:24 II. Allegro appassionato 13:22 III. Andante con moto 🎻 Viola: Luz Elisabeth Sánchez Suero 🎹 Piano: @johannesdanielschneider3052 🎬 Video Edition: @pablosaresmusic

Rebecca Clarke - Sonata for Viola and Piano. Movement I: Impetuoso The opening movement is vibrant and highlights the viola as a powerful solo instrument. The cadenza-like solo fanfare is bold, and revolves around chromatic movement. There is a strong sense of syncopation throughout many of the sequences in this movement, and the relationship between the viola and piano is somewhat tumultuous at times, but it always comes back together harmoniously. Moving slightly away from chromatic harmony at times, Clarke’s harmonic language shifts to the use of modes and the whole-tone scale. This shift in sound is most certainly from her main compositional influence – Claude Debussy. The mysterious nature of the middle section is resonant of some of Debussy’s chamber works. Clarke’s use of modes is also resonant of a fellow English composer – Ralph Vaughan Williams. These two composers were her main influences, and some of the melodic and harmonic work is certainly paying homage to these composers. After dying away in sound the movement is resurrected back into the faster paced syncopated sequence. Overall this movement is very melodic, both in the viola and piano. The movement is marked ‘Impetuoso’, which translates into ‘lively’, ‘rash’, and even ‘spirited’, and Clarke’s first movement surely reflects this effectively.

Santiago García Cuba | Piano Mikhail Glinka (1804-57) is commonly regarded as the founder of Russian nationalism in music. His influence on composers such as Rimsky-Korsakov, Borodin and Mussorgsky was considerable. As a child, he had some lessons from the famous Irish virtuoso pianist John Field who was living in Petersburg, but his association with music remained purely amateur, until visits to Europe which began in 1830. In both Italy and Germany, he was able to formally study and improve his compositional technique. His music offered a synthesis of Western operatic form with Russian melody, while his instrumental music was a combination of the traditional and the exotic. His viola sonata was begun in 1825 but never completed. The manuscript breaks off at the very end, a few measures short of the final bar of the second movement, which is actually two movements in one. He had intended a fourth movement, a rondo polka, and there are sketches extant, but he never got around to it. The final bars of the third movement were completed by the Russian musicologist and scholar V. Borisovsky in 1932. The opening movement, shows the scope of the young Glinka's thinking. Virtually nothing like had been composed in Russia up to this time. The music is by turns lyrical, dramatic and stormy and very romantic with much brilliant writing for both instruments. It has a vocal quality as well. The second movement, is as noted two in one. The first part Larghetto is sedate and song-like while the second part, though not named, is very dramatic. Certainly, this is a work of historical importance but also it makes a nice and rarely heard choice for the recital hall.