John McDonald
Airy. Music for Violin and Piano
Joanna Kurkowicz violin
John McDonald piano
Bridge 9402( 2013)
World premiere recordings
“…In this work (Solo sonata) particularly, violinist Joanna Kurkowicz gets to shine, although she is clearly the master of her instrument in the other works as well. Her phrasing, technical assurance and impeccable intonation all serve to present this and the other music heard herein splendidly…”
— FANFARE MAGAZINE
“…The work ( Airy) is dedicated to Joanna Kurkowicz, who plays it with supreme assurance and conviction. It is not perhaps for me to say, but these performances would seem definitive to my ears. Kurkowicz’s playing leaves nothing to be desired from my violin-tuned ears…Between the music, the performances and the recorded sound, this CD was a treat from beginning to end, and I recommend it wholeheartedly both to contemporary music enthusiasts and lovers of fine violin playing”
— FANFARE MAGAZINE
“…she performs this poetic, mercurial, occasionally spiky, but more often gossamer, music with finesse, intelligence, and great technical skill. …Obviously, most highly recommended.”
— FANFARE MAGAZINE
” …Kurkowicz negotiates the tricky tempos, understatedly, edgy riffs and hypnotic ambience of McDonald’s Sonata for Solo Violin with a steady focus and deftly subtle variations in tone and dynamics… ”
— LUCID CULTURE
” Joanna Kurkowicz’s 1699 Guarneri does indeed sing its way through the recital with dulcet grace.”
— MUSIC WEB INTERNATIONAL
There are many elements which draw me to John’s music. In the CD “Airy,” one notices a few compositional periods, stylistically very different. Each speaks with a different voice. Lyrical Study and the Poem represent the romantic beauty of John McDonald’s music. Especially the Poem has moments of extreme expression—a certain fragility and meaning in between the lines. It is one of my favorites!
Sonata for Solo Violin is an example of bold virtuosity. There is no doubt that the years spent by John in Roman Totenberg’s studio contributed to a wonderful understanding of the instrument and resulted in a wonderful and substantial three-movement piece for solo violin.
We have also beautiful miniatures: Lily Events or Four Single-Minded Miniatures, some of them in a very soft dynamic with simple harmonics. They create a mysterious, ethereal atmosphere, the atmosphere of natural simplicity, which brings to mind the language of Minimalism. Subtlety of the emotional language and the means with which John achieves his musical goal are striking.
In the most recent works, John explores and brings this simplicity to the next level. In the title piece “Airy,” dedicated to me, drops of pizzicato, interwoven with outbursts of loud, dramatic, dissonant chords, serve as moments of repose, with lots of silences. But in reality these simple and soft characters create the most tension and suspense. The result is remarkable, unique and three-dimensional. We hear not only what was written but beyond….
In the context of John McDonald’s music I should also talk about certain composers and visual artists that helped me understand John’s music better. One of them is composer Zygmunt Krauze and visual artist Wladyslaw Strzeminski, who developed a movement or theory in art called Unism. Unism is an artistic experimentation through an analysis of form in painting which led to minimalism. Krauze wrote: “My goal is to translate Strzeminski’s theory into the world of sound, explain in my music what he created.” I performed Krauze’s Piano Quintet at Tufts Distler Hall with Zygmunt Krauze at the piano. I think John was influenced by both the music of Zygmunt Krauze and the art of Wladyslaw Strzeminski. “Airy” , pieced dedicated to me and the title piece of our CD was influenced by the concept of Unism.
John McDonald’s music has very different challenges than I find in other composers’ music. Of course in the solo sonata, or even in “Airy,” certain passages are complex and difficult, and one has to practice and struggle a bit to make it work. It is not as difficult and complex, though, as for example Gunther Schuller’s music in terms of notes. What is hard in McDonald’s work is the soft dynamics and fragile harmonics in very slow tempos, which require amazing bow control. One has to work hard conceptually to find meaning in the simplicity of certain passages. There is no obvious answer there. The meaning is hidden.
— Joanna Kurkowicz
The Violin Music of John McDonald (excerpt from interview written in Fanfare Magazine, January 2014)
by David Deboor Canfield
How much other violin music, if any, have you written in addition to the works on this CD?
I’ve made quite a bit of other music including the violin over the years. Though it’s important material for me, I should say that it is not quite what I see as the core of my work. I played for voice lessons (because I am a sight-reader) and studied voice from age 13 on (hence those Op. 1 songs written in high school). I performed duo recitals with soprano Karol Bennett for an intense period of fifteen years or more (1982-98), composing many works for her. We still work together when possible. I have also collaborated with many other singers as pianist and composer, and played in many a contemporary music ensemble. This work with the intimacy of song carries over to my instrumental music of all kinds—I am a miniaturist as a result, and to a large extent my instrumental pieces come off as songs without words.
Working with Joanna inspired in me a completely fresh commitment to working with the violin. She became quite a muse for me—just like an incredible singer. We first met to perform and teach together at the Tufts European Center in Talloires, France, in 2007. Joanna is obviously a dynamic performer and teacher, and she knows what she wants. We performed a piano trio of mine that summer with cellist Emmanuel Feldman, and it seemed natural to ask her to collaborate on a retrospective recording project after I had devised the new piece Airy for her, which was initially inspired by some of composer Zygmunt Krauze’s early musical ideas. I’ve already imagined a sequel to this album that will include a concerto-like piece for Joanna.
Over the years, I’ve written quite a few solo violin miniatures for students, some duets, and chamber music ranging from trios to sextets that features the violin significantly (including two string quartets and several short pieces for string quartet). I recently made a little four-movement piece for flute and twelve violins for a graduating Tufts senior (flutist) who had somehow not found the chance to play as a soloist with her peers from the Tufts Symphony Orchestra. So I made the piece for her graduation recital. That’s some of what’s happened with the violin and me.
Joanna, may I ask what it was that drew you to John’s music?
I have worked with many living composers. I find the process of preparing a piece for the first performance, world premiere, very creative. Searching for the best solution of musical ideas in these works, technically finding a way for the best sound in difficult passages and inspiring conversations with composers make me understand music in a much broader sense. The moment of giving the first performance of the piece just being born, is also very unique. It has a special meaning for me. If somebody’s music speaks to me I make contact and propose a project. This was the case with recording two volumes of violin concertos by the not so well known Polish composer Grazyna Bacewicz for Chandos, or recording Concerto Svara Yantra for violin and tabla and Cranes Dancing by Shirish Korde.
There are many elements which draw me to John’s music. In the CD Airy, one notices a few compositional periods, stylistically very different. Each speaks with a different voice. Lyrical Study and the Poem represent the romantic beauty of John McDonald’s music. Especially the Poem has moments of extreme expression—a certain fragility and meaning in between the lines. It is one of my favorites! Sonata for Solo Violin is an example of bold virtuosity. There is no doubt that the years spent by John in Roman Totenberg’s studio contributed to a wonderful understanding of the instrument and resulted in a wonderful and substantial three-movement piece for solo violin.
We have also beautiful miniatures: Lily Events or Four Single-Minded Miniatures, some of them in a very soft dynamic with simple harmonics. They create a mysterious, ethereal atmosphere, the atmosphere of natural simplicity, which brings to mind the language of Minimalism. In the most recent works, John explores and brings this simplicity to the next level. In the title piece Airy, dedicated to me, drops of pizzicato, interwoven with outbursts of loud, dramatic, dissonant chords, serve as moments of repose, with lots of silences. But in reality these simple and soft characters create the most tension and suspense. The result is remarkable, unique and three-dimensional. We hear not only what was written but beyond….
What musical and technical challenges do you find in this music?
John McDonald’s music has very different challenges than I find in other composers’ music. Of course in the solo sonata, or even in Airy, certain passages are complex and difficult, and one has to practice and struggle a bit to make it work. It is not as difficult and complex, though, as for example Gunther Schuller’s music in terms of notes. What is hard in McDonald’s work is the soft dynamics and fragile harmonics in very slow tempos, which require amazing bow control. One has to work hard conceptually to find meaning in the simplicity of certain passages. There is no obvious answer there. The meaning is hidden.
What do you consider the “essence” of great violin playing?
There is no single prescription for “great violin playing.” For me it is about a special balance and consistency between expressing the composer’s idea and interpreting the music in such an individual way that it becomes my own. It would be hard to compare, and even more difficult to judge, amazing performances of the Brahms Violin Concerto played by David Oistrakh and Ginette Neveu. Each performance is masterful and uncovers beautiful truths about the piece. Yet, each is highly individual, unique, different…. We performers search for that personal voice during our entire musical lives.
The Polish school of violin playing is considered one of the most important. Is there anything in the approach that you were taught that has particularly helped in coming to John’s music?
There is no doubt that the Polish school of violin playing, together with the Russian school, had an important role in the history of violin playing. The Polish school had produced many virtuosos and distinguished teachers. Poland hosts also important violin competitions. But in the context of John McDonald’s music I should talk rather about certain Polish composers and visual artists that helped me understand John’s music better. One of them is composer Zygmunt Krauze and visual artist Wladyslaw Strzeminski, who developed a movement or theory in art called Unism.
Unism is an artistic experimentation through an analysis of form in painting which led to minimalism. Krauze wrote: “My goal is to translate Strzeminski’s theory into the world of sound, explain in my music what he created.” I performed Krauze’s Piano Quintet at Tufts Distler Hall with Zygmunt Krauze at the piano. I think John was influenced by both the music of Zygmunt Krauze and the art of Wladyslaw Strzeminski. I believe that “Airy” was influenced by the concept of Unism. Working with Krauze, and learning about his theory, helped me tremendously to understand some of the works John wrote, including “Airy.”
Do you give recitals of other music together with Joanna? If so, what are some of the pieces in your duo repertory?
We are presenting a recital to celebrate the release of Airy at Tufts in November. In addition to some of the pieces on the recording (including the solo sonata), Joanna has chosen the Lutoslawski Partita (1984) and the Schnittke Suite in Old Style (1972). There’s also a modest new piece of mine for this recital, and we’ve played other modern works together. I’d love to perform the Schoenberg Phantasy with her (mentioned above), and just about anything else. It is a challenge for me to match Joanna’s superbly high performance standard, but I love trying to keep pace.
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