Welcome

This is a collection of program notes, lectures and other writings by Dr. Laurence R. Taylor (1937-2004). Most of them were written for the Princeton Symphony and Opera Festival of New Jersey but some were for the Newtown Chamber Orchestra and Greater Princeton Youth Orchestra as well as some recitals. I am trying to get these online as fast as possible. There will be some strange formatting. Whenever you see a phrase in ALL CAPS he meant italics. Somehow pressing that little i button was too much trouble :) I will edit them to make that change when time allows. Suggestions are also welcome. Also you will find that LRT used British orthography even though he lived most of his life in New Jersey. Those spellings will remain since in his words "[I have had a] Close lifelong with British musical life – with annual return visits to refresh the soul by rejoining British friends, and drinking in a wide range of musical life there."


You may reprint any of the materials posted here for no charge as long as credit is given in the printed material to Laurence R. Taylor. I'd be delighted to receive a copy too.

Gene De Lisa


Saturday, October 5, 2002

Brahms Scherzo in C Minor for Violin and Piano (“Sonatensatz”)

Scherzo in C Minor for Violin and Piano (“Sonatensatz”)

Johannes Brahms (1833-1897)

As a young man Johannes Brahms met the celebrated Hungarian violinist, Josef Joachim, who would become a lifelong friend, and inspiration for all of his violin compositions. The German subtitle “Sonatensatz” refers to the curious fact that this scherzo movement was originally part of a composite violin sonata written for Joachim, with three different composers contributing movements to form a complete work. The scherzo was composed in 1853 when Brahms was barely 20 years old, but was only published in 1906, soon finding a place in the concert repertory.

From the very beginning the music leaps into action, seizing the listener’s attention with pounding rhythms, sweeping lyrical phrases and an air of dramatic expectancy. The music becomes more subdued for a gentler contrasting episode at midpoint, returning to the rhythmic energy of the opening, rounding out the work with a majestic conclusion.



for a concert by Darwyn Apple

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