10. June 2024

Von der Liebe zur Linie IV


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Sven-Ingo KochVon der Liebe zur Linie IV (2022)
for violin

Sara Cubarsi, violin

Janet Sinica, video/editing
Julius Gass, recording producer/editing

The initial idea was to compose a short, one-movement piece for baroque violin, inspired by baroque ornamentation and a microtonally variable intonation of intervals and tones. I am fascinated by the intonation of baroque music, in which intervals are interpreted according to the tonal-harmonic context and are sometimes tighter, sometimes wider. At the beginning of the work process, the baroque violinist Nadja Zwiener played four different major thirds for me alone. This appealed to my interest in a linearity that explores the melodic potential of microtonality with a love of variable minor intervals.
During the joyful and stimulating process of working on the first piece and the associated renewed study of Bach’s sonatas and partitas, numerous ideas for further movements soon emerged, so that I distanced myself from the idea of composing a short, one-movement piece. Like Bach in his partitas, I wanted to make reference to various dances (in movements II and IV), although the reference to contemporary – not baroque – popular dance forms was important to me.
Each movement is based on its own idea: in the first movement (as described at the beginning) I am inspired by baroque ornamentation and focus in particular on 1/8, 2/8, 3/8 and 5/8 steps.
The second movement celebrates a repetitive, dance-like rhythm with some head-banging potential – and a few disturbances.
The third movement is inspired by the alternating notes c’ and d’ in Bach’s C major partita.
The fourth movement could almost be a kind of hip-hop.
The fifth movement is a (at least) two-part study of noisy harmonics and simultaneous alternating notes – a great challenge for any performer’s fingers.
Movements I and II were written expressly for baroque violin, but can also be played on the modern violin. The opposite is true for movements III, IV and V.
I would like to thank Sara Cubarsi from the bottom of my heart for the wonderful collaboration, during which she devoted herself to every detail, every microtonal differentiation with love and dedication.

Sven-Ingo Koch