Sonata No. 2

It is certainly remarkable the number of compositions written by Arthur Johannes Scholz: far 259 numbered works and more than a hundred without opus number. 

In all his musical compositions, the form “Sonata” appears in about ten pieces towards different ensembles: violin and piano, two for oboe and piano, one for four-handed piano, one for violin with piano accompaniment of Pietro Locatelli from Bergamo, one Sonata without any instrument statement and two Sonatas for solo guitar. 

The latter, due to its polyphonic nature, has been a significant means of expression for Scholz, to which he dedicated indeed the last years of his career. The impossibility of composing for other ensembles due to the Nazi regime and the war, and not secondary its violent and anxious atmosphere, is indeed well noticed by reading Scholz’s catalogue of works: he passes gradually by a full orchestra with soloists and choir, and several male or mixed choir compositions, to a sudden inexplicable conversion to pieces for few instruments. 

 

The guitar, often paired with the mandolin, joins the Viennese music world thanks to the contribution of Mauro Giuliani. It will live afterwards a real “Guitaromanie” as queen of concert halls, courts and lounges. Then it will often be used by main authors like Mahler, Zemlinsky and Schoenberg in some of their works also for full orchestra. 

This instrument plays therefore a non-secondary or minor role in the music production of the early twentieth century, as it is still wrongly believed, and Scholz’s compositions for and with the guitar published thus far are part of this rich tradition by providing an additional significant proof. 

In the constant research work conducted on this author, I also managed to get hold of a very rare 1924 collection of Lieder “Es ist ein Schloss in Österreich” transcribed by Scholz. It is an important work of ethnomusicology dedicated to the Austrian territory and its “volkslieder” whose lyrics and music are right listened and transcribed for voice, piano and lute (guitar).

It is clear therefore how the guitar was one of the favorite instruments of the early twentieth century, in the massive tradition of both classical and folk music. 

 

Regarding the work proposed here, Scholz’s second Sonata in E Major for solo guitar, one of the last works of the author whom died on 3rd April 1945, not only it has never been published, but the opus number is also missing. Nevertheless, the manuscript is at our disposal. 

On the contrary, the latter is missing for Sonata I op.127 for guitar in E minor, which was published posthumously in the collection of the publishing house Hladky edited by Luisa Walker, co-protagonist of a fervent artistic cooperation with the composer.

 

Reading the second Sonata it is clear the composer’s confidence and unconditional mastery of managing this traditional musical form and the combination of a great harmonic virtuosity with a dense, mature and rich writing. Its complexity is undeniable and consequently the technical effort needed for its performance. 

However, a sense of precariousness shines through this Sonata since its third movement, compared to the first two, shows a type of writing filled with notes and drafts. This suggests that the composer, who died in his sixties and perhaps unexpectedly, would have come back to the work at a later time. 

Among all the works with the guitar published by d’Oz, this one definitely reveals the lack of contact with Gertha Hammersmith or Luisa Walker. 

That is to say it is evident the absence of supervision and review by a guitarist for some sections, not executable as written. 

Luisa Walker was bound to Scholz by a deep esteem and friendship, but between the two Sonatas for guitar, after the war ended, she preferred to give the Sonata I to the press, which was definitely more feasible to perform. 

Hence the decision to publish it with an accurate work of fingering and review edited by Giorgio Mirto, composer and guitarist. 

In this edition, the passages that are impossible to perform instrumentally are accompanied by a double pentagram: in one the original passage is preserved, while the other one provides a chance to perform, trying to remain faithful to the composer’s thought.

 

Translate Agnese Massari