Staff Pick
“This is for fans of Mel Bonis!”
Lovers of the Mel Bonis will be excited to see this adaptation of her sonata for violin. It is a substantial work which seems more complex in outlook than the flute sonata, while following the same four movement format and covering the same emotional spectrum. O'Connell has kept changes to a minimum, preserving many of the original lines which helps to capture the broad sweep of the phrasing in every movement. She has also managed to keep the flute range moderate so that stamina rather than technique is the main issue. The third movement is a special highlight with a poignant melody and meandering key that is quite lovely. Mel Bonis fans - this is for you!
The present edition is the culmination of my extensive research, detailed transcription, and practical performance. The editorial decisions in this edition were guided by both practical and stylistic considerations. Among the chamber works by Mel Bonis, the Violin Sonata in F-sharp minor, Op. 112 stands out in my opinion as her most mature contribution to the sonata genre. Published in 1923 by Maurice Senart, the work testifies to her mastery of large-scale chamber music, combining personal expressivity with structural rigour, and the work as a whole reflects the maturity of her later compositional style. Bonis had already written two sonatas, her Flute Sonata (1904) and Cello Sonata (1905), before turning to the violin. The Violin Sonata fully adopts the cyclical technique associated with her teacher César Franck, with thematic and harmonic connections that link its four movements. In 1998, Eberhard Mayer described the opening Moderato as a style that “interweaves rhythmic complexity, chromaticism, and deeply evocative, melancholic themes, ultimately expressing a pure sense of melancholy.” The first movement establishes this atmosphere through flowing lyricism and harmonic instability, shaped by rhythmic subtleties between the melodic line and the accompaniment. The second movement, a Presto–Scherzo, provides contrast through its spirit and lightness. It can be compared not only with the corresponding Scherzo of the Flute Sonata, but also with the concluding Scherzo of the Suite for Flute, Violin, and Piano. The third movement forms the expressive centre of the sonata, similar to Franck’s Violin Sonata in A major. Drawing a Greek folk melody, it evokes the sound world of Orthodox chant and integrates modal writing that points to the traditions of ancient Greece. The final movement develops this material with heightened energy and an expanded dialogue between violin and piano. Motivic fragments from earlier sections reappear in new harmonic contexts, reinforcing the cyclical conception of the work. The result is a movement of coherence and momentum, leading to a decisive conclusion. The sonata was premiered in 1919 at the Salle Gaveau in Paris by the Société Musicale Indépendante. Contemporary responses were positive. A critic for the Courrier des Musiciens highlighted the contrasts of the work and particularly praised “an Andante, carefully constructed on a Greek melody, which unfolds in a captivating development before leading into a vibrant and powerful finale.” This testimony underlines the balance of darkness and light that characterises the work. Although the sonata fell into neglect during the course of the twentieth century, its recent rediscovery has confirmed its status as one of the most significant chamber works of Bonis. A composition that, while showing the influence of Franck, simultaneously asserts a personal voice, lyrical, harmonically daring, and deeply expressive. Mel Bonis (1858–1937), born Mélanie Bonis and known in her private life as Madame Albert Domange, was a prolific French composer whose catalogue of more than 300 works spans 180 opus numbers. Her compositional output includes piano, organ, chamber, orchestral, and vocal music. In 1881, during her studies at the Paris Conservatoire, she adopted the name “Mel Bonis.” Her first work composed under this name was a piano piece entitled Impromptu for piano, “my first piece,” by Mel Bonis. The choice of an androgynous pseudonym reflected both the desire for artistic independence and a strategy for asserting herself within a male-dominated musical environment. Christine Géliot, president of the Association Mel Bonis and a descendant of the composer, has emphasised that modern references must respect this chosen professional identity. Bonis was a pupil of César Franck, Ernest Guiraud, and August Bazille at the Paris Conservatoire. Their teaching shaped her harmonic and structural thinking, while she simultaneously developed her own compositional voice, marked by lyricism, rhythmic subtlety, and harmonic colour. Christine Géliot’s biography Mel Bonis, femme et “compositeur” (L’Harmattan, 2010; translated into German and English by Furore Verlag) provides a comprehensive picture of her professional and private life, including her relationships, professional challenges, and tireless efforts to promote her work internationally. It presents Mel Bonis as a respected and internationally recognised composer whose music embodies technical mastery, expressive depth, and lasting significance.
Difficulty guide: 8-9
Difficulty level, roughly compared to ABRSM exam grades. 0 is total beginner, 9 is advanced (beyond grade 8).
