Violinist Hannah White, pianist William Ransom, and poet Rita Dove. (courtesy of ECMSA)

Sonata Mulattica: Music and verse intertwine to illuminate the story of violinist George Bridgetower

CONCERT REVIEW:
Emory Chamber Music Society of Atlanta
January 17, 2025
Emerson Hall, Schwartz Center for Performing Arts
Atlanta, Georgia – USA
Rita Dove, poet; Hannah White, violin; William Ransom, piano.
Ludwig van BEETHOVEN: Violin Sonata no. 9 in A major, op. 47 (“Kreutzer”) (1803)
Rita DOVE: Readingsfrom Sonata Mulattica (publ.2009)

Mark Gresham | 22 JAN 2025

In the rich tapestry of classical music history, Ludwig van Beethoven’s Violin Sonata No. 9, commonly known as the “Kreutzer Sonata,” holds a special place for its musical intensity and captivating backstory.

Dedicated initially to George Augustus Polgreen Bridgetower, this composition was first performed by Bridgetower with Beethoven himself at the piano in Vienna in 1803. Bridgetower, a violin virtuoso of Afro-European heritage, was a standout figure whose life story was as dramatic as the music he played.

Born in 1778 in Poland, Bridgetower’s talents brought him to the courts of Europe, where he dazzled audiences with his skill. The Kreutzer Sonata, initially titled “Sonata mulattica composta per il mulatto Brischdauer,” was a testament to his virtuosity. However, the relationship between Beethoven and Bridgetower soured shortly after their celebrated premiere due to a personal dispute. It led Beethoven to change the dedication to Rodolphe Kreutzer, a French violinist who never played the piece.


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This intriguing history formed the backdrop for this past Friday evening’s concert by the Emory Chamber Music Society of Atlanta that brought together music and poetry by revisiting the Kreutzer Sonata in performance by violinist Hannah White and pianist William Ransom, integrated with the poetic interpretations of Rita Dove, the Pulitzer Prize-winning former U.S. Poet Laureate. Dove’s work, “Sonata Mulattica,” breathes new life into Bridgetower’s narrative, exploring themes of race, identity, and artistic brilliance. The poetry, read by Ms. Dove herself, intertwined with the performance of the Sonata, offered a profound reflection on Bridgetower’s legacy, illuminating his contributions and the complexities of his era.

A group of poems from Dove’s collection preceded each movement of Beethoven’s Kreutzer Sonata: three sections of poetry plus music, which begged the question of where best to place an intermission. In this instance, the intermission was between the second group of poetry and the second sonata movement. Even though each half of the program was about 45 minutes long, that broke the dramatic rhythm of the pairings, and a tightened 90 minutes (or less) without intermission would likely have been a better idea. It certainly would have given the program a more convincing arc overall.


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The acoustical design of the Schwartz Center’s Emerson Hall is more attuned to music than speech. (I had conversations with the acousticians from Kierkegaard and Associated before and after the hall opened in 2003, and witnessed acoustical test measurements being made first-hand.) Despite modest amplification, several attendees expressed disappointment at intermission saying they had difficulty hearing Ms. Dove read her poetry, though it was somewhat better in the second half. For me, it was not a matter of volume as much as the “wetter” acoustics, which are ideal for music but tend to obscure spoken words. That is true of multiple well-known concert halls around Atlanta and not specific to the music-friendly acoustics of Emerson Hall. It’s just how halls for music are designed versus those for spoken theatre.

That said, Ms. Dove’s voice was euphonious and expressive, delivering her poetry in a way that was musically and emotionally engaging. White and Ransom’s performance of the Kreutzer Sonata’s three movements provided a suitable musical framework for Dove’s poetry and reflection upon her musings.


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About the author:
Mark Gresham is publisher and principal writer of EarRelevant. He began writing as a music journalist over 30 years ago, but has been a composer of music much longer than that. He was the winner of an ASCAP/Deems Taylor Award for music journalism in 2003.

Read more by Mark Gresham.
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