History of an Era

History of an Era. An interpretation of two works for viola is a significant work by Michael Kugel that examines two milestone compositions in viola history: Dmitri Shostakovich’s Viola Sonata op.147 and Béla Bartók’s Viola Concerto.

This 140-page book​ is part musical analysis, part historical commentary, written by Kugel, who as a leading violist offers insights from a performer’s perspective. The title “History of an Era” suggests that these two works – Shostakovich’s final opus (1975) and Bartók’s unfinished concerto (1945) – are viewed as the valedictory statements of their respective eras (the late Soviet period and the World War II era), and Kugel connects them as turning points in 20th-century music for viola.

In History of an Era, Kugel provides a deep interpretation of Shostakovich’s sonata and Bartók’s concerto, contextualizing each work historically and musically. He analyzes their structures, themes, and expressive meanings, often drawing on his experience performing them. For Shostakovich’s Viola Sonata, Kugel discusses its three-movement structure (especially the poignant last movement marked Adagio, which quotes Beethoven’s Moonlight Sonata). He delves into the composer’s state of mind – Shostakovich wrote it as he was dying of illness – and deciphers musical symbols of farewell and repentance. Kugel famously interprets the sonata as Shostakovich’s “plea for forgiveness and reconciliation, leaving the world without bitterness or rancour”. This quote, which comes from Kugel’s own liner notes (later incorporated into the book), encapsulates the emotive lens through which he views the sonata: as a spiritual testament.

For Bartók’s Viola Concerto (which was left in draft at Bartók’s death in 1945 and later completed by Tibor Serly), Kugel examines the concerto’s form and folk influences, and likely addresses the controversies around its posthumous completion. He may compare Bartók’s concerto (a composer’s swan song written in exile, with Hungarian folk fragments) to Shostakovich’s swan song written under Soviet shadows – thereby illustrating how each work, in its own way, closes a chapter of musical history (hence “history of an era”). The book not only dissects the scores but also recounts the circumstances of their creation, premiere performances, and the composers’ intentions as understood by Kugel. It is both analytical (with musical examples and theoretical discussion) and narrative, as Kugel writes in a very personal tone as a performer addressing fellow musicians.

History of an Era grew out of Kugel’s longstanding engagement with these two pieces. By the late 1990s, he had been performing Shostakovich’s sonata frequently (it became a central piece in his recitals) and he even recorded it. He also performed Bartók’s concerto (the Serly version) in concerts.

This book is released in at least two languages (English, with a parallel German translation titled Geschichte einer Ära). The timing of the book coincided with a resurgence of interest in viola repertoire at the turn of the millennium – both Shostakovich and Bartók’s works were receiving more scholarly attention and performances. Kugel’s aim was to provide interpretation guidance and share his perspective as someone who straddled the Soviet and Western musical worlds. In essence, the book is dedicated to the idea that Shostakovich and Bartók, through their final compositions for viola, symbolically connect – Shostakovich’s sonata (1975) coming 30 years after Bartók’s concerto (1945) can be seen as closing the post-WWII era that Bartók’s work began. Kugel, having lived through the latter half of the 20th century, provides first-hand context (e.g. Soviet reception of Shostakovich, or how Bartók’s concerto was viewed by violists over time).

Written in an essayistic style rather than dry musicology, History of an Era is accessible to performers. Kugel often uses poetic language to describe the music’s character, as seen in calling Shostakovich’s slow movement a “prayer without words” or describing Bartók’s last melodies as an exile’s longing. He includes musical score excerpts and photographs or facsimiles where relevant (the WorldCat entry suggests it contains illustrations). Because Kugel is both an academic and a practitioner, the book straddles analysis and practical advice – he discusses interpretative issues like tempi, phrasing, and the use of vibrato or tone color in key passages. The book also preserves historical anecdotes: for example, it likely mentions violist Fyodor Druzhinin (for whom Shostakovich wrote the sonata) and William Primrose (for whom Bartók intended the concerto), thus weaving a narrative of two great violists and two composers across time. In doing so, Kugel not only analyzes the compositions but also pays homage to the performers and circumstances that brought those works to life (Druzhinin premiered the Shostakovich in 1975, Primrose’s request initiated the Bartók in 1945).

History of an Era has been regarded as a valuable contribution to viola literature and pedagogy. It is often cited by violists and scholars studying these works for its insightful commentary. By focusing on two cornerstone works of the viola repertoire, Kugel’s book filled a gap – previously, analyses of the Shostakovich sonata or Bartók concerto were scattered in journals; Kugel provided a focused study in one volume. The Strad magazine’s review of his CD praised his liner notes (which became part of the book) for their eloquence​.

The book has since been used as a reference in masterclasses; for instance, teachers assign excerpts to students to deepen their understanding of Shostakovich’s sonata beyond the notes on the page. In the broader sense, History of an Era stands as a testament to Kugel’s scholarly side – complementing his identity as a composer and virtuoso. It shows how a performer can contextualize and interpret historically significant works, hence enriching the performance practice. For a modern violist or musicologist, Kugel’s work offers both analytical depth and the unique voice of someone who has lived with the music. In summary, while History of an Era is not a musical composition per se, it is an important part of Michael Kugel’s output, shedding light on two masterworks of the 20th-century viola repertoire and capturing the end of an era in classical music through the eyes of a viola player.