The Last Rose of Summer – Sonata-Poem

This publication brings together two contrasting but complementary works for solo viola: Michael Kugel’s original Sonata-Poem and his transcription of Heinrich Wilhelm Ernst’s The Last Rose of Summer. Published in 1998 as a unified set, these pieces together span approximately 19 minutes and serve as both a technical showcase and a personal artistic statement.

Ernst’s The Last Rose of Summer, originally composed for solo violin in the 19th century, is a set of virtuosic variations on a well-known Irish melody. Long regarded as a benchmark of violin technique, the piece features advanced techniques such as double harmonics, rapid arpeggios, and left-hand pizzicato. Kugel’s transcription for viola retains these formidable challenges while adapting them sensitively to the viola’s larger size and different tonal palette. His adaptation preserves the brilliance and flamboyance of the original while expanding the viola’s solo repertoire into territory traditionally dominated by the violin.

Contrasting sharply with this is Kugel’s own Sonata-Poem, a one-movement work with a rhapsodic, free-flowing structure. Eschewing the constraints of classical sonata form, it unfolds like a musical soliloquy, shifting between lyrical lament and dramatic outbursts. The work is darkly expressive, and Kugel himself has characterised it as autobiographical and tragic in nature. The piece begins with a sorrowful cantabile line, builds to intense emotional climaxes and feats of technical display, and eventually retreats to a quiet, haunting conclusion. While technically demanding, the focus is equally on expressive nuance, narrative flow, and emotional depth.

Together, these two works reveal different dimensions of the viola’s expressive power. The Sonata-Poem leans into introspection and psychological depth, while the Ernst transcription highlights sheer virtuosity. Kugel’s decision to pair them seems intentional: The Last Rose of Summer, with its theme of faded beauty, serves as an elegiac prelude to the personal catharsis of the Sonata-Poem. Thematically, the set can be understood as tracing a journey from nostalgic reflection to deeply felt inner experience.

Kugel, a prominent advocate for the solo viola, has articulated his belief that violists should engage with virtuosic repertoire originally intended for violin, aiming to elevate the technical standards and artistic expectations for the instrument. He has noted that pieces such as Ernst’s variations were written “for true soloists, not orchestra players”, underscoring his mission to expand what is considered possible on the viola.

From a performance perspective, both pieces are extremely demanding. The Ernst arrangement requires mastery of techniques rarely encountered in standard viola literature, pushing the instrument to its technical and expressive limits. Kugel’s version often maintains the original violin register, including high passages typically suited to the violin’s E string, occasionally adjusted by an octave when necessary. The Sonata-Poem, while focused more on emotional expression than sheer bravura, also requires advanced control of tone, phrasing, and dynamic contrast. It demands endurance, emotional maturity, and interpretative clarity, particularly given the absence of accompaniment.

These pieces have been well received within viola circles, often featured in competitions and recitals. The Sonata-Poem has found a place alongside modern solo viola works by composers like Hindemith and Stravinsky, and is praised for its emotional resonance. Kugel himself has performed and recorded both pieces, and his students continue to bring them to the stage, ensuring their presence in the contemporary viola repertoire.

Ultimately, this publication reflects Kugel’s dual artistic vision: to pay homage to the Romantic tradition of the solo string instrument while simultaneously extending the viola’s expressive reach in the modern era.