Violin Sonata No. 1 (Beethoven)
The Violin Sonata No. 1 in D major, Op. 12 No. 1 is a sonata for violin and piano by Ludwig van Beethoven.
- 4.1 documents
- 4.2 Further Reading
Formation
The Violin Sonatas Op 12 were written between 1797 and 1798. Beethoven dedicated in 1798 under the title " Tre Sonate per il Clavicembalo o fortepiano con un Violino " published sonatas his teacher Antonio Salieri (possibly with the hope of promoting his career by his teacher ).
About the Music
Beethoven was since his time in the Bonn court orchestra in which he played the violin, familiar with the violin and refined this even after his move to Vienna. Already around 170/92, he composed a fragment remaining Sonata in A major ( Hess 46) and the Rondo in G major, WoO 41, wherein the secondary theme is becoming a counterpoint to the main theme in the latter.
In his violin sonatas Beethoven continued the course set by Wolfgang Amadeus Mozart way. This had begun in his violin sonatas, to develop the violin before Mozart in the sonatas of Johann Schobert and Johann Christian Bach only had among others accompanying function to an equal partner of the piano.
Beethoven follows his example in the three movements of the sonatas with eröffnendem Allegro in sonata form and a concluding Rondo. Beethoven's violin sonatas are characterized by dialogue between the piano and violin, and differ from the former, designed as an entertainment musical works of the genre - among the startled reactions of the audience - through the use of syncopation and unconventional modulations and rhythms.
1st movement: Allegro con brio
The figuration pattern of this set includes Beethoven's 1798/99 arisen, standing also in D major String Quartet No. 3 in D major op ahead 18.3.
The four-bar introduction, with its broken D- major triad sounds to which the variations WoO 46 introductory to E-flat major triad. The eighth movements of the main theme will be continued in the second topic that does not begin in the dominant, but the double dominant. As additional motifs sounded a downward scale, and a four-stroke group. At the end of the sentence is heard no coda, but only the recapitulation.
2nd set: Tema con Variazioni. Andante con moto
The comprehensive 32 bars topic is followed by four variations and a coda.
3rd movement: Rondo. allegro
The standing in 6/8-measure Rondo differs from the common pattern, so that musicologists Dieter Rexroth came to the realization that " Beethoven [ ... ] in this sentence the rondo form entangled with the sonata form" has. Beethoven achieves this including the development of the theme and motif work. The enforcement, like section of the finale tells F major, the key of the implementation of the first set.
Effect
The shocked reaction of the audience to Beethoven's first violin sonatas - also the dedicatee of Antonio Salieri should have reacted strangely to the new style of music - is reflected in the review in the " general musical newspaper" resist:
" It is undeniable master of Beethoven 's own response: but what is that for a bizarre, cumbersome gear! Scholar, taught and always taught continuing and no nature, no singing ... A Sträubigkeit for which one feels little interest in a search for rare modulations, a Ekeltun against ordinary compound, an accumulation of difficulty to difficulty that you have the patience and joy loses. "
The held out Composer Robert Schumann, when he wrote in 1836:
" Yes, indeed, in the course of nature, it's up and in the nature of things. Thirty-seven years passed for the time being: like a sky sunflower, the name Beethoven has unfolded, while the reviewer shrinks in a garret to blunt nettle ".