Violin Sonata No. 3 (Beethoven)
The Violin Sonata No. 3 in E flat major, Op. 12 No. 3 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 and published in 1798 under the title " Tre Sonate per il Clavicembalo o fortepiano con un Violino " with a dedication to Beethoven's teacher Antonio Salieri.
About the Music
In his violin sonatas Beethoven continued to Wolfgang Amadeus Mozart, who had started from a hitherto accompanying to develop the violin to an equal partner of the piano. Beethoven follows Mozart's model number and structure of sentences. Beethoven's violin sonatas are characterized by dialogue between piano and violin and shocked the contemporary audience, which until then only light music was accustomed. Through the use of syncopation and unconventional modulations and rhythms
1st movement: Allegro con spirito
Compared to the previous sonatas of head movement of Op 12.3 is applied demanding.
The theme is divided into three groups of four measures each. During the first four bars are indefinite metric, the second four- group in 4/4-Tempo, and then the last four bars vary the four opening bars. The second theme is characterized by a fourth derivative. A appearing just before the recapitulation element performs piano and violin together in unison.
2nd movement: Adagio con molt'espressione
The Adagio con molt'espressione similar to the middle movement of Beethoven's Piano Sonata No. 4 in E flat major, Op 7 as well as the the String Trio No. 3 in C minor, Op 9, No. 3 In addition, Beethoven uses here the idea of the previous Sonata, to provide an emotional set in the center.
The accompanying figure of the piano is modeled on the C Major Prelude from Johann Sebastian Bach's " Well-Tempered Clavier ".
3rd movement: Rondo. Allegro molto
The third movement is a conventional circuit Rondo. In the upbeat fourth theme is stretched to the fifth and sixth. At the end of the sentence the subject is contrasted point-like enhancing imitated.
Effect
In terms of the novelty of the music the " General musical newspaper" the composer certified in 1799 that he " own transition " and go in the sonatas op 12 » no nature, no singing ," but instead "A Sträubigkeit, for one feels little interest "and" an accumulation of difficulty on difficulty "were present. In contrast, Robert Schumann compared the 1836 Beethoven with a " sky sunflower ," to which "the name Beethoven unfolds " had.