Cello Sonata No. 3 (Beethoven)
The Cello Sonata No. 3 in A major, Op 69 is a sonata for cello and piano by Ludwig van Beethoven.
- 4.1 documents
- 4.2 Further Reading
Formation
Beethoven completed the composition of his Cello Sonata No. 3 in 1808 to coincide with the completion of work on his Symphony No. 5 in C minor, Op 67
About the Music
The composition of the sonata falling in Beethoven's middle period of creativity.
1st movement: Allegro, ma non tanto
In contrast to the fragment -like theme of the simultaneously formed Symphony No. 5, the theme of the first movement to a cantabile character; also missing here the dialectic of the C minor Symphony. The melancholy character of the implementation was the musicologist Peter Schleunig a reference to Beethoven 's aria "It is finished" from Johann Sebastian Bach's St. John Passion suspect. Martin Geck, however, considers Bach's Chromatic Fantasy and Fugue as a model for likely.
2nd movement: Scherzo: Allegro molto
The positioning of the five-part scherzo is a corresponding parallel in Beethoven's String Quartet No. 7 in F major, Op 59.1, the first " Razumovsky quartet "; stands on the site of the mysterious reconciliation between the two movements of the " Waldstein " Sonata in the cello sonata afferent to the dominant ornamented melody, while his conception plan almost resembles that of the No. 21 in C major, Op 53 (" Waldstein " Sonata ). The shape of the scherzo, however, refers to the second ' Razumovsky Quartet "and the Fourth Symphony in the sense that resounds between the three performances of the scherzo, the trio twice. The trio has similarities to that of Beethoven's Symphony No. 7 in A Major Op 92.
The syncopated melody is in contrast to the accompaniment in straight bars. In this context, Beethoven 's pupil Carl Czerny insisted on observance of Beethoven's instruction to change the finger at the tied notes. An appropriate specification for the piano part is also found in Beethoven's " Hammerklavier" Sonata and the second movement of the Piano Sonata No. 31 In this context, Beethoven looked through a mistake of the engraver, as this the first pair of tied notes as " piano " and the rest the Scherzothemas designated as " fortissimo ", inspired to apply the words ' fortissimo ' to the entire scherzo.
Beethoven's autograph of this sentence shows a change in the relationship of the piano and cello during the composition process, which resulted in a good balance between the two instruments.
3rd movement: Adagio cantabile - Allegro vivace
The vast extent of the Adagio has led to speculations, the Sonata Op 69 was applied in four movements. The change of the cello from cis to d and the transition between Adagio and Allegro speak against this conjecture. The movement ends in a brilliant coda.
The virtuosity of the reconciliations is contrasted by the tentative system of subjects and their processing.
Effect
From Beethoven's Autograph only the first set is obtained. The original edition was published in 1809 by Breitkopf & Härtel in Leipzig and Beethoven's friend, the amateur cellist Ignaz von Gleichenstein dedicated. As shown by Julius Fast, a friend of the family has survived, destined for Gleichenstein copy of the first edition of Beethoven's hand bore the inscription: "Inter Lacrimas et Luctum " ( In tears and mourning). The spell presumably refers to the impact of the French occupation of Vienna by Ignaz Gleichenstein as a member of the council of war. The wrong opus number and various random error aroused the displeasure of the composer. In three letters to Breitkopf & Härtel he took before corrections to the random error.
Because of the balance between the two instruments involved as well as the compositional quality of the work was Beethoven's Cello Sonata, Op 69 a model for composers such as Felix Mendelssohn and Johannes Brahms.