Violin Sonata No. 10 (Beethoven)
The Violin Sonata No. 10 in G major, Op. 96 is a sonata for violin and piano by Ludwig van Beethoven.
- 4.1 documents
- 4.2 Further Reading
Formation
Beethoven wrote the Violin Sonata No. 10, his last composition of this plant genus, in 1812 for the violinist Pierre Rode, who had come to Vienna in the same year. Beethoven directed the work on a Rodes playing skills. Perhaps the Sonata in 1815 was revised before publication.
About the Music
1st movement: Allegro moderato
The first set, which contains echoes of the main theme of Beethoven's Piano Concerto No. 4, begins with a theme, the individual is first heard together in violin and piano part and then in both. The second theme is lyrical yet marked by dotted rhythms and triplets, however. The third theme of the movement is heard in the execution of the sentence and is also accompanied by triplets. At the end of the performance the music comes to a halt for a brief moment. After the recapitulation, the opening theme of the set is placed at the center in a detailed coda.
Inspired by Wolfgang Amadeus Mozart, the first movement of the sonata contains numerous motifs. With his character of the interplay between violin and piano, he inspired possibly the E-flat major trio by Franz Schubert, who admired this violin sonata for this reason.
2nd movement: Adagio espressivo
Conceived in ternary form Adagio begins with a two- phrase theme, piano and violin to swap roles with their repetition, which by Hans Eppstein as " dialogical principle " was called. The second part extends from clock 21 to the conductive via to the recapitulation of the violin cadenza. In the coda of the block is terminated by an E flat major chord, which passes over it with a -g -cis- sound to the D - major chord of the following Scherzo.
3rd movement: Scherzo. allegro
The Scherzo begins with a D major chord, which was prepared by an E flat major chord of the preceding, about conducting Adagio. A similar transition is found beispielszweise between the third and fourth movement of Beethoven's Piano Trio in 1811, B- flat major, Op 97
The over-emphasized in the syncope upbeats of 32 bars long sentence is compared to a song like G major Trio.
4th movement: Poco Allegretto - Adagio espressivo - Tempo I - Allegro - Poco Adagio - Presto
The first two bars of the song of the Jobsen from the musical comedy " The funny Schuster or the devil is going on Part II " by Johann Georg Johann Adam Hiller stand and form the germ cell for the finale of the Sonata, a set of variations in G major. From the topic from being passed on F-sharp major to B major to the variations. The central fifth variation obtained by its numerous thirty-second runs cadence character and suggests in its chromaticism a thoughtful undertone, before the sentence in much opposite conclusion from bar 221 ends with the relaxed theme.
The sentence came after Beethoven had the violinist Pierre Rode heard for the first time. After whose skills had made a rather moderate impression on Beethoven, the composer to waive brilliance in the fourth movement of his Sonata decided and instead wrote a cheerful, light -finals. According to the violinist Joseph Szigeti, however, was Beethoven's remark, " noise gentler passages " in the final Rode would not appeal, ironically, "because the last variation of the supposedly esoteric work is certainly a riveting momentum - a certain set climax mature this, earthly, serene sequence of variations, the core of which is the Adagio variation, a cantabile, contemplative dialogue between the two instruments, as he is so far not encountered in the genre of violin sonata. The two passages at the end - the daring ascent of the violin to the high D and the subsequent passage of the piano - tolerated in any case poorly with the intent, this time to want the > stile molto concertante < avoid ". .
The scheme of this set with respect to the use of time and key signature as well as folk music features can already be found in the finale of Beethoven's Violin Sonata No. 8 in G Major Op. 30 No. 3 also found, as musicologist Peter Cahn noted, composed in the finale of Op 96 parallels to Beethoven in 1803 Piano Trio No. 11 Opus 121a ( Variations on "I am the Schneider Kakadu " by Wenzel Müller).
Effect
A first, private, performance of the violin sonata was held at the home of Prince Franz Joseph Maximilian von Lobkowitz in December 1812. Pierre Rode was the violin soloist, while Archduke Rudolph, Beethoven's pupil, and the dedicatee of the Sonata, the piano part took over. The first public performance took place on January 7, 1813, also with Pierre Rode and Archduke Rudolph as soloists.
After the private performance in the home Lobkowitz, Beethoven Rodes performance showed little enthusiasm, as he told the Archduke, " so have i [c ] h not so much hurry to the Blosen punctuality sake me with the lezten pieces, more so I had to write this with more consideration in terms of the game of Rode, we have in our finale like noise gentler passages, but does not say this to R, and - schenirte me somewhat - by the way Tuesdays will be able to go all right. "
The composition was - possibly in a revised form - published in July 1816 by the Viennese publisher Tobias Haslinger. The "general musical newspaper" wrote in 1817 about the work:
" The violin is quite obligatory, in such a way that you hardly alone in each row is wise from the piano part. But Beyde voices are not only excellently connected, but also, they come together, each of considerable effectiveness. "
As the music critic Paul Bekker, the op under the sonata of Beethoven violin sonatas 96 as the " most poetry, musical feinsinnigst crafted " called, also the violinist Carl Flesch held the sonata of Beethoven's most successful when he wrote:
"If you as those singles out among Beethoven's Violin Sonatas, Op 24, Op 30 No. 2 and Op 47, the most enjoying the favor of the listener, so op 96 applies to the connoisseur as the most perfect work of the whole series. "