Violin Sonata No. 2 (Beethoven)
The Violin Sonata No. 2 in A Major, Op. 12 No. 2 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 vivace
While the piano one consisting of a repeating Zweitonfigur topic is processed over one and a half octaves, lingers the violin with triplets in the middle register. After the appearance of contrasting elements Zweitonfigur returns in the coda back as the highlight of the set.
The musicologist Wolfgang Osthoff seen in the structure of the sentence beginning ( 4 4 2 2 cycles) a saying in tones.
First Beethoven coda is longer than the execution and thus assumes a quasi the rank of a second implementation; also found in the coda ambitions for the processing of the topic.
2nd movement: Andante più tosto Allegretto
The A minor standing, marked by serious and melancholy mood Andante più tosto Allegretto is constructed according to the ABA ' Coda scheme. In contrast to the previous course of the Sonata 's voices and piano sonata in this set are closely intertwined. The A section is accompanied by a new entrant to vote in its repetition after the B section.
3rd movement: Allegro piacevole
The Allegro piacevole the Sonata is a rondo for conventional construction.
Effect
With regard to 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.