Violin Sonata No. 5 (Beethoven)

The Violin Sonata No. 5 in F Major, Opus 24 by Ludwig van Beethoven, for piano (piano) and violin is composed. The nickname " Spring Sonata " was created, as in many other works, and only later to describe the character of the piece. The work is dedicated to Count Moritz von Fries.

Formation

The work was written in collaboration with the Violin Sonata in A minor, Op 23 The opus numbers were separated later. Also op 23 Count Moritz von Fries was devoted to what underpins a common origin. The time of origin is dated to the years 1800-1801. The first edition took place in spring 1802 by T. Mollo & Co. in Vienna. The autographs of the first three sets are obtained and are in the Austrian National Library in Vienna. The date of the first performance is unknown.

Structure and Interpretation

The structure of the piece already based on Beethoven's symphonic growing claim. This requires the solution of the three-movement concerto form, towards the symphonic four-movement.

Allegro

The main theme begins viertaktig in the violin. The first two bars begin with a half note and descending semiquavers. The following eighth act a little more cautious, without slowing down the momentum and the joy of the first few bars. Beethoven then is not content with an equally long postscript, but even extended this to two measures to underpin the second part of the theme yet. Following topic and consequent repeated. This change piano and violin roles. After an ostinato in the bass of the dominant, reach the other voices in measure 25, the dominant. Usually now the second subject would be presented. Beethoven but this is still a dramatic first loaded passage ahead. The secondary theme is very determined with the thumping chord accompaniment in the piano and the signal tones of the violin. This impression is maintained in the following closely guided by minor passages and syncopated rhythms on. The development begins in measure 86 with a powerful strike chord in terzverwandten A Major. It is dominated by design spin-offs and their sequencing. The following is a reconciliation to the recapitulation, with 86 cycles as long as the exposure is true, however, is not a literal repetition. It starts this time the piano with the melody of the main theme. In addition to harmonic features makes the bass is involved intensively in the thematic and motivic work. In addition, Beethoven actually uses typical techniques of implementation. Narrowness and variations play a role. Finally performs a sequenced phrase consisting of motivic material of the main theme.

Adagio molto espressivo

In the second set, the piano begins with the topic. The violin is only small throw-ins. In the further course remains the violin in the background and has more of a support character. The delicate topic one can distinguish a main theme of the first movement seen. This manifests itself not only in character but also in the grinding down out melodic line. The set is available in a bar form.

Scherzo. Allegro molto

" In the short and concise Scherzo Beethoven operated as a musical cartoonist: The interplay between violin and piano works " wrong " again and again rattle an instrument by. " Even the final tone is not played together. Beethoven also used in other works of the Scherzo phrases for such cartoons. So he made fun of in a similar manner in his Symphony No. 6, a whole village band. In the trio ventured with parallel thirds in a simple scale motion over an ostinato bass, resorting to simple folk music to reinforce this impression.

Rondo. Allegro ma non troppo

The Rondo is by its extension into the head in every way. This can also recognize that Beethoven tried to raise the final movement of his otherwise frequent " Clean Sweep character." The opening of the sentence is reminiscent of Mozart. The opening motif starts at the fifth and goes over the double dominant for sixth. This is subsequently sequenced. In bar 18 then begins the first couplet ( Part B). Instead of repeating the counter- phrase of this part, enters a development that opens (Part C ) to a new character. In bar 56 again follows the rondo theme, at the time the violin, similar to the second sentence, rather occupies an accompanying character and supports the Piano with upper octaves. In bar 73, Part D, of (taken from Part B) and syncopations makes Triolenrhythmisierung the violin in the piano for a more dramatic mood begins. In this part of Beethoven involves the element of variation with in the Rondo. The subsequent rondo theme appears varied. To a third reduced and thus mollgetrübt also boost pizzicato chords in the violin for a new timbre. Similar to a recapitulation can be heard in the connection of the B section. The final rondo theme appears rhythmically varied and leads to the Schlusscoda. Here reappear the tense Triolenbewegungen.