Violin Sonata No. 9 (Beethoven)

Ludwig van Beethoven Sonata for Piano and Violin No. 9 ( all "Violin Sonatas " by Mozart and Beethoven are written by the composer " for piano and violin ," never for " Violin and Piano", this came later in the " romance " on ) was 1802, and commonly known as the Kreutzer Sonata. The approximately 40 - minute work is characterized by sonority ( the violin starts with a polyphonic solo ), virtuosity, surprising modulations, wide melodic arches and varied sentences - from furious first sentence about the meditating second to the jubilant finale.

Originally, the sonata to the violinist George Bridge Tower (1779-1860) was dedicated, which carried out the work on May 24, 1803 Beethoven premiered. However, after the appearance it should have come to a dispute between the two over a girl, so that Beethoven has repaid the dedication again. So the work was dedicated to the French violinist Rodolphe Kreutzer ( 1766-1831 ). Ironically, Kreutzer never played the sonata and even declared unplayable.

Construction

The piece is in three movements:

Adagio sostenuto - Presto

The sonata begins with a slow 18 -bar introduction, only the first four bars of the solo violin - are in A Major, before the piano is added - with wide chords. The harmonies darken and the A minor area is prone to, the Sonata seems to be at the beginning, as it silently - until suddenly an angry A minor Presto lifts. Characteristic features are the short battered chords of both instruments and the rapid tremolos and runs - only the faint, extending in whole notes 2 theme in E major, later E minor, ensures moderation. The recapitulation undergoes some changes, and at the end sounds again the opening Adagio, before the whole sentence comes to an end on fast runs.

Andante con variazioni

The following is an extremely high-contrast set of variations. A mild F major melody is processed five times very diverse. In Var. 1 is the piano in the foreground: triplets on the decorated by trill theme is played, the violin is anecdotal ( and effective ) repeated notes from him. Var. 2, however, is that of the violin, which now maintains the theme in 32- position. The Var. 3 shows the atmosphere darken briefly, because it is in F minor. But already the Var. 4 brings the listener back to the light, ornate mood of the first two variations, since the topic seems now even more resolved in figurations and trills. After a brief Adagio the Var ended. 5 Although the sentence with something more dramatic, but still carefree in F major.

Presto

The rest is rudely interrupted by a crashing A- major chord, which initiates the virtuosic and exuberant third movement. This is a tarantella in rondo form and is in 6/8-measure. Multiple parts are inserted in 2/4-cycle that are gentle contrast to the frenzied rest of this fiery finale with a slightly quieter topic. This set was originally created for the "small" A- Major Sonata Op 30 No 1, but was taken over by Beethoven in the later sonata ( see below).

Key

The Sonata is, though erroneously, titled mostly as in A Major standing. Beethoven, however, no key has indicated (see title page above). The Austrian composer and music theorist Gerhard gift has stated in several articles both that as a main key of A minor Sonata is to be assumed as well as highly interesting thematic relations 6.Violinsonate op.30/Nr.1 for which originally meant the 3rd movement was discovered. He is of the opinion that the introductory bars of the solo violin a kind of transition from the previous Sonata (or their structural material ) represent for later, which is also shown that the takeover of the finale of op.30 / 1 in the " Kreutzer " compositional intent was - and was not due to lack of time long suspected.