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Sonata for Violin and Piano no.2 in A major, Op.12 no.2
This
wonderful piece, Beethoven Sonata no.2, it is unknown when exactly this
piece was composed. But as the result of Nottebohm’s study on
Beethoven’s sketch note, it is assumed to be composed in 1795. The piece
is still clearly inuenced by Mozart, but perhaps surprisingly, it is
Beethoven’s mood that is lighter. It lacks dynamics and articulations
comparing to the other Beethoven sonatas. The first movement has a
dierent character, more aable, witty and it ows with humour, fascinating
interplay of violin and piano. The slow movement is based on a lyrical,
melancholic theme. Each of its two parts is gently announced by the
piano, then repeated by the violin. The Finale marks something of a
return to the good-natured opening, Allegro piacevole denoting pleasure
rather than re. It has a high-spirited rondo with frequent humourous
touches. Among the three Sonatas in Op.12, it is possible to assume that
Sonata no.2 has been composed first and this piece was dedicated to
Antonio Salieri just as Sonata no.1.
Sonata for Violin and Piano no.3 in D major, Op.12 no.3
Beethoven
Sonata No.3 features a sense of grandeur, power and majesty found in
few other works of Beethoven’s early years. The piano writing is often
of near-heroic proportions, by far the most substantial in the first
three sonatas. It might just as well have been channeled into a sonata
for solo piano. It answers one each other and doesn’t meet with violin
accompaniment but so involved does the game of catch-up become in this
delightfully playful movement, both instruments urging each other on to
new deeds. The slow movement is the first Adagio in Beethoven’s series,
con molto espressione. It has very much the emotional core of the work
and one of the nest slow movements in early Beethoven. The finale is
energetic, joyous rondo with a catchy if hardly distinctive main theme.
Frequent contrasts of dynamics and register are a constant feature of
the movement. Beethoven’s Sonata for violin No.1 through No.3 are
included in Op.12. These three delicate pieces were composed in the same
period between 1797 and 1789 when Beethoven was 27 to 28 years old.
Sonata for Violin and Piano no.10 in G major, Op.96
Beethoven
composed his final violin sonata in 1812, nearly ten years after his
second-to-last. It was written for the renowned French violinist Pierre
Rode, who disliked overwrought virtuosity and gaudy endings and thus may
have inuenced the calmness of this sonata. Gentle, musing atmosphere of
Op. 96 is more probably an outgrowth of Beethoven’s evolving inner
life. We encounter a “kinder, gentler” Beethoven, passing from his
heroic middle period into a more ruminative, profound late period. In
this piece, pain and struggle recede and are replaced by an intimate,
pastoral warmth, relatively lyrical, subdued work. The first movement
begins with a rustling, feathery trill, establishing the pastoral tone
of the sonata. Shimmering trills, symmetrical arpeggios and melodies,
and seamless exchanges between piano and violin set this apart as one of
Beethoven’s most unique and fascinating violin sonata movements. The
warm, hymn-like second movement, marked “slow and expressive,” is one of
Beethoven’s most beautiful Adagios. A flowing, tranquil stream of
melody is couched in rich harmonies. The peaceful movement concludes
with a moment of suspended animation before diving into the more
agitated third movement, Scherzo. Though distinguished by syncopated,
end-of-the-bar accents, the music never becomes brusque. The Scherzo
alternates with a graceful, waltzing Trio set over a bagpipe drone,
again reinforcing the work’s pastoral character. In the fourth movement,
Beethoven finally settled on a genial, folk-like melody as the basis
for an unconventional set of variations. Four increasingly active
variations lead to a prolonged, expressive Adagio, somewhat reminiscent
of the atmosphere of the second movement. The initial theme eventually
returns, leading to a boisterous section that is interrupted by a quiet,
mysterious canon before returning to the original theme.The listener is
surprised by a short, final Adagio, after which the violin and piano
regain their resolveto exciting and joyous conclusion.
(Liner Notes in Booklet)
TracklistAdditional informationCustomer Reviews (0)
Tracklist
PlayPause
Violin Sonata No. 2 in A Major, Op. 12 No. 2 - Allegro vivace
06:49
PlayPause
Violin Sonata No. 2 in A Major, Op. 12 No. 2 - Andante, piu tosto allegretto
05:30
PlayPause
Violin Sonata No. 2 in A Major, Op. 12 No. 2 - Allegro piacevole
05:36
PlayPause
Violin Sonata No. 3 in E-Flat Major, Op. 12 No. 3 - Allegro con brio
09:08
PlayPause
Violin Sonata No. 3 in E-Flat Major, Op. 12 No. 3 - Tema con variazioni, Andante con moto
06:08
PlayPause
Violin Sonata No. 3 in E-Flat Major, Op. 12 No. 3 - Rondo, Allegro
04:33
PlayPause
Violin Sonata No. 10 in G Major, Op. 96 - Allegro moderato
10:42
PlayPause
Violin Sonata No. 10 in G Major, Op. 96 - Adagio espressivo
05:55
PlayPause
Violin Sonata No. 10 in G Major, Op. 96 - Poco allegretto
08:38
Total time: 01:05:07
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发表于 2022-11-17 07:41:07