Beethoven (Rolland)/The Piano and Violin Sonatas
The Sonatas for Violin and Pianoforte
1st Sonata, Opus 12, No. 1, in D.
Allegro con brio—Tema con Variazioni—Rondo.
This is the first of a set of three Sonatas published in 1799, and dedicated to F. A. Salieri. It is noteworthy that it was a favourite custom with Beethoven to publish his works in sets of threes; thus, Opus 1, Three Trios for Pianoforte, Violin and Cello; Opus 2, Three Sonatas for Pianoforte; Opus 9, Three Trios for Strings; Opus 10, Three Sonatas for Pianoforte; Opus 30, Three Sonatas for Pianoforte and Violin; Opus 31, Three Sonatas for Pianoforte; Opus 59, Three Quartets for Strings (dedicated to Prince Rasumovsky); and the Opus 12.
No. 1 of this Opus is a vivacious work of no great depth, and the phraseology is in the Mozartian manner. The theme is a 16-bar phrase, given out by the piano and repeated on the violin in two sections. The variations are four in number, the third being in the minor, and there is a short Coda. The Rondo is on modern lines approximating to Sonata form.
2nd Sonata, Opus 12, No. 2, in A.
Allegro vivace—Andante più tosto Allegretto—Allegretto piacevole.
Although this Sonata offers no outstanding point of interest, it is to be regretted that it is not more frequently heard. There are one or two places where the sunny sky is slightly overcast, but on the whole, it is a work brimful of youthful happiness. The Andante, somewhat frail, is like the Finale, full of fine melody, and gay with optimistic feelings of youth.
3rd Sonata, Opus 12, No. 3, in E flat.
Allegro con spirito—Adagio con molto espressione—Rondo.
The tuneful, breezy Allegro contains some brilliant work for the piano. The Adagio seems hardly deep enough to carry its broad time with dignity. The delicate Finale—short, simple, and tuneful—is well rounded off.
4th Sonata, Opus 23, in A minor and major.
Presto—Andante—Scherzo—Allegro molto.
This Sonata, published in 1801, and dedicated to the Count Moritz von Fries, is one of the more serene works of the "first-period" style. Its charms are not readily apparent, but it is full of interest to the serious musician. The subjects of the opening Presto are not very distinguished. The composer seems to have felt this, and has consequently introduced an unusual amount of new matter into the development section. The gentle, placid Andante, with its eloquent rests, has some unusual passages, notably the bridge (bar 33) where a definite theme is treated fugally in three parts. The Finale, undefined, strange and unusual, possesses that weird note which so frequently sounds in Schumann's pieces. The key of A minor seems to possess the right key-colour for this bustling, indefinite, and somewhat uneasy sort of mood. In this direction, one calls to mind the Kreutzer Sonata, with which this movement has much in common. There are more subtle reminiscences; the new theme in semibreves, which plays such a great part in the middle of the Rondo, recalls the fugal Finale of Mozart's Jupiter Symphony. The powerful Coda recalls all the foregoing moods. The movement is very valuable from the psychological point of view, for Beethoven was at the age of 31 years.
5th Sonata, Opus 24, in F.
Allegro—Adagio molto espressivo—Scherzo—Rondo.
This graceful and happy Sonata, also published in 1801 and dedicated, like its predecessor, to the Count Moritz von Fries, is the most popular in the "early-period" style. The first movement is full of serene happiness. The Adagio has a lovely theme, dreamy and languorous as a summer's day. The Scherzo is characteristic, full of fun and oddity; the Rondo, full of good spirits, the chief theme being varied at each return.
6th Sonata, Opus 30, No. 1, in A.
Allegro—Adagio molto espressivo—Allegretto con varizioni.
This is the first of a set of three Sonatas dedicated to the Kaiser Alexander I. With this Opus the true individuality of Beethoven is manifested. Although the opening of this work is not particularly striking, yet the movement has a clarity of style and delicacy of workmanship together with distinct melodic charm. The theme of the Adagio is of great beauty, caressing in its tenderness. For the Finale, Beethoven turns to his beloved Variations form. This was not the original Finale which was "lifted" in a moment of haste to form the conclusion of the Kreutzer Sonata. Still, one cannot deny that the present variations suit this charming poetical sonata much better than the Finale of the Kreutzer would have done.
7th Sonata, Opus 30, No. 2, in C minor.
Allegro con brio—Adagio cantabile—Scherzo—Allegro.
This favourite work is one of the great master pieces of music. The first and last movements sound the clear note of Beethoven's personality a king here comes to his own. The first movement opens with a veritable quatrain of musical poetry. The gay martial swing of the second subject is remarkable. Stormy episodes follow, and the development section commences with a new idea. Conflict succeeds conflict before the serenity of the exposition returns. The beautiful Adagio flows along with a solemn majesty, although there are one or two short dramatic points. The Scherzo, bright and tuneful, somewhat naive, does not give us the fulness of the real Beethoven which we get in the sombre, energetic and passionate Finale.
8th Sonata, Opus 30, No. 3, in G.
Allegro assai—Tempo di Minuetto—Allegro vivace.
After the stormy power and the serene beauties of the Sonata in C minor (a key which always called forth Beethoven's best) this Sonata appears somewhat colourless. The long drawn Tempo di Minuetto is a little tedious, whilst the first and last movements, though vigorous and well varied in mood, by no means give us the deep Beethoven of the C minor Sonata. The scoring of many of the passages is unusually thin, and reminiscent of Haydn not at his best.
9th Sonata Opus 47, in A.
Dedicated to Rudolph Kreutzer.
Adagio—Presto—Andante con variazioni—Presto.
Though absurdly over-estimated, perhaps on account of Tolstoy's stupid novel, this still remains one of the great masterpieces in music. Commissioned by a Mulatto violinist named Bridgetower, and written, as the original title-page says, "in a specially brilliant style," it was first given at 8 o'clock on a May morning in 1803 in the Augarten at Vienna, with Beethoven at the piano and Bridgetower with the violin. The Sonata opens with a majestic introduction, ending on a dominant pause. Tradition has it that Bridgetower improvised a cadenza here and that Beethoven approved. Amongst the whirl and excitement of the bold and vigorous opening Presto, the hymn-like second subject stands out with a marvellous way. Nothing is lost of the tenderness of the Andante in the brilliant variations which follow it, and this is all the more wonderful because this piece is the most virtuoso-like of all Beethoven's chamber-music. Tenderness with Beethoven is no maudlin sentiment, but the gentle sympathy of a strong man. The Tarantelle-like Finale originally belonged to the Sonata of Opus 30, No. 1, A major, but, as Beethoven had been dilatory in his commission, the time having arrived and no Finale, he took the Finale from the earlier Sonata and wrote a new one for it later on.
10th Sonata, Opus 96, in G.
Allegro moderato—Adagio espressivo—Scherzo allegro—Poco Allegretto.
This was written in 1810 and dedicated to Beethoven's firm friend and patron, the Archduke Rudolph. Although not really characteristic of the master's latest style, which does not commence until Opus 106, yet it is the most intimate of all the violin sonatas. It stands amongst the very great works and is indeed in some ways superior to the C minor. The Adagio, calm and sublime, is one of the most beautiful things in music. The scoring is like that of a string quartet. The ending dies away and creeps almost imperceptibly into the Scherzo through an unexpected C sharp. Full of life and bubbling over with fun, it has a jolly trio and a coda of its own. The Finale touches every mood from gay to sad, from lively to severe. The lovely Adagio makes a re-appearance in it, but the gay mood wins, for with a freakish little Presto the Sonata is brought to a triumphant close.