Diese Bezeichnung kam erst später in der Romantik auf. Dieser ist eine Tarantella in Rondo-Form und steht im 6/8-Takt. Nr. Indeed, over the next quarter century of his life Beethoven would go on to sublimate his distress over his dire affliction to produce the greatest body of music in all of Western culture. Beethoven meets the challenge brilliantly but subtly, while again disrupting our expectations for a worthy successor to the opening frenzy, this time with a genial andante, a throwback that would fit in any of his prior works, comprising a placid theme with four variations of escalating complexity – first with piano figuration, then the violin elaborates, next a plunge into f-minor, and finally ornate combinations. [2] So wurde das Werk dem französischen Violinisten Rodolphe Kreutzer (1766–1831) gewidmet. 1 | 24 „Frühlingssonate“ | While most recent versions sound too easy and seem frustratingly tepid (excepting the virile, emphatic 1973 Perlman/Ashkenazi on Decca and even more focused 1998 Perlman/Argerich live on EMI), records have preserved historical readings that revel in the Kreutzer’s power and brim with personality to invoke the power of Beethoven’s startling conception and the depth of his struggle, even for a modern audience whose notion of musical thrills is light-years beyond that of the composer’s era. The piece is in three movements, and takes approximately 43 minutes to perform: After its successful premiere in 1803 the work was published in 1805 as Beethoven's Op. Violinsonate op. In a highly expressive and individual touch, the entire first movement bristles with edgy tension, as violin and piano deliberately fall in and out of synch. Es folgt ein äußerst kontrastreicher Variationssatz. (Menges had already pioneered the first complete recording of the Beethoven Violin Concerto in 1922 with Landon Ronald and the Royal Albert House Orchestra for HMV.). Yet, despite his formal ignorance of musical matters, Tolstoy produced a work of remarkable insight in his 1889 novel The Kreutzer Sonata. 30 Nr. 9 A-Dur op. These include the downright saccharine Kulenkampff/Kempff (1935), the workmanlike but slightly labored Yehudi and Hephzibah Menuhin (1935), the violin-dominated Heifetz/Moiseiwitsch (1951) and Szigeti/Arrau (1944), the monumental 41 minute Menuhin/Kempff (1970) and 42-minute Schneiderhan/Kempff (1952), the elegant Francescatti/Casadesus (1959) and the nicely nuanced and patrician Szeryng/Haebler (1979) and Szeryng/Rubinstein (1958). 23 | Yet, despite his formal ignorance of musical matters, Tolstoy produced a work of remarkable insight in his 1889 novel The Kreutzer Sonata. Wie alle „Violinsonaten“ von Mozart und Beethoven ist sie „für Pianoforte und Violine“ geschrieben, nicht für „Violine und Klavier“. Nr. The quick (for Beethoven) pace of composition is itself significant, as it suggests not a typically polished work of art in which fleeting impulse is refined into stylized moderation, but rather an unusually candid snapshot of Beethoven's volatile state of mind. In contrast to all eight of his previous violin sonatas that began with the piano’s plain statement of the melody, key and tempo, here the soloist wanders out naked and lost. It’s highly ironic that the pen of a non-musician conveyed such an accomplished grasp of the soul of Beethoven, arguably the greatest composer of all. 1, in A major. 1 (D-Dur) op. Der österreichische Komponist und Musiktheoretiker Gerhard Präsent hat in mehreren Artikeln sowohl dargelegt, dass als Haupttonart dieser Sonate a-Moll anzunehmen ist,[4] als auch thematische Beziehungen zur 6. The Violin Sonata No. Fortunately for posterity, these magnificent recordings overcome that otherwise insoluble problem to let the music speak for itself. Nr. 2 hingegen ist die der Violine, die das Thema nun in 32-stel vorträgt. The Kreutzer also marked a cosmic cultural shift, although there had been ample prior hints. Beethoven whittles the world down to its essence in his "Kreutzer" Sonata for violin and piano. Although his mother was Polish and his father West Indian, he was billed as an African prince. Nr. Nr. This article was first published in The Strad's April 2004 issue. Nach einem kurzen Adagio beendet die Var. 9, Op. deren strukturellem Material) zur späteren darstellen, wodurch auch belegt wird, dass die Übernahme des Finales von op. Timings, though, can be deceptive – many recordings only seem to outpace their stolid tempos by omitting the repeats of three of the four andante variations, as well as the expositions of the first and last movements, that Beethoven clearly indicated in the score. Oktober 2020 um 14:39 Uhr bearbeitet. 30 Nr. 2 (A-Dur) op. [2], Beethoven gave no key designation to the work. Nr. Beethoven hat jedoch überhaupt keine Tonart angegeben (siehe Titelblatt oben). Die Sonate wird, wenngleich fälschlicherweise, meist als in A-Dur stehend betitelt. Doch schon die Var. In Var. 3 | 7 (c-Moll) op. It's tempting to speculate that Beethoven seized upon his partner’s outsider status to craft a suitably exotic and genre-stretching piece. Nr. The very first appears to have been a 1918 HMV acoustic set by Marjorie Haywood and Una Bourne – thoroughly stylish, even though heavily abridged to fit on four sides, with huge portions cut from the outer movements, including the entire development of the first, leaving only the variation movement relatively intact (but without any repeats). Das etwa 40-minütige Werk ist charakterisiert durch Klangfülle (die Violine beginnt mit einem mehrstimmigen Solo), Virtuosität, überraschende Modulationen, weite melodische Bögen und abwechslungsreiche Sätze – vom furiosen ersten Satz über den meditierenden zweiten bis zum jubelnden Finale. Those of us who try may come close on occasion, but a frustrating gap always remains between such utterly disparate media of expression. Charakteristisch sind die kurz angeschlagenen Akkorde beider Instrumente und die rasanten Tremoli und Läufe – nur das leise, sich in ganzen Noten erstreckende 2. Die Sonate beginnt mit einer langsamen 18-taktigen Einleitung, wobei nur die ersten vier Solotakte der Violine – mit weiten Akkorden – in A-Dur stehen, ehe das Klavier hinzukommt. Ludwig van Beethovens Sonate für Klavier und Violine Nr. Enraged, Beethoven removed the dedication of the piece, dedicating it instead to Rodolphe Kreutzer, who was considered the finest violinist of the day.[4]. Of the many Kreutzer recordings, a disappointingly large number are musically correct but emotionally vapid and intellectually shallow. Die Harmonien verdunkeln sich und neigen sich dem a-Moll-Bereich zu, die Sonate scheint zu Beginn gleichsam still zu stehen – bis plötzlich ein wütendes a-Moll-Presto anhebt.