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Beethoven and the Violin Sonata
Beethoven swept across the face of music like a hurricane or a tornado passing over a gentle
neighborhood—leaving it flustered and transformed beyond recognition, but clearing the way for
future construction. The most notorious musical genre which he is credited for revolutionizing is
the symphony—progressing in nine masterpieces from classicalera entertainments to ardent
romanticera statements. Beethoven made a similar evolution in practically every genre he
touched with the tip of his quill—including solo piano sonatas, accompanied sonatas, piano trios,
and string quartets. The Grove’s Dictionary of Music (the authoritative 20+ volume encyclopedia
on music) effectively divides its discussion of Sonata into Baroque, Classical, and The Sonata
After Beethoven. Even though 9 of Beethoven’s 10 violin sonatas date between 1797 and 1803,
the early years of his maturity, he still managed to leave the genre irrevocably changed.
But it was Mozart who started the transformation, his work left incomplete by a tragically short
lifetime, and picked up by Beethoven. Most classical violin sonatas, including Mozart’s early
ones, featured a standalone piano part with an optional violin part doubling the right hand of the
piano, ornamenting, or adding arpeggiated harmonization. These nonobliggato parts were also
interchangeable with a flute or oboe substitution, limiting the lower range, and forbidding double
stops and instrumentspecific idiomatic techniques. Composers would generate these pieces
by the dozen and make a good profit out of them; there was a market for easy, pleasant,
sightreadable music for the home or the salon.
The classical violin sonata started to change with Mozart’s sonatas composed in Paris during
the late 1770’s. The violin line became more independent and indispensable. Piano and violin
would switch between melody and accompaniment, discourse contrapuntally, and sometimes
even assume a concertolike manner. But the violin’s new found liberty also presented new
problems of balance, and imposed a somewhat intimidating difficulty. Beethoven’s sonatas are
even more difficult and complex than Mozart’s. They span an ample range of characters,
techniques, and styles. After Beethoven, composition of violin sonatas continued but never in
the old style, albeit in smaller quantities, and always striving towards deeper qualities.
Violin Sonata No. 1 in D major, Op. 12 No. 1
The Op. 12 violin sonatas are dedicated to Antonio Salieri, with whom Beethoven was studying
vocal composition. The three sonatas were written in 17971798, at approximately the same
time as the Op. 18 string quartets. The string writing is difficult and exposed in both works. The
influence of Mozart and Haydn is strongly felt in these early compositions, but like all of
Beethoven’s published pieces, they bear the latter’s distinct style. An early critic described the
Op. 12 sonatas as “heavily laden with unusual difficulties…making him feel like a man who had
wandered through an alluring forest and at last emerged tired and worn out.” To modern
listeners, this may seem like a positive review, but salongoers sough pleasant background
music, not a frightful adventure.
The Op. 12 No. 1 Sonata opens with a bold fanfare like statement immediately contrasted by a
much more intimate and fragile theme that opens on an octaveleap the most expressive and
emotionally revealing melodic interval. An understated feature of Beethoven’s music is his
transitions, especially in the early period. Transitory material is just as meaningful as the proper
official subjects, but the two can easily confused. Transitory themes are highlighted and
articulated, and are developed still in the exposition. All of the notes bear a character and serve
an expressive purpose—they are never merely transient filler space.
The second movement presents a theme pregnant in possibilities, belied at first by a calm
demeanor, but soon unfolding in 5 variations through characters that are, respectively, casual,
playfully blissful, terrifying, and finally calm again, but in the end with a heavenly acceptance.
The third movement is a rondo, with a main theme that identifiable through it’s offbeat sforzandi.
Violin Sonata No. 4 in A minor, Op. 23
Lewis Lockwood describes this sonata as “bleak, odd and distant, the neglected child in the
family of Beethoven violin sonatas, despite its original and experimental moments.” The first
movement is set in a troubled and tense 6/8 that persists throughout the movement. Instead of
modulating to the parallel major as is customary in a classical sonataform set in a minor key,
the second subject is in the dominant minor, robbing the structure of any dramatic comfort.
Although more hushed in character, this second theme is also tinged with a dark sadness. The
development is also rough and stormy in character, but is interrupted by a brief hopeful section in
F major that is quickly shot down by violent sforzandi, made all the more stressful by the
contrast. The recapitulation features an interesting detail; the return to A minor occurs on a new
melody, the smoothest and most lyrical heard in the movement, derived from the fragmentary
motives of the exposition. This melody then leads to a normal reprise of the exposition. The
coda brings back the melody from the beginning of the recapitulation, followed by a last gasp
from the aggressive first subject, which comes to a grinding halt on sudden silences and minor
chords that are deprived of strength but are still tense; the ending of the first movement is by no
means final.
Answering the dire question that is the first movement is a dainty theme in the parallel major,
marked Scherzoso. This lighthearted movement is made all the more funny by the context of
its surrounding movements, but admittedly, it may diminish their ferocity. This middle movement
initially sounds like a theme and variations, with a varied double period, but soon ensues to
introduce a second subject followed by a development and an ornamented recapitulation. The
third movement returns to the mood of the first, but is more lenient about allowing major
keycontrasts. While the first movement allowed an F major snippet to escape in its
development, the finale features a lengthy and indulgent F major section at it’s heart. Like the
first movement, the finale also ends with a last angry gasp, which cuts short and finally
surrenders in exhaustion.
Violin Sonata No. 5 in F major, “Spring”, Op. 24
Op. 23 and 24 were intended for publication as Op. 23 No. 1 and 2, but were separated due to an
engraver’s error. They are dedicated to Count Moritz von Fries, a banker, patron of the arts, and
important nobleman who also received the dedication of the Seventh Symphony. Contrasting its
immediate A minor predecessor, the F major sonata is one of Beethoven’s most beloved pieces
having a reputation as being benign and beguiling. Probably the most popular of the violin
sonatas, it is also among the least challenging. It begins with a gorgeous 10bar melody, played
once in the violin then repeated in by the piano. One could easily associate this melody with its
nickname, spring. Beethoven is hardly recognizable in this mellifluous goodnatured first theme.
But the transitory material and second theme group, with their tugging sforzandi and fortepianos
are more forceful and belie their composers’ identity. The moody coda also reveals typical
Beethoven. He could not stay wellbehaved for too long.
Even in the second movement, after 19 bars of restfully suspended adagio, Beethoven
momentarily switches the mood with harsh doubledotted sforzandi. This inherent restlessness
even in the calmest of his compositions is a Beethoven hallmark. The slow movement ends
with a magical effect on simultaneous measured trills in the piano right hand and violin. The third
movement is an extremely compact scherzo that tickles with confusion of meter. The final
movement is a rondo that is extremely wealthy not only in the number of themes, but also in the
number of ways in which they are varied as they make their respective returns.
Violin Sonata No. 8 in G major, Op. 30 No. 3
The 3 sonatas of Op. 30 are dedicated to Tsar Alexander I, an “enlightened despot”, whom
Beethoven admired for legal reform. They were written in 1802, towards the end of Beethoven’s
First Maturity, shortly after the awfully romantic Moonlight Sonata, and shortly before the
wildyetstillclassical Symphony No. 2. 1802 was also the year of the Heiligenstadt Testament,
where Beethoven disclosed the beginning of his deafness and expressed a despairing yet
ambitious outlook at his situation; “I would have put an end to my life only art it was that
withheld me, ah it seemed impossible to leave the world until I had produced all that I felt called
upon me to produce…”
The first four measures of the Op. 30 No. 3 Sonata feature four completely different gestures: a
rumbling sixteenthfigure, a skywardsreaching arpeggio “rocket”, a waltz like fragment, and a
shriek in the violin. The rest of the movement a similar degree of frenzied and highly varied
material bordering on the chaotic. The second theme is in D minor instead of major. Because
the exposition has so much variety and development, the developmentproper is quite short.
The middle movement is set in Eflat major, distant from the original G major. It is an elegant
and slow Menuetto (without normal repeats and trio), marked “moderato e grazioso.” For the
most part, it stays pleasant, rarely rising in dynamic above pianodolce. But just before the
reprise, Beethoven cannot help himself and inserts an anguished section in Eflat minor. The
Finale is a Haydnesque monothematic motoperpetuo in a sonataallegro that feels like but isn’t a
rondo.