Violin Sonata No.1, Op No.1 (Beethoven, Ludwig van). Movements/Sections Mov'ts/Sec's, 3 movements . Performers, Wolfgang Schneiderhan, Violin - Wilhelm Kempff, Piano .. Violin Sonata No.1 in D major, Op No.1; Violin Sonata No.2 in A major, Op No.2 · Violin Sonata No.3 in E♭ major, Op No. 3 · Violin.
Table of contents
- Violin Sonata No. 1 (Brahms)
- Violin sonata no. 1, Op. 12 no. 1 - Free sheet music
- Hungarian Dances
- Customer Questions
This builds from a very tranquil beginning to a climax where the violin begins to hold long descending notes while diminishing. The violin plays the dotted-rhythm opening gesture of Theme 1 against the continuing piano arpeggios.
Violin Sonata No. 1 (Brahms)
It then arches down and up while the piano left hand moves in the opposite direction. The piano then takes over the Theme 1 gesture and downward arch.
- Recordings.
- Violin Sonata No.1, Op.8 (Grieg, Edvard);
- Legacy?
- Violin Sheet Music by Brahms.
- Motorcycle Dreaming - Riding the ‘Beauty Way’ Back in Time Across America;
- Zur hohen Jagd: Frisch auf, No. 1 from Jagdlieder, Op. 137.
This builds to another climax. They are then spun out toward a descending violin arpeggio. The piano then quiets, taking over the Theme 1 gestures, echoed by left hand rhythms reminiscent of the accompaniment from the Regenlied songs. Syncopated octaves in the piano right hand lead to the second theme. While it still uses the dotted rhythm, it is more lyrical and less hesitant, with all beats filled out with notes. The violin presents it, with downward-winding arpeggios in the piano. In the last bar of each statement, the piano has a 3x2 cross-rhythm grouping or hemiola D major.
It builds in two waves to the climactic phrase, which is itself organized into two more waves separated by a piano punctuation. The second of these soars upward and descends.
- We use cookies on this site to enhance your user experience.
- Desarrollo social, afectivo y comunicativo durante los dos primeros años (Spanish Edition).
- Servants of the People: The Inside Story of New Labour?
Under a longer violin note, punctuating piano chords rapidly diminish in volume after this climax. The violin plays an isolated note right after the cadence and then the piano unexpectedly takes up a new theme in chords in the key of B major heard briefly in Theme 1 , played in the middle range. The violin imitates this tune a fifth higher.
Then the piano takes it to the higher range, with the bass trailing. Both instruments become very quiet. The piano bass begins a third statement, but in the imitation, the piano right hand and violin are reversed so that the piano right hand is playing the oscillation.
Violin sonata no. 1, Op. 12 no. 1 - Free sheet music
There are two more statements of this pattern, but the left hand fragment moves up to a higher range and the right hand oscillations move down by a half-step in the last one. Finally, things slow down, the thematic fragment moves to the piano right hand, and the left hand takes the oscillations down low under two long violin notes. This passage has moved the music to A major. The violin plays a light, graceful line based on the closing melody. The piano bass harmonizes this while the right hand plays close harmonies after the beat. Then the piano right hand takes over the graceful melody, the violin moving to the off-beat syncopation.
The right hand off-beat chords are now active, with the notes in parallel motion over an oscillating bass. Finally, the piano takes the melody again, and now both instruments participate in the off-beat chords. An ascent in chords from the piano is followed by a similar one from the violin, the instruments again exchanging the off-beat chords. The long chords are now plucked by the violin, supported by the piano bass.
The piano plays the actual theme, largely in octaves. The scales are extended, adding some arpeggios. The violin abandons the plucked chords and plays in harmony with the piano, sometimes moving in the same direction, sometimes the opposite direction. The piano bass retains the dotted rhythm. The piano closely imitates these one beat later. The violin abandons these descents, but the piano plays a third one.
The violin line is now freer, but matches the groupings of the piano descents, whose top notes shift up a half-step for three more statements. Finally, the violin has three four-note descents the last of which shifts downward against a free piano line over a low bass note. A syncopated violin descent ends the passage, which has shifted the music up to A-flat major.
The piano plays bass octaves with the chords coming after them on weak beats. After the first four bars, the piano imitates the two preceding violin bars and sequences them upwards twice against mildly dissonant violin chords, suggesting F minor.
The violin then takes the figures again and moves them upward again twice, now reaching quite high and suggesting D-flat major both keys closely related to A-flat major. The music slows and builds. After a loud bass chord in A-flat minor, the piano right hand begins to play scales and arpeggios in rapid triplet rhythm. The violin plays scales against this in straight rhythm, as does the piano right hand in octaves when the triplet arpeggios move to the left hand. At this point, the piano right hand and violin emerge into the imitative four-note descents from 4: All begin with the downward-leaping figure and a scale in triplet rhythm.
In the B-minor and G-minor passages, the violin takes the triplet rhythm along with the piano bass in the B-minor. In the intervening A-minor passage, the piano right hand begins the triplet rhythm. When the violin has the triplets, the piano right hand has straight rhythm, and vice versa. The B-minor and A-minor passages are short, only two bars, while the G-minor one is extended to four bars and emerges into the imitative four-note descents expanded from three to four statements. The last piano descent devolves into a string of half-steps at the end.
The piano imitates the violin on this figure while the bass plays another sweeping line derived from it. The strength builds even more and the music arrives on E minor relative minor to the home key of G. The violin then enters on the same highly syncopated music, and the ascending line is transferred to the right hand, now in chords. Finally, the ascending line moves to the violin, where it is given two statements. The right hand has the strongly syncopated music again and the left hand has long descents. The music shifts to E-flat major.
Under these, the syncopated lines break up and become more regular. The music arrives in the home minor key, G minor. The tune fragment from 2: The fragment is passed between the piano bass and the violin four times, with detached chord and single-note alternations from the right hand played against the violin statements.
Hungarian Dances
Finally, the piano bass has two more isolated statements that are not answered by the violin, which plays longer notes. There are short right-hand interjections on strong beats. There is then another series of alternations on the downward-turning dotted rhythm, this time led by the violin and passed to the piano bass. The right hand again plays the skittish detached figures. After three alternations, a violin statement of the downward turn reverses and moves upward, holding long notes over two final low statements of the rhythm from the piano bass similar to those heard before m.
The opening fragment of Theme 1 is heard again in that key, but this time it is repeated and extended with a dreamy downward-arching motion over the familiar Regenlied dotted rhythm in the piano bass. This arching motion is repeated in a warm shift to an A-major chord. Finally, six violin statements of the earlier four-note descents from 4: The piano chords under this first bar are mildly dissonant, continuing the dreamy mood of the end of the development.
In the second bar, the original chords are restored and the theme proceeds as at the beginning of the sonata. The climax is abbreviated by one bar and does not diminish. A scalar descent in the violin leads directly to Theme 2, skipping the entire long transition passage. There are two statements, as at 1: The left hand has upward arpeggios and the right hand has smooth descending lines.
The 3x2 hemiola is preserved with four-note descents at the end of the first statement. In the second statement, the violin does not move an octave higher, and the piano does not double it until halfway through. The left hand arpeggios become wider. The piano gradually resumes the original accompaniment so that the hemiola at the end of the second statement is as it was in the exposition. Because the setting in G major is at a higher pitch, the climax seams to soar even more brilliantly. Piano and violin alternations of the new oscillating theme heard as at 2: The entire passage is analogous to 2: The piano right hand takes over, as expected.
Here, there are some register shifts from the exposition. Also, in the final violin ascents, the instrument drops down to begin at a lower level so that its final arrival analogously on C major is actually and unexpectedly lower than in the exposition. The opening fragment of Theme 1 is given over short piano chords. There then follow ascents similar to those at the end of the exposition and recapitulation. The theme fragment and ascents are given again, with new harmonies that briefly move to A minor and back. The ascents soar quite high. Surely, these are gentle, easy-going works, especially compared to spiky chamber works like the Second String Quartet.
But even though the violin sonatas are more conventional and more conventionally beautiful than many of Ives' other works, they are also strong, honest compositions. In his Memos , Ives seems to be intent on characterizing himself as an unrepentant modernist, who only occasionally stooped to gentle, old-fashioned tonality. But even Ives' most "advanced" compositions contain extremely traditional elements. Here's a case where the artist is not his best critic. Remember also that Ives had composed the sonata works more than twenty years before he began collecting his thoughts in the Memos.
Listen to the music. Berward, Violin Concerto in c-sharp minor, mvt. Liszt, Concert Etude no. Franck, Symphony in d minor, mvt.
Customer Questions
Beethoven, Piano Concerto no. Brahms, Piano Concerto no. Beethoven, Piano Sonata in f minor, op. Schumann, Cello Concerto in a minor, op. Chopin, Prelude in c-sharp minor, op. Dvorak, Cello Concerto in b minor, op. Mendelssohn, Piano Concerto no.