Classical Music | Violin Music

Recorded on 02/07/2011, uploaded on 02/07/2011

Musician's or Publisher's Notes

The three sonatas for violin and piano that make up Beethoven’s opus 30 were composed during 1801-02 with much of the work being accomplished during the spring of 1802 and were published the following year. Anyone familiar with Beethoven’s life then knows the importance of that fateful year and that these sonatas were brought into the world during an exceedingly traumatic time. Later in October, scarcely four months after the sonatas were completed, Beethoven penned the famous Heiligenstadt Testament, a letter addressed to his brothers in which he attempted to explain that he was going deaf and admitted that he had even contemplated suicide. The letter was never scent but nevertheless marked a turning point in the composer’s life. Perhaps a result of the psychological suffering he endured leading up to the Heiligenstadt Testament, Beethoven entered what has come to be called his “heroic” middle period which saw the creation of many of his most enduring composition—the Eroica and Fifth Symphonies, the Waldstein and Appassionata Piano Sonatas to only name a few. Thus, the opus 30 violin sonatas stand upon the precipice and the last of the set, the Violin Sonata No. 3 in G major, eloquently disguises in its cheerful disposition the life-or-death inner battle the composer was likely already facing.

The Allegro assai first movement is a well-structured sonata form in the tradition of Mozart and Haydn, yet also displays many of the unique characteristics that Beethoven continued to develop over the next decade. The opening theme is energetic with touches of humor, but in contrast the second theme is more passionate, turning first to the key of the dominant minor before closing in the major mode. The development is remarkably concise, beginning with the trill figure which closed the exposition and only briefly including the raucous head motif of the first theme.

Though marked to be played in the tempo of a minuet, the second movement in E-flat major is a beautifully conceived ternary design with a rich, warm opening melody not often found in Beethoven’s music. Despite the gentle air of the melody, the movement seems at times disturbed creating a subtle sense of tragedy. Perhaps, here we see the composer attempting to create yet unable to fully dispel the thoughts of his growing deafness.

Lastly, the Allegro vivace finale abounds in Haydnesque humor. Its principle theme, of a rustic feel, is announced first in the piano and answered by the soloist. In true Beethovenian fashion, however, the entire movement is constructed from the motives of this theme. Likewise, towards the end after a pause upon a dominant seventh chord, Beethoven jumps unexpectedly into key of E-flat major to begin the coda, yet with equal ease regains the tonic key of G some measures later. Off-beat sforzandos then drive the piece on to an energetic conclusion.      Joseph DuBose