Classical Music | Violin Music

Recorded on 12/16/2019, uploaded on 12/16/2019

Musician's or Publisher's Notes

Recorded in London, Large Studio, Petty France, September 11.-12, 1930 (Doscogs)

Courtesy of YouTube

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    Adagio sostenuto—Presto
    Andante con Variazioni
    Presto

Beethoven’s most famous sonata for the violin, the “Kreutzer” Sonata was composed in 1802-03 at the beginning of the composer’s heroic middle period. Though retaining the traditional sonata design handed down from Mozart and Haydn, it is nevertheless among the first pieces with which Beethoven began to push the envelope. Like the Eroica Symphony, the work was exceptionally long for its day, nearly double the length of most sonatas. Outwardly, it is known for its strenuous technical demands upon both soloist and accompanist; inwardly, for its emotional depth and the many freedoms Beethoven later explored even further over the coming decades.

The Violin Sonata No. 9 in A major, as the “Kreutzer” Sonata is officially known, was premiered on May 24, 1803 by the violinist George Bridgetower and Beethoven himself at the piano. Bridgetower was the original dedicatee of the sonata and the circumstances leading to its eventual dedication to the French violinist Rudolphe Kreutzer was the result of Beethoven’s noble nature and fierce loyalty. On tour through Europe, Bridgetower had not seen the work prior to the concert and sight-read the sonata at the performance, a remarkable feat in its own right. Following the concert, Bridgetower insulted the morals of a woman of whom Beethoven was fond. Furious with Bridgetower, Beethoven removed the dedication and gave it instead to Kreutzer. Kreutzer, however, though considered the finest violinist of the day, was no admirer of Beethoven’s music. He is said to have called the sonata “unintelligible” and, as far as is known, never performed the work.

The sonata opens with a slow introduction, beginning first with the soloist only and then the piano entering a few measures later. The piano’s answer to the violin’s melody, however, establishes the conflict of the entire movement, inflecting the latter’s melody with the minor mode. Indeed, the introduction is the only part of the movement in A major. The ensuing Presto, an expansive sonata design, changes to the key of A minor and is a fine example of the intense emotions and formal designs of Beethoven’s middle period.

In sharp contrast, the middle Andante changes to the warm key of F major and adopts a more light-hearted countenance. The movement’s theme is followed by five variations that greatly transform the melody over its harmonic outline. The finale offers yet another contrast. Returning to A major, the meter changes to 6/8 with rhythms of the tarantella and the listener is met with exuberant music. A lengthy rondo, the finale propels itself forward with uninhibited energy, overcoming the struggles of the previous movements.      Joseph DuBose