Beethoven’s first sonatas for the violin and piano were composed in 1798 and dedicated to one of Vienna’s foremost music teachers and Kapellmeister of the Hapsburg court, Antonio Salieri. Beethoven began lessons with Salieri soon after arriving in Vienna. While his lessons with Haydn were short-lived, Beethoven continued his study of vocal composition with Salieri until at least 1802 and possibly even as late as 1809.
The third and last sonata of the op. 12 set is in Beethoven’s heroic key of E flat major. It begins with a jubilant, youthful theme with plenty of imitations between the violin and piano. The second subject is presented first by the violin and again by the piano. Brilliant scales and arpeggios keep the dramatic tension of the movement high.
The central Adagio begins with a lyrical melody in the piano. The violin and piano take alternate turns in presenting the singing melodic line throughout the movement. The Rondo last movement presents a simple folk-like tune worthy of Haydn himself. A playful exchange between the two instruments continues and the movement is filled with overwhelming good-natured fun.Joseph DuBose
Classical Music | Violin Music
Ludwig van Beethoven
Violin Sonata No. 3 in E flat major, Op. 12 No. 3 Play
Recorded on 06/30/2010, uploaded on 10/12/2011
Musician's or Publisher's Notes
Beethoven’s first sonatas for the violin and piano were composed in 1798 and dedicated to one of Vienna’s foremost music teachers and Kapellmeister of the Hapsburg court, Antonio Salieri. Beethoven began lessons with Salieri soon after arriving in Vienna. While his lessons with Haydn were short-lived, Beethoven continued his study of vocal composition with Salieri until at least 1802 and possibly even as late as 1809.
The third and last sonata of the op. 12 set is in Beethoven’s heroic key of E flat major. It begins with a jubilant, youthful theme with plenty of imitations between the violin and piano. The second subject is presented first by the violin and again by the piano. Brilliant scales and arpeggios keep the dramatic tension of the movement high.
The central Adagio begins with a lyrical melody in the piano. The violin and piano take alternate turns in presenting the singing melodic line throughout the movement. The Rondo last movement presents a simple folk-like tune worthy of Haydn himself. A playful exchange between the two instruments continues and the movement is filled with overwhelming good-natured fun. Joseph DuBose
courtesy of the Steans Music Institute
More music by Ludwig van Beethoven
Bagatelle N° 25 "Für Elise"
Piano Concerto No 2 in B-flat Major, Op. 19, Third Movement (Rondo: Allegro molto)
Sonata No. 32 in c minor, Op. 111
Piano Sonata No. 28 in A Major, Op. 101
Sonata No. 32 in c minor, Op. 111
Fantasie in g minor, Op. 77
33 Variations on a Waltz by Anton Diabelli, Op. 120
String Quartet No. 11 in f minor, Op. 95, Serioso
String Quartet Op. 131
Sonata for cello and piano in g minor, Op 5, No. 2
Performances by same musician(s)
Tango-Étude No. 3 for Solo Violin
Allegro appassionato, from Four Romantic Pieces, Op.75
Sonata for Violin and Piano (1963)
String Quartet No. 3, Op. 94
Tanz-Idylle, from 6 Pieces for Violin and Piano
Berceuse, from 6 Pieces for Violin and Piano
String Quartet in G Major, Op. 18, No. 2
Violin Sonata, FP 119
String Trio in E-flat Major, Op. 3
Piano Quartet in E flat major, op. 47
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