Like many composers of the 19th century, Richard Strauss produced a fair amount of chamber music in his earlier years as a composer, touching upon the major genres of the string quartet, the piano trio and quartet, and the solo sonata. However, with the composition of his Sonata for Violin in E-flat major in 1887, Strauss curiously exited, for the most part, the world of chamber music. Throughout the remainder of his career, he produced little that was of considerable import, and even less that were truly original compositions. Nevertheless, Strauss’s sudden adieu to chamber music is a worthy piece in its own right, and though it may not be ranked with the greatest essays in the genre from composers such as Beethoven and Brahms, it is nonetheless frequently performed and recorded.
The composition of the Sonata for Violin more or less overlaps with that of the symphonic fantasy Aus Italien and the tone poem Don Juan, as well as the beginning of his love affair with the operatic soprano Pauline de Ahna, whom he would later marry, and all three influences can be heard in the luscious melodies and beautiful lyricism of the piece. Despite being a sonata written by a composer aligned with the so-called “New German School” of the great feud that engulfed classical music in the latter half of the 19th century, it is a rather Classically designed piece, laid out in three movements, as opposed to the four-movement symphonic structure that had become commonplace, and which follow the usual ordering.
The first movement, in the usual sonata form, opens with a heroic idea announced by the piano, answered by the violin, and later followed by a beautifully lyrical second subject in the dominant key. Following this dramatic first movement, the middle Andante cantabile is further marked as an “improvisation.” Curiously, the movement displays little of what might be considered “improvisatory,” but is instead a hauntingly beautiful movement, led by the violin’s enchanting song, and carried along by a superb craftsmanship. The piano gives an eerie Andante introduction to open the Finale, before erupting into a heroic Allegro, and is soon after joined by eruptions of joy from the soloist in the form of rising sixteenth-note passages. The movement is pervaded by a sense of urgency, but it is not without its moments of lyrical beauty that recall the tone of the previous movements. With fervent energy and a final statement of the opening theme, the sonata comes to a heroic, symphonic ending.Joseph DuBose
Sonata for Violin and Piano in E-flat Major, Op. 18 Richard Strauss
I. Allegro, ma non troppo; II. Improvisation: Andante cantabile; III. Finale: Andante - Allegro
Chamber works were not of particular interest to Richard Strauss, once he reached musical maturity as a master of large-scale orchestral work. The Sonata for Violin and Piano in E Flat Major, Op. 18 is the last original chamber piece written by him in his early 20s.
The piano announces the beginning of the Allegro ma non troppo first movement with a gentle yet heroic idea whose basic contours will ultimately generate most musical ideas throughout the movement. A beautiful, flowing melody emerges, which is itself based on the opening idea. Another gorgeous melody, marked "espressivo e appassionato", serves as the second theme.
Strauss calls the second movement Improvisation, although it is a very carefully drafted instrumental song with a rhapsodic middle section. The Finale begins with a calm Andante introduction for the piano alone. After only a couple measures, one can already hear the emerging emotion that leads into the Allegro that shows Strauss's orchestral ambitions. Shortly after the main theme, he introduces a slower tune in C Major, which foreshadows one of his later orchestra suites, "Alpine Symphony". The movement concludes in an ebullient coda. Korbinian Altenberger
Classical Music | Violin Music
Richard Strauss
Sonata for Violin in E-flat Major, Op. 18 Play
Recorded on 05/12/2010, uploaded on 08/28/2010
Musician's or Publisher's Notes
Like many composers of the 19th century, Richard Strauss produced a fair amount of chamber music in his earlier years as a composer, touching upon the major genres of the string quartet, the piano trio and quartet, and the solo sonata. However, with the composition of his Sonata for Violin in E-flat major in 1887, Strauss curiously exited, for the most part, the world of chamber music. Throughout the remainder of his career, he produced little that was of considerable import, and even less that were truly original compositions. Nevertheless, Strauss’s sudden adieu to chamber music is a worthy piece in its own right, and though it may not be ranked with the greatest essays in the genre from composers such as Beethoven and Brahms, it is nonetheless frequently performed and recorded.
The composition of the Sonata for Violin more or less overlaps with that of the symphonic fantasy Aus Italien and the tone poem Don Juan, as well as the beginning of his love affair with the operatic soprano Pauline de Ahna, whom he would later marry, and all three influences can be heard in the luscious melodies and beautiful lyricism of the piece. Despite being a sonata written by a composer aligned with the so-called “New German School” of the great feud that engulfed classical music in the latter half of the 19th century, it is a rather Classically designed piece, laid out in three movements, as opposed to the four-movement symphonic structure that had become commonplace, and which follow the usual ordering.
The first movement, in the usual sonata form, opens with a heroic idea announced by the piano, answered by the violin, and later followed by a beautifully lyrical second subject in the dominant key. Following this dramatic first movement, the middle Andante cantabile is further marked as an “improvisation.” Curiously, the movement displays little of what might be considered “improvisatory,” but is instead a hauntingly beautiful movement, led by the violin’s enchanting song, and carried along by a superb craftsmanship. The piano gives an eerie Andante introduction to open the Finale, before erupting into a heroic Allegro, and is soon after joined by eruptions of joy from the soloist in the form of rising sixteenth-note passages. The movement is pervaded by a sense of urgency, but it is not without its moments of lyrical beauty that recall the tone of the previous movements. With fervent energy and a final statement of the opening theme, the sonata comes to a heroic, symphonic ending. Joseph DuBose
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Sonata for Violin and Piano in E-flat Major, Op. 18 Richard Strauss
I. Allegro, ma non troppo; II. Improvisation: Andante cantabile; III. Finale: Andante - Allegro
Chamber works were not of particular interest to Richard Strauss, once he reached musical maturity as a master of large-scale orchestral work. The Sonata for Violin and Piano in E Flat Major, Op. 18 is the last original chamber piece written by him in his early 20s.
The piano announces the beginning of the Allegro ma non troppo first movement with a gentle yet heroic idea whose basic contours will ultimately generate most musical ideas throughout the movement. A beautiful, flowing melody emerges, which is itself based on the opening idea. Another gorgeous melody, marked "espressivo e appassionato", serves as the second theme.
Strauss calls the second movement Improvisation, although it is a very carefully drafted instrumental song with a rhapsodic middle section. The Finale begins with a calm Andante introduction for the piano alone. After only a couple measures, one can already hear the emerging emotion that leads into the Allegro that shows Strauss's orchestral ambitions. Shortly after the main theme, he introduces a slower tune in C Major, which foreshadows one of his later orchestra suites, "Alpine Symphony". The movement concludes in an ebullient coda. Korbinian Altenberger
More music by Richard Strauss
Der Rosenkavalier
Sonata for Violin in E-flat Major, Op. 18
Die Zeitlose, from Letzte Blätter
Sonata for Violin in E-flat Major, Op. 18
Divertimento, op. 86
Ophelia-Lieder, op. 67
Einerlei, Op. 69, No. 3
Romanze for clarinet and orchestra in E flat major op.61
Mädchenblumen, Op. 22
Wie erkenn' ich mein Treulieb vor andern nun?, from Ophelia-Lieder, op. 67
Performances by same musician(s)
Sicilienne
Scherzo for Violin and Piano in c minor, WoO posth. 2 (from F.A.E. Sonata)
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