Classical Music | Violin Music

Recorded on 05/11/2016, uploaded on 01/17/2017

Musician's or Publisher's Notes

It cannot be overstated just how influential Ludwig van Beethoven was in defining the terms of Western musical life in the century after his death. The core institutions of modern classical music culture—symphony orchestras, concert halls, musical societies and journals—were formed largely in order to preserve, promote, and extend Beethoven’s legacy. It is no surprise then that, during a time in which symbol and metaphor were chief devices of aesthetic expression, so many of Beethoven’s works would attract posthumous nicknames: the “Moonlight” sonata and the “Emperor” concerto, for instance. Another, “Spring”, became associated with Beethoven’s fifth sonata for violin and piano, op. 24, by the mid-nineteenth century, probably due to the work’s sunny opening theme and general pastoral mood and key (F major). Its four-movement design was new to the violin sonatas of Beethoven, who managed to achieve unity in the work’s expansive form by drawing audible motivic relationships between movements. Despite these technical innovations, the “Spring” Sonata retains the Mozartian spirit in its operatic play of contrasts and memorable melodies. Spawned at the turn of the nineteenth century, it was among a slew of works that would quickly solidify Beethoven’s reputation as a paradigm-shifting composer whose instrumental music was soon to epitomize the highest ideals of European art.     Notes by Benjamin Laude

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Sonata No. 5 for Violin and Piano in F Major, Op. 24 "Spring"  Ludwig van Beethoven

Published in 1801, Beethoven’s Violin Sonata No. 5 in F major is known as the “Spring” sonata (Frühlingssonate). As with many of Beethoven’s compositions, the epithet most likely did not originate with the composer himself. Nevertheless, the gentle lyricism of many of the sonata’s melodies, not often found in such abundance in Beethoven’s music, makes the appellation quite appropriate.

The Allegro first movement begins with just such a melody that could incite such springtide imagery. Stated by both the soloist and pianist, it is followed by a livelier theme in the dominant key. However, during the course of this theme, inflections of the minor key begin to unsettle the sunny disposition of the sonata and become a central point of conflict throughout the remainder of the work. The second theme is always chosen as the focal point of the development, however, the opening melody is given its due course of development in the recapitulation and coda, incorporating the minor key inflections heard previously.

Introspective with moments of melancholy, the Andante molto espressivo second movement opens with the principal melody stated first by the piano and then echoed by the soloist. Once again, the harmony is colored by the tones of the minor mode poignantly highlighting the movement’s wistful mood. Following this movement, however, is a lighthearted but curt Scherzo. Hardly more than a page in length, it nevertheless offers an extroverted contrast to the meditative Andante.

The Rondo finale, on the other hand, is a more substantial movement, eloquently balancing its weight against the prior movements. In an unhurried Allegro pace, it opens with a refrain of Mozartean grace—a proper answer to the pair of middle movements. The minor mode, here again, makes its appearance in the course of the movement and finds its ultimate resolution as the warm lyricism with which the sonata began, lively and invigorated, returns to close the work.     Joseph DuBose

Courtesy of International Music Foundation.