Classical Music | Violin Music

Recorded on 07/09/2008, uploaded on 12/01/2011

Musician's or Publisher's Notes

Allegro -- Adagio molto espressivo -- Scherzo: Allegro molto -- Rondo: Allegro ma non troppo

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 the Steans Music Institute

The Steans Music Institute is the Ravinia Festival's professional studies program for young musicians.