Allegro molto; Andante; Allegro vivo; Allegro quasi
presto
Beginning in the middle of the last half of the
nineteenth century, there appeared a number of exquisite French violin sonatas
which share the elements of lovely melodies, elegant expression, tasteful and
sincere emotionalism, and well-balanced forms. They also occupy a special place in the repertoire and affections of
violinists the world over. Franck, Saint-Saëns, Fauré, Debussy, and Ravel are
all contributors to this line of great sonatas.
Fauré, in fact, contributed two such sonatas,
separated by 40 years, of which this one is by far the better known, and may be
said to have initiated the line. Florent Schmitt correctly wrote that its
appearance "marks a red-letter day in the history of chamber music."
Each movement has at least one achingly lovely
lyrical theme. The passionate first theme is shared by both instruments (piano
and violin are treated as partners throughout the work, rather than as soloist
and accompaniment). The second movement, Andante, is reticent, almost shy, in
character, with a fine melody for violin. The Scherzo is light-hearted in its
outer sections, but lyricism returns in its central section, or
"trio." Finally, the last movement is dramatic and emotional, yet
even here there is an interlude with a lovely romantic theme. Soran Sophia Lee
Classical Music | Violin Music
Gabriel Fauré
Sonata for Violin and Piano No. 1, Op. 13 Play
Recorded on 02/10/2011, uploaded on 02/10/2011
Musician's or Publisher's Notes
Allegro molto; Andante; Allegro vivo; Allegro quasi presto
Beginning in the middle of the last half of the nineteenth century, there appeared a number of exquisite French violin sonatas which share the elements of lovely melodies, elegant expression, tasteful and sincere emotionalism, and well-balanced forms. They also occupy a special place in the repertoire and affections of violinists the world over. Franck, Saint-Saëns, Fauré, Debussy, and Ravel are all contributors to this line of great sonatas.
Fauré, in fact, contributed two such sonatas, separated by 40 years, of which this one is by far the better known, and may be said to have initiated the line. Florent Schmitt correctly wrote that its appearance "marks a red-letter day in the history of chamber music."
Each movement has at least one achingly lovely lyrical theme. The passionate first theme is shared by both instruments (piano and violin are treated as partners throughout the work, rather than as soloist and accompaniment). The second movement, Andante, is reticent, almost shy, in character, with a fine melody for violin. The Scherzo is light-hearted in its outer sections, but lyricism returns in its central section, or "trio." Finally, the last movement is dramatic and emotional, yet even here there is an interlude with a lovely romantic theme. Soran Sophia LeeMore music by Gabriel Fauré
Requiem
Après un rève
Piano Quartet in C minor, Op. 15
Piano Quartet No. 2 in G Minor, Op. 45
Morceau de Concours
Piano Quartet in C minor, Op. 15
Impromptu No. 2 in f minor, Op. 31
Après un Rêve
Cinq melodies “de Venise”, Op. 58
Morceau de Concours
Performances by same musician(s)
Variations on an Original Theme in A Major, Op. 15
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