Beethoven composed three sonatas for the violin in 1801 and 1802, a time when Beethoven was increasing concerned with his ill health. The sonatas were published together as his op. 30 a year later and dedicated to Czar Alexander I of Russia.
Despite the melancholy that must have dominated Beethoven’s mood during this time, the Violin Sonata No. 6 is set in the brilliant key of A major. The first movement begins with a graceful duet between the violin and piano and both instrument take on an equal role in the presentation of the first theme. The second is presented first by the piano in the key of C sharp minor and then repeated by the violin in the expected key of E major. The second movement is an expressive Adagio in D major. Much of the movement is pervaded by a dotted rhythm accompaniment in the piano, which brings to mind a similar accompaniment used in the slow movement of the Fourth Symphony. The last movement begins with a simple tune of thirty-two bars in length, followed by six variations. The first embellishes the theme with a triplet figuration and the second with sweeping runs in both instruments; the third and fourth focus mainly on the opening notes of the theme. The fifth moves to the tonic minor and is highly contrapuntal. The last is in a lilting 6/8 meter and brings the piece to an optimistic close.Joseph DuBose
Classical Music | Violin Music
Ludwig van Beethoven
Sonata for Piano and Violin No. 6 in A Major, Op. 30, No. 1 Play
Recorded on 09/16/2004, uploaded on 04/16/2009
Musician's or Publisher's Notes
Beethoven composed three sonatas for the violin in 1801 and 1802, a time when Beethoven was increasing concerned with his ill health. The sonatas were published together as his op. 30 a year later and dedicated to Czar Alexander I of Russia.
Despite the melancholy that must have dominated Beethoven’s mood during this time, the Violin Sonata No. 6 is set in the brilliant key of A major. The first movement begins with a graceful duet between the violin and piano and both instrument take on an equal role in the presentation of the first theme. The second is presented first by the piano in the key of C sharp minor and then repeated by the violin in the expected key of E major. The second movement is an expressive Adagio in D major. Much of the movement is pervaded by a dotted rhythm accompaniment in the piano, which brings to mind a similar accompaniment used in the slow movement of the Fourth Symphony. The last movement begins with a simple tune of thirty-two bars in length, followed by six variations. The first embellishes the theme with a triplet figuration and the second with sweeping runs in both instruments; the third and fourth focus mainly on the opening notes of the theme. The fifth moves to the tonic minor and is highly contrapuntal. The last is in a lilting 6/8 meter and brings the piece to an optimistic close. Joseph DuBose
More music by Ludwig van Beethoven
Sonata No. 13 Op. 27, No. 1 in E-flat Major, "Quasi una Fantasia"
Sonata for cello and piano in g minor, Op 5, No. 2
32 Variations in c minor, WoO 80
Seven Variations on “Bei Mannern, welche Liebe fuhlen” from Die Zauberflote by Mozart
7 Variations
Cello Sonata No. 3 in A Major, Op. 69
Sonata Op. 53 III
Sonata No. 30 in E major, Op. 109
Bagatelle No. 25 in A minor "Für Elise"
Sonata No. 21 in C major, Op.53, "Waldstein"
Performances by same musician(s)
Piano Trio in B-flat Major, Op. 97, “Archduke”
Trio No. 5 in D Major “Ghost” for Violin, Cello and Piano Op. 70, No. 1
Sonata for Violin in E-flat Major, Op. 18
Piano Trio No. 4 in B flat major, Op. 11 for clarinet, cello & piano
Five Melodies for violin & piano, Op. 35 bis
Violin Sonata in E major
Classical Music for the Internet Era™
Courtesy of International Music Foundation.