Classical Music | Violin Music

Recorded on 03/08/2005, uploaded on 01/11/2009

Musician's or Publisher's Notes

Beethoven’s most famous sonata for the violin, the “Kreutzer” Sonata was composed in 1802-03 at the beginning of the composer’s heroic middle period. Though retaining the traditional sonata design handed down from Mozart and Haydn, it is nevertheless among the first pieces with which Beethoven began to push the envelope. Like the Eroica Symphony, the work was exceptionally long for its day, nearly double the length of most sonatas. Outwardly, it is known for its strenuous technical demands upon both soloist and accompanist; inwardly, for its emotional depth and the many freedoms Beethoven later explored even further over the coming decades.

The Violin Sonata No. 9 in A major, as the “Kreutzer” Sonata is officially known, was premiered on May 24, 1803 by the violinist George Bridgetower and Beethoven himself at the piano. Bridgetower was the original dedicatee of the sonata and the circumstances leading to its eventual dedication to the French violinist Rudolphe Kreutzer was the result of Beethoven’s noble nature and fierce loyalty. On tour through Europe, Bridgetower had not seen the work prior to the concert and sight-read the sonata at the performance, a remarkable feat in its own right. Following the concert, Bridgetower insulted the morals of a woman of whom Beethoven was fond. Furious with Bridgetower, Beethoven removed the dedication and gave it instead to Kreutzer. Kreutzer, however, though considered the finest violinist of the day, was no admirer of Beethoven’s music. He is said to have called the sonata “unintelligible” and, as far as is known, never performed the work.

The sonata opens with a slow introduction, beginning first with the soloist only and then the piano entering a few measures later. The piano’s answer to the violin’s melody, however, establishes the conflict of the entire movement, inflecting the latter’s melody with the minor mode. Indeed, the introduction is the only part of the movement in A major. The ensuing Presto, an expansive sonata design, changes to the key of A minor and is a fine example of the intense emotions and formal designs of Beethoven’s middle period.

In sharp contrast, the middle Andante changes to the warm key of F major and adopts a more light-hearted countenance. The movement’s theme is followed by five variations that greatly transform the melody over its harmonic outline. The finale offers yet another contrast. Returning to A major, the meter changes to 6/8 with rhythms of the tarantella and the listener is met with exuberant music. A lengthy rondo, the finale propels itself forward with uninhibited energy, overcoming the struggles of the previous movements.      Joseph DuBose

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Sonata No. 9 in A minor ("Kreutzer"), Op. 47        Ludwig van Beethoven

Adagio sostenuto-Presto-Adagio; Andante con variazioni; Presto

Ludwig van Beethoven composed 10 sonatas for violin and piano, and his ninth sonata, the "Kreutzer," is perhaps the greatest masterpiece of them all. Composed in 1802-03, this sonata was dedicated to Rodolphe Kreutzer, a French violinist and composer who was famous for his development of violin technical studies. Ironically, upon glancing through Beethoven's composition, Kreutzer deemed the work unplayable and never performed it. Instead, it was premiered by another accomplished violinist, George Bridgetower, an Englishman with parental roots in Africa and Poland, with Beethoven himself at the piano. The "Kreutzer" Sonata became so well known that author Leo Tolstoy wrote a short story that incorporated the work, in which he noted how absurd it was to picture well-to-do women sitting peacefully and digesting this work in a quiet, calm setting, when it is a powerful, imposing work that ought to be experienced as such.

Right from the outset of the work, the dueling nature of the violin and piano is evident. The violin makes a slow, emphatic statement, only to be overshadowed by the piano's reply. Suddenly, both instruments take off at a galloping speed and compete with each other to be heard, at times mocking each other's interpretations. Beethoven leaves little room for relaxation and reflection in the first movement, but generously compensates for it in his Andante con variazioni, a glorious set of variations on a contemplative theme in which each instrument has its opportunity to shine in their respective solo variations and explore the entire spectrum of colors and nuances that can be created in them. Finally, Beethoven returns the listener to a frenetic pace in the Presto, in which the piano has the first declaration this time (unlike in the first movement) before the violin takes off and forces the piano to follow and try to catch up with it, which the piano successfully does in the final moments of this complex work.    Christina Castelli

Courtesy of International Music Foundation.