Beethoven originally intended this to be published as a contrasting companion piece to his "Spring" Sonata, and indeed the two works appeared together as Op. 23 in 1801. However, due to a publishing error, the sonatas appeared in print under consecutive opus numbers, "Spring" taking Op. 24.
The opening Presto begins with a grim, thrusting theme that contrasts with a spare little melody that spirals upward. Both subjects are propelled by a tarantella-like rhythm, which almost never relents through the course of the movement.
The middle movement's odd marking, Andante scherzoso più allegretto, reveals a combination scherzo and slow movement. The opening theme is presented in symmetrical halves before developing into a delicate fugue variation on itself. A full-fledged second theme finally appears as a trilling figure first in the piano, then the violin.
The rondo finale, Allegro molto, is woven from an agitated minor-mode theme that hardly changes in its several reappearances. The first contrasting section, in A major, would offer welcome relief if it were not for Beethoven throwing the violin and piano out of synch with each other—a device he would use to more comic effect in the "Spring" Sonata. The second and third contrasting sections are more relaxed, major-mode episodes, soon interrupted by the bleak, unsettled primary motif, which winds down to the conclusion of the piece. Ilana Setapen
Classical Music | Violin Music
Ludwig van Beethoven
Violin Sonata No. 4 in a minor, Op. 23 Play
Recorded on 06/29/2012, uploaded on 09/22/2012
Musician's or Publisher's Notes
Beethoven originally intended this to be published as a contrasting companion piece to his "Spring" Sonata, and indeed the two works appeared together as Op. 23 in 1801. However, due to a publishing error, the sonatas appeared in print under consecutive opus numbers, "Spring" taking Op. 24.
The opening Presto begins with a grim, thrusting theme that contrasts with a spare little melody that spirals upward. Both subjects are propelled by a tarantella-like rhythm, which almost never relents through the course of the movement.
The middle movement's odd marking, Andante scherzoso più allegretto, reveals a combination scherzo and slow movement. The opening theme is presented in symmetrical halves before developing into a delicate fugue variation on itself. A full-fledged second theme finally appears as a trilling figure first in the piano, then the violin.
The rondo finale, Allegro molto, is woven from an agitated minor-mode theme that hardly changes in its several reappearances. The first contrasting section, in A major, would offer welcome relief if it were not for Beethoven throwing the violin and piano out of synch with each other—a device he would use to more comic effect in the "Spring" Sonata. The second and third contrasting sections are more relaxed, major-mode episodes, soon interrupted by the bleak, unsettled primary motif, which winds down to the conclusion of the piece. Ilana Setapen
More music by Ludwig van Beethoven
Piano Concerto No 2 in B-flat Major, Op. 19, Third Movement (Rondo: Allegro molto)
Sonata No. 32 in c minor, Op. 111
Piano Sonata No. 28 in A Major, Op. 101
Sonata No. 32 in c minor, Op. 111
Fantasie in g minor, Op. 77
33 Variations on a Waltz by Anton Diabelli, Op. 120
String Quartet No. 11 in f minor, Op. 95, Serioso
String Quartet Op. 131
Sonata for cello and piano in g minor, Op 5, No. 2
Theme and Seven Variations on "Bei Mannern" from Mozart's The Magic Flute, WoO 46
Performances by same musician(s)
Piano Quartet in g minor, Op. 25
String Quartet in D major, Op. 18, No. 3
String Quartet in g minor, Op. 10
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