Although the notion of an emotional meaning related to tonality has been partially lost, both composers and audiences of the 18th and 19th centuries were particularly sensitive to key choices. As Galeazzi states C Minor evoked an ominous sense of fate. It is no surprise that, in the face of looming deafness, Beethoven chose this key a number of times during the first decade of the 1800s, including the Pathétique Sonata, and the Fifth Symphony.
The C Minor sonata is the most daring and innovative of the Op. 30 group. The piano opens the first movement with a quiet, nervous motive, and a descending chromatic scale, full of uncertainty. The long chords that answer seem to darken any ray of hope. Abrupt dynamic changes, dotted rhythms, and the superimposition of a lyrical (yet tragic) violin over the feverish activity of the piano dominate this movement.
The middle movements of the sonata balance the somber outer movements, with a tonal shift to A-flat in the Adagio, used also in the Fifth Symphony a few years later. The gentle warmth of this key impregnates a lied for violin and piano that flows peacefully, only interrupted by the exuberant, almost operatic C Major scales in both instruments. It is also an experiment with different sonorities like pizzicati, and the crystalline textures of the coda, the watermark of a mind thinking beyond the chamber realm. The third movement is a humorous scherzo, with a trio that reminds of other pastoral Beethovenian landscapes.
Tense agitation and turmoil are condensed in the first motive of the last movement, represented by the insisting, hammering notes that rise from p to ff in a split second. The staggering contrast of major and minor modes, the restless syncopations, and the sudden outbursts of sound, create an uncontainable emotional state. In stark contrast with the triumphant outcome of the 5th Symphony, the ferocious coda of this sonata drives forcefully to a fateful end. Notes by Jaime Gorgojo
Classical Music | Music for Duo
Ludwig van Beethoven
Violin Sonata No. 7 in C minor, Op. 30, No. 2 Play
Recorded on 02/03/2016, uploaded on 08/31/2016
Musician's or Publisher's Notes
Although the notion of an emotional meaning related to tonality has been partially lost, both composers and audiences of the 18th and 19th centuries were particularly sensitive to key choices. As Galeazzi states C Minor evoked an ominous sense of fate. It is no surprise that, in the face of looming deafness, Beethoven chose this key a number of times during the first decade of the 1800s, including the Pathétique Sonata, and the Fifth Symphony.
The C Minor sonata is the most daring and innovative of the Op. 30 group. The piano opens the first movement with a quiet, nervous motive, and a descending chromatic scale, full of uncertainty. The long chords that answer seem to darken any ray of hope. Abrupt dynamic changes, dotted rhythms, and the superimposition of a lyrical (yet tragic) violin over the feverish activity of the piano dominate this movement.
The middle movements of the sonata balance the somber outer movements, with a tonal shift to A-flat in the Adagio, used also in the Fifth Symphony a few years later. The gentle warmth of this key impregnates a lied for violin and piano that flows peacefully, only interrupted by the exuberant, almost operatic C Major scales in both instruments. It is also an experiment with different sonorities like pizzicati, and the crystalline textures of the coda, the watermark of a mind thinking beyond the chamber realm. The third movement is a humorous scherzo, with a trio that reminds of other pastoral Beethovenian landscapes.
Tense agitation and turmoil are condensed in the first motive of the last movement, represented by the insisting, hammering notes that rise from p to ff in a split second. The staggering contrast of major and minor modes, the restless syncopations, and the sudden outbursts of sound, create an uncontainable emotional state. In stark contrast with the triumphant outcome of the 5th Symphony, the ferocious coda of this sonata drives forcefully to a fateful end. Notes by Jaime Gorgojo
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
Sonata No. 5 for Violin and Piano in F Major, Op. 24 "Spring"
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