beethoven: kreutzer sonata analysis

While the Kreutzer went on to become the most popular of all violin sonatas, it is a work that emerged the following year – the Symphony # 3 (“Eroica”) – that is usually considered the means through which Beethoven transformed music with deep personal expression that overflowed the bounds of traditional structure. Hot on the heels of these comes the op. by Sophia Gorlin. His piano sonatas began with the stylized drama of Mozart but added a new sense of architectural space, thickening texture and deepening gravity. This astounding work was not only a musical means to depict his pain and confusion, but the vehicle by which he Beethoven signalled to the world, and to himself, how he planned to surmount his distress. 10, OP. To ratchet up the tension, Janáček changes Beethoven’s major to minor, and, to remind us of Tolstoy, he marks the passage leggiero, paventoso (lightly, fearfully). Kreutzer Sonata by K.F. Rodolphe Kreutzer Moonlight Sonata Analysis. Kreutzer also composed many works for the stage, and he went on to become chief conductor and later music director of the Paris Opéra. He wrote her hundreds of letters in the last 11 years of his life, and he told her that many of his late works were written with her in mind. 9 in A major op. Upon the piano’s sudden entrance, the key shifts abruptly from A major to a minor, from which it never recovers. The finale is also conventional – a rondo in which the techniques of the first movement emerge in a brighter light – the suspensions now playful, the accents joyous, the galloping theme invigorating, the interplay of major and minor modes vitalizing. 57 - Kreutzer Sonata Gilead Bar-Elli This grand sonata, in three movements, was composed in May 1803, between the oratorio "Jesus in the Olive Mountain" op. But all these solo or duet works were intended for personal gratification or private pleasure. Conventional wisdom is that Beethoven, a concert pianist, wrote a dominant role for his own instrument, but that’s not really true – he was also an accomplished violinist and in any event had to provide display opportunities for guest artists at his concerts. Tolstoy pronounced the second movement “common and unoriginal” and the finale “very weak.” That’s a bit harsh, yet sensible – nothing really could top the scope and fervency of the first. He held solo violin positions at the Théâtre-Italien and the Paris Opéra and later was chamber musician to … The first recording using the then-new electrical technology was an uncut November 1925 HMV set by Isolde Menges and Arthur de Greef, who offer a fine combination of fire and elegance, impulse and resolve. About The Kreutzer Sonata This duo captures the essence in sonatas 1,2,3,4, and 6 of the antecedents in this genre. In any event, prior to publication in 1805 Beethoven switched the dedication to Adolphe Kreutzer. Janáček’s quartet is an amazing synthesis. The pair premiered the sonata on May 24, 1803, with very little rehearsal and to great audience acclaim. Kreutzer Sonata by Rene-Xavier Prinet Seesawing wildly between feminism and misogyny, Tolstoy’s novella hits on many hot-button issues of the late 19th century: it paints a vivid picture of two people trapped in a loveless marriage, it explores how society suffers when women don’t have equal rights, and it promotes abstinence through a lot of hand-wringing about extra-marital sex. [Analysis] Written by Howard Shanet ; Thomas Sherman, musical director. Beethoven’s ‘Kreutzer’ is maintained. 53 and 54. Beethoven did appreciate Kreutzer’s playing, writing, “I prefer his modesty and natural behavior to all the exterior without any interior, which is characteristic of most virtuosos.” These include the downright saccharine Kulenkampff/Kempff (1935), the workmanlike but slightly labored Yehudi and Hephzibah Menuhin (1935), the violin-dominated Heifetz/Moiseiwitsch (1951) and Szigeti/Arrau (1944), the monumental 41 minute Menuhin/Kempff (1970) and 42-minute Schneiderhan/Kempff (1952), the elegant Francescatti/Casadesus (1959) and the nicely nuanced and patrician Szeryng/Haebler (1979) and Szeryng/Rubinstein (1958). 9 in A major, Op. All but a few recordings omit the latter, which perhaps is justified nowadays as an outdated practice now that we can simply play replay a favorite passage, rather than have to await another concert to hear it again. Program notes by Deems Taylor, reprinted from For the Record, on container. The Kreutzer Sonata study guide contains a biography of Leo Tolstoy, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis. He gets so jealous at this breach of social etiquette that he kills her. The novella ends with a guilt-ridden religious message renouncing desire, “We must understand the real meaning of the words of the Gospel,—Matthew, V. 28,—‘that whosoever looketh on a woman to lust after her hath committed adultery’; and these words relate to the wife, to the sister, and not only to the wife of another, but especially to one’s own wife.” Tolstoy’s novella had very little to do with Beethoven “Kreutzer” sonata specifically—just as Beethoven’s sonata had very little to do with Kreutzer. Yet, despite his formal ignorance of musical matters, Tolstoy produced a work of remarkable insight in his 1889 novel The Kreutzer Sonata. The story of The Kreutzer Sonata had special resonance with Janáček by 1923. It’s highly ironic that the pen of a non-musician conveyed such an accomplished grasp of the soul of Beethoven, arguably the greatest composer of all. …Beethoven dedicated to him his Sonata in A Major for Piano and Violin, Opus 47 (published 1805)—now known as the Kreutzer Sonata —but Kreutzer apparently never played the work in public. 17 in D minor, op. Timings, though, can be deceptive – many recordings only seem to outpace their stolid tempos by omitting the repeats of three of the four andante variations, as well as the expositions of the first and last movements, that Beethoven clearly indicated in the score. Thus, having bared his soul, the deeply conflicted composer vows to endure and resolves to redirect his torment toward a more constructive end. #5 is a taste of the fully mature Beethoven in a 4th symphony kind of expression. The very first appears to have been a 1918 HMV acoustic set by Marjorie Haywood and Una Bourne – thoroughly stylish, even though heavily abridged to fit on four sides, with huge portions cut from the outer movements, including the entire development of the first, leaving only the variation movement relatively intact (but without any repeats). The Kreutzer was a personal watershed, marking. The Kreutzer is the very first work for such reduced forces that bursts the accustomed modest bounds of chamber music with the weighty emotional gestures that formerly were the province of opera, oratorio, concerti and symphonies for massive ensembles. The connection in the Tolstoy story is…more Part of the answer to your question: Beethoven only dedicated it to one Kreutzer a famous violinist of his day. Janáček cleverly evokes both themes from Beethoven’s first movement in reverse order, and he even sort of combines them (1:55 in the video below). A significant historical note … Given the nearly complete male dominance of instrumental recordings of the time, it seems altogether remarkable that the earliest recordings of the Kreutzer were by female violinists. 47 (Kreutzer) The ninth of Beethoven’s ten sonatas for violin and piano is the grandest and most impressive of them all. The movement (and the entire piece) is by turns timid and aggressive, longing and fearful, uninhibited and shy—an evocative picture of the “poor woman” that Janáček described to Stösslová. Most extraordinary of all is an April 13, 1940 concert by Joseph Szigeti and Béla Bartók that quivers with musical and cultural significance. 9, Op. Last Updated on May 6, 2015, by eNotes Editorial. He was in his own difficult marriage and infatuated with a much younger woman named Kamila Stösslová, who was herself married. Aside from his etudes, Kreutzer’s own compositions have largely been forgotten but his name lives on through the works of others. While the "Kreutzer" Sonata does not engage the heroic issues of the first movement of that symphony, it has something of the Eroica's slashing power and vast scope. Janáček sounds like he’s telling a story, but the music doesn’t seem to chronologically correspond to the events of the story, and the composer didn’t leave a detailed explanation. Pinchas Zukerman and Marc Neikrug in Santa FeperformingBeethoven - Violin Sonata No. Galicius Part of the answer to your question: Beethoven only dedicated it to one Kreutzer a famous violinist of his day. It was originally written for George Bridgetower, a violin virtuoso who was visiting Vienna in the spring of 1803. The rest was barely done in time – the violin part of the first movement was copied just in time for the concert, Bridgetower had to read the andante from Beethoven’s own messy manuscript, and Beethoven largely extemporized all but the finale from sketches. About his string quartet, Janáček wrote to Stösslová, “I was imagining a poor woman, tormented and run down, just like the one the Russian writer Tolstoy describes in his Kreutzer Sonata.” A Beethoven quote starts immediately in the first violin and is echoed by the cello. Written by Julia Wolf “ The Kreutzer Sonata ” is an almost desperate experiment to change people, in which Leo Tolstoy hardly believes. No writing can ever fully convey the splendor of such performances. Their performing style springs from the musical traditions of their beloved Hungary, in which intonation, rhythm, dynamics and texture all yield for unbridled emotional impact. 47, "Kreutzer" / Catalog Record Only [Performance] David Oistrakh, violin ; Lev Oborin, piano. 9, Op. Beethoven described the piece as "written in a very concertante style, like that of a concerto," explaining the internal conflict generally associated with his larger works. It can be said Beethoven invented the violin sonata as we know it. To build tension and create unity, Janáček would repeat a melody at different speeds through the course of the piece. The Violin Sonata No. It is by far the longest, is the most difficult, contains the richest textures, and to a greater extent than any other, puts both musicians on an absolutely equal footing throughout. 47 ‘Kreutzer’ sonata; a one-off and something of an enigma. 47, to Kreutzer, the violinist wasn’t told ahead of time. I highly recommend a reading in librivox. Ludwig van Beethoven’s Violin Sonata no. Word Count: 971. 85 (first version) and the third symphony op. Purchase that stretched the entire violin sonata genre, and signaled a change in the composer's own style of writing music. Despite the power of his Heiligenstadt Testament, Beethoven was not a man of letters. When Beethoven dedicated his ninth violin sonata to Rodolphe Kreutzer in 1805, the violinist was already internationally renowned for his virtuosity and celebrated for a new style of violin playing characterized by a full tone and legato (singing) style. It's tempting to speculate that Beethoven seized upon his partner’s outsider status to craft a suitably exotic and genre-stretching piece. 47 in A major, by Ludwig van Beethoven, is a sonata for piano and violin notable for its technical difficulty, unusual length, and emotional scope. Beethoven: Sonata no. Furthermore, the piano writing is much more powerful than in preceding works, anticipating the piano sonatas Opp. Rather, it was in the Kreutzer that the turbulence of his suppressed feelings erupted with full artistic force. Two hundred years ago, violinist George Bridgetower was one of the very few men of color to have broken into European art circles, albeit not solely on the basis of his considerable talent. Start your 48-hour free trial to unlock this The Kreutzer Sonata study guide. Others achieve a superficial degree of excitement through sheer speed, bringing the work home in well under a half-hour – the vehement energy of Busch/Serkin (1941), the buoyant but precisely chiselled Milstein/Balsam (1957) and the rugged yet surprisingly subtle Groschl/Spierer (1991). Listen to the whole piece here. It was perhaps arranged by Beethoven himself after his own Kreutzer Sonata. The novella The Kreutzer Sonata, written by Leo Tolstoy, discusses the issues of gender inequality and socio-economic status through jealousy and rage over the portrayed relationship of marriage. Tolstoy’s novella was immediately popular and it inspired many other works of art: plays, paintings, and even two novels from his own wife who naturally objected to the extremely unflattering (and semi-autobiographical) portrayal of the narrator’s wife. The "Kreutzer" Sonata was published in 1805 by Simrock in Bonn and Birchall in London. At a dinner party, his wife plays the Beethoven sonata of the title with an amateur violinist, kindling complex and conflicting passions. Beethoven meets the challenge brilliantly but subtly, while again disrupting our expectations for a worthy successor to the opening frenzy, this time with a genial andante, a throwback that would fit in any of his prior works, comprising a placid theme with four variations of escalating complexity – first with piano figuration, then the violin elaborates, next a plunge into f-minor, and finally ornate combinations. He takes musical snippets from Beethoven’s violin sonata and uses them as building blocks to create a wordless story of desire and intrigue. Soon another motive is heard— its two repeated notes vaguely resemble Beethoven’s first movement main theme. Truly meaningful writing about music is nearly impossible. His emotional language is reminiscent of Tolstoy’s novella with the added layer that Janáček himself was a musician pursuing a married woman. He never spoke to Bridgetower again, and he changed the sonata’s dedication to Kreutzer before its publication in 1805. His piano sonatas began with the stylized drama of Mozart but added a new sense of architectural space, thickening texture and deepening gravity. Not much is known about their relationship but the two men don’t appear to have been close. 4 Op. (Menges had already pioneered the first complete recording of the Beethoven Violin Concerto in 1922 with Landon Ronald and the Royal Albert House Orchestra for HMV.). He brings a whole batch of post-World War I techniques and ideas to draw the listener into a world of anguish and desire: The third movement has all of the above, plus it’s based on themes from the first movement of Beethoven’s violin sonata, the movement that most affected Tolstoy. Bridgetower was bitter for the rest of his life. Following his death in 1827, among his private papers was found an extraordinary document now known as the “Heiligenstadt Testament.” In a rambling but frighteningly blunt and intense plea, confession and suicide note dated October 2 and 6, 1802 and addressed to his two brothers (but apparently never sent), Beethoven begs forgiveness for his ill-tempered and rude behavior and reveals the “secret cause” – his smothering deafness, the cruelest fate for a rising master musician, which he had tried to hide but after six years of futile medical treatment now has given up all hope for a cure. Janáček doesn’t make smooth transitions. Here, the relationship between violin and piano is complex – they both blend and chafe, suggesting a common purpose, yet plunging into frenzied competition as the piece erupts into an astoundingly stormy movement, which Beethoven aptly described on his score as “quasi come d’un concerto” (“almost like a concerto”) that heaves between gentle respite and exhausting, violent attacks of furious slashing figures at a delirious pace (labeled “presto” and generally taken anywhere between 300 to 500 beats per minute). ... For me, one of my personal favorites is Moonlight sonata. “Sonata for piano and violin obbligato written in a concertante style, similar to a concerto, composed and dedicated to his friend, R. Kreuzer, member of the Conservatory of Music in Paris, first violin of the Academy of Arts, and of the Imperial Chamber, by L. van Beethoven.”. Sonata no. His sardonic and jaded view of the widening gulf between the flesh and spirit of human relationships has an internal logic and perverse allure. #9 is the masterful Kreutzer which, for me, is a stand alone among ALL violin sonatas. What Kreutzer would have thought of all this is anyone’s guess. The main character, Pozdnyshev, relates the events leading up to his killing of his wife: in his analysis, the root … Fortunately for posterity, these magnificent recordings overcome that otherwise insoluble problem to let the music speak for itself. Kreutzer probably never performed the sonata publicly and the composer Berlioz reported that he called it “outrageously unintelligible.” The dedication of Beethoven’s violin sonata was only a minor event at a time when Kreutzer was composing more and concertizing less. In a twist of fate, his name ended up on not just one but three major works of art (and many minor ones) that spanned more than 100 years and explored love, murder, religion, social issues, and more. 832 Words 4 Pages. Indeed, his personal life was in crisis. He goes on trial and spends 11 months in prison but is ultimately freed. Scanned and a huge amount of manually cleaning by Generoso. His rhythms are loosely inspired by the Czech language. By the same token, he uses many, many different tempos. He puts truth into a mad's mouth and he would like to see this truth in people, he sincerely believes that truth would make these people happier... but they miscalculate. He yearns for freedom from his suffering, provides for the disposition of his meager assets and asks his doctor to explain his condition after his death. His description of the sonata itself is justly famous: By seizing upon this particular work, Tolstoy intuitively sensed not only the Kreutzer's intrinsic merit but its significance as a key work in Western art. In contrast to all eight of his previous violin sonatas that began with the piano’s plain statement of the melody, key and tempo, here the soloist wanders out naked and lost. The Violin Sonata No. 96 FOR PIANO AND VIOLIN IN G MAJOR (1812): LOOKING AHEAD A Dissertation Submitted to the Graduate Faculty of the When he wants to start a new section, he just… does it. Rodolphe Kreutzer Beethoven first met Kreutzer in 1798. Of the many Kreutzer recordings, a disappointingly large number are musically correct but emotionally vapid and intellectually shallow. 9, Op. At the climax of the story, the man comes home late at night from a business trip to find his wife eating alone with the violinist. This dissertation closely examines the relationship between the two instruments within Beethoven’s ‘Kreutzer’ Sonata, and the manner in which both the contemporary arrangements above maintain and alter that relationship through the transformation into another format. Indeed, the key to writing duo-sonatas is to find themes that exploit the distinctive expressive character of both instruments, while suggesting a wide range of possibilities for accompaniment. Then a handsome violinist comes into their life, and the violinist and the narrator’s piano-playing wife perform a musical evening in the couple’s home. Although Jacques Thibaud was renowned as suave and stylish, in his 1929 pairing with his poetic French compatriot Alfred Cortot he digs into his instrument to produce a crude tone and rhythmic vagaries, the distortions suggesting the labor of a huge recreative effort. Article by Laura Keller, Editorial Manager. Thus, Paul Henry Lang salutes the Eroica as nothing less than the greatest single step made by an individual composer in the history of music, a “feat of fiery imagination” and a “fling at the universe” that even Beethoven himself would never take again. Beethoven did appreciate Kreutzer’s playing, writing, “I prefer his modesty and natural behavior to all the exterior without any interior, which is characteristic of most virtuosos.” When Beethoven dedicated the Violin Sonata in A major, Op. (The current Naxos release includes an equally compelling alternate take.). Although his mother was Polish and his father West Indian, he was billed as an African prince. 31, No. “Sonata for piano and violin obbligato written in a concertante style, similar to a concerto, composed and dedicated to his friend, R. Kreuzer, member of the Conservatory of Music in Paris, first violin of the Academy of Arts, and of the Imperial Chamber, by L. van Beethoven.”. 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