With an English Introduction, Odense Universitetsforlag This performance took place for a private audience at the Private Chamber Music Association.
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In , 30 years after its completion, he set about revising the composition. He left movements II and IV practically untouched, but thoroughly revised movements I and III, without, however, changing the actual form of the movements.
At the same time, he posthumously dedicated the sonata to Axel Gade, who had died in Another thing is that it is not immediately feasible to perform the work on a piano and viola, even though Langgaard has evidently wished for a more sonorous sound in the solo instrument — in the first movement, at any rate, where long passages are written to be performed on the G and D strings. So, the title makes most sense if it is thought of as being a poetical title and a cadeau to the solo instrument. The work stays within the traditional framework of the sonata, and the musical idiom is retrospective.
In the first movement, the violin enters with an unusually low, chromatic theme, played on the G string of the violin, that works its way upwards with more chromatics until it suddenly reaches a high point with quick, high scale-like movements. In the development section Agitato a reminiscence of the second subject occurs, with the marking Lento glorioso.
A distinctive, Langgaardean feature is to be found in the intermediate section of the scherzo movement, where a waltz motif gropes its way forward without ever getting off the mark. The concluding, fiery finale is tonally more varied than the other movements but retains the E minor key. In actual fact, the composer prescribes violin accompanied by organ without pedals, but the accompaniment is of a piano-like nature, and the piece has often been performed with piano accompaniment.
In May , Langgaard realised that he could create a more effective whole by combining the three works.
Langgaard immediately sent the score to Danish Broadcasting Corporation as a programme suggestion. No notice of it was taken, however, and it was placed in the Radio music archive, where it was not localised until as late as The first movement is a vigorous, freely formed sonata movement in F major that has a certain humorous touch. The slow second movement A flat major finally modulates into F -major, from where the organ takes over movement III and adds a church-like dimension to the established reverential mood.
Buy album CD. FLAC 16bit FLAC 24bit 48kHz. Rued Langgaard Gunvor Sihm.
Berit Johansen Tange. Danish National Symphony Orchestra. Violinist Gunvor Sihm and pianist Berit Johansen Tange have worked to familiarize themselves with and understand Langgard's chamber and solo music, so that their performances have become wonderfully natural and immediate. Splendidly performed and recorded throughout and the Violin Sonata No 1 really should find a place in the wider standard repertoire. A viable overview of this composer in his recklessness and increasing urge towards self-destruction.
Violin Sonata No.6, Op.30 No.1 (Beethoven, Ludwig van)
So well played by the two Danish musicians that you inevitably prick up ears. MP3 mp3 kbps. Finally, the piano takes the melody again, and now both instruments participate in the off-beat chords. An ascent in chords from the piano is followed by a similar one from the violin, the instruments again exchanging the off-beat chords. The long chords are now plucked by the violin, supported by the piano bass.
The piano plays the actual theme, largely in octaves. The scales are extended, adding some arpeggios. The violin abandons the plucked chords and plays in harmony with the piano, sometimes moving in the same direction, sometimes the opposite direction. The piano bass retains the dotted rhythm. The piano closely imitates these one beat later.
The violin abandons these descents, but the piano plays a third one. The violin line is now freer, but matches the groupings of the piano descents, whose top notes shift up a half-step for three more statements.
PROGRAM NOTES: THE BEETHOVEN PROJECT
Finally, the violin has three four-note descents the last of which shifts downward against a free piano line over a low bass note. A syncopated violin descent ends the passage, which has shifted the music up to A-flat major.
The piano plays bass octaves with the chords coming after them on weak beats. After the first four bars, the piano imitates the two preceding violin bars and sequences them upwards twice against mildly dissonant violin chords, suggesting F minor. The violin then takes the figures again and moves them upward again twice, now reaching quite high and suggesting D-flat major both keys closely related to A-flat major.
The music slows and builds. After a loud bass chord in A-flat minor, the piano right hand begins to play scales and arpeggios in rapid triplet rhythm. The violin plays scales against this in straight rhythm, as does the piano right hand in octaves when the triplet arpeggios move to the left hand. At this point, the piano right hand and violin emerge into the imitative four-note descents from [m. All begin with the downward-leaping figure and a scale in triplet rhythm. In the B-minor and G-minor passages, the violin takes the triplet rhythm along with the piano bass in the B-minor.
In the intervening A-minor passage, the piano right hand begins the triplet rhythm.
Ludwig van Beethoven | Free Violin Sheet Music
When the violin has the triplets, the piano right hand has straight rhythm, and vice versa. The B-minor and A-minor passages are short, only two bars, while the G-minor one is extended to four bars and emerges into the imitative four-note descents expanded from three to four statements. The last piano descent devolves into a string of half-steps at the end.
The piano imitates the violin on this figure while the bass plays another sweeping line derived from it. The strength builds even more and the music arrives on E minor relative minor to the home key of G. The violin then enters on the same highly syncopated music, and the ascending line is transferred to the right hand, now in chords. Finally, the ascending line moves to the violin, where it is given two statements. The right hand has the strongly syncopated music again and the left hand has long descents. The music shifts to E-flat major. Under these, the syncopated lines break up and become more regular.
The music arrives in the home minor key, G minor.
Media Review / Comparison
The tune fragment from [m. The fragment is passed between the piano bass and the violin four times, with detached chord and single-note alternations from the right hand played against the violin statements. Finally, the piano bass has two more isolated statements that are not answered by the violin, which plays longer notes. There are short right-hand interjections on strong beats. There is then another series of alternations on the downward-turning dotted rhythm, this time led by the violin and passed to the piano bass.
The right hand again plays the skittish detached figures. After three alternations, a violin statement of the downward turn reverses and moves upward, holding long notes over two final low statements of the rhythm from the piano bass similar to those heard before m. The opening fragment of Theme 1 is heard again in that key, but this time it is repeated and extended with a dreamy downward-arching motion over the familiar Regenlied dotted rhythm in the piano bass.
This arching motion is repeated in a warm shift to an A-major chord. Finally, six violin statements of the earlier four-note descents from [m. The piano chords under this first bar are mildly dissonant, continuing the dreamy mood of the end of the development. In the second bar, the original chords are restored and the theme proceeds as at the beginning of the sonata. The climax is abbreviated by one bar and does not diminish.
A scalar descent in the violin leads directly to Theme 2, skipping the entire long transition passage. There are two statements, as at [m. The left hand has upward arpeggios and the right hand has smooth descending lines. The 3x2 hemiola is preserved with four-note descents at the end of the first statement. In the second statement, the violin does not move an octave higher, and the piano does not double it until halfway through.
The left hand arpeggios become wider. The piano gradually resumes the original accompaniment so that the hemiola at the end of the second statement is as it was in the exposition.
Related Violin Sonata No. 6 - Piano Score
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