Violin Sonata No.2 in A Major , Op.12, No.2 (1797-98)
I.Allegro Vivace
II.Andante , Piu tosto allegretto
III.Allegro piacevole
بهار فلسفی، ویولن
پرنیان خلف رضایی، پیانو
Beethoven wrote three sonatas for piano and violin in A major. The best-known is the “Kreutzer” Sonata, composed in 1802, which is so massive that it functions more like a concerto or a contest for the two instruments. In great contrast, the Sonata in A Major, Op.12, No.2, written earlier, is light and delicate with the dynamic between the two instruments that of an intertwined partnership.
The three Sonatas Op. 12 were dedicated to Antonio Salieri, one of the most influential and powerful musical personalities of the time and one of Beethoven’s teachers. They are all still under the obvious influence of Haydn and have a continual feeling of lighter touch, particularly Op. 12/1. Beethoven’s trademarks of subito (sudden) piano and stormy forte or fortissimo passages are presented in a modest way here. They do not yet have the “shocking” impact that they have in the later sonatas.
The first movement, Allegro vivace, begins without complication; the harmonies are direct and simple, and a fun-loving character is maintained throughout. The two instruments take turns in stating the themes in a conversational manner.
The key of A minor, rather than A Major, begins the lyrical middle movement. The sonority of the first Andante theme clearly resembles that of the fortepiano.
The Italian word piacevole (pleasant) accurately describes the final movement of this sonata. Written in Rondo form, the recognisable theme returns repeatedly throughout the movement. Beethoven does not vary it too much, but the pleasure of hearing such a beautiful tune can never bore listeners.
At the time he composed this sonata, Beethoven was already beginning to face the deafness that would eventually become profound and permanent. Yet, the immense joy and resilience in his musical output can only attest to the dignity of his person.
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