Violin Sonata No.3 in E flat Major , Op.12 , No.3 (1797-98)
I.Allegro con spirito
II.Adagio con molta espressione
III.Rondo : Allegro molto
آرش اسدنژاد، ویولن
محمدجواد بهرامی، پیانو
By the time Beethoven started to write his sonatas, the two instruments were beginning to be handled fairly evenly. Nonetheless, it must be noted that in the first printed edition of the Op. 12 set, published almost immediately upon their completion, the inscription reads “sonatas for harpsichord or piano, with a violin.”
The E-flat Major Sonata is the third, and last, of the Opus 12 set, all composed between 1797 and 1798 and dedicated to Antonio Salieri. Written around the same time as the piano sonatas Nos. 4 and 7, the Opus 9 String Trios, the Opus 18 String Quartets, and the first piano concerto, the influence of Franz Josef Haydn, another of Beethoven’s teachers in Vienna, can also be heard.
As the sonata begins, the piano takes a virtuosic leadership role; the second theme is introduced by the violin. With positive energy and mood, the music flows effortlessly, and its jolly character cannot be contained. The Adagio that follows, in C Major, is beautiful with the two instruments alternating in singing the main line. The mellifluous lines are natural and uninhibited and occasionally complemented by the bucolic rhythmic figures in the accompaniment.
The Rondo theme is catchy and gay and reminiscent of ‘Papa’ Haydn’s Hungarian panache. The two instruments are playful with each other with constant exchange of themes. Pleasing is the best way, perhaps, to describe the end of the Sonata, worthy of the twenty-minute work filled with bliss, hope, and delight.
- ۹۸/۱۲/۰۲