Violin Sonata No.6 in A Major

 

        Violin Sonata No.6 in A Major , Op.30 , No.1 (1802)

I.Allegro

II.Adagio molto espressivo

III.Allegretto con variazioni

بابک کوهستانی، ویولن

کارن سلاجقه، پیانو

 

In 1802 Beethoven spent a few months in Heiligenstadt, outside of Vienna. Despite his growing concern about his hearing impairment, which he had only disclosed to his close friends the previous year, he was fast gaining a reputation as a composer and pianist. The time spent at Heiligenstadt was an attempt to find inner calm amidst his growing mood fluctuations and fear of impending deafness, which must have discolored his approaching success. While there, he continued working on his compositions, including the Second Symphony and a handful of instrumental pieces, including the three Op. 30 sonatas for piano and violin.
 
The Sonata in A Major, Op. 30, No. 1 is rarely heard today in concert halls. Considered by its champions to be one of Beethoven’s most beautiful chamber works, it requires intensive listening and utmost attention to detail from the performers. Dedicated to Tsar Alexander I of Russia, it is distinctively different in character from the sudden musical outbursts for which Beethoven became so well-known.
 Throughout the work, both instruments share the limelight without a hint of virtuosity, and the impact of the composition is found in the intense beauty of the music.  
. In the first movement, the idea of variation is clear in Beethoven’s infatuation with the rhythmic figure opening the sonata in the piano’s lower register. The sonata opens with a noble theme played by the piano. In the second movement, the combination of the rondo form, A-B-A-C-A, with the special attention Beethoven pays to creating equal roles for the violin and piano brings the technique of variation to the spotlight. The last movement, in the form of theme and variations, provides a simple ending to an elegant sonata. It begins with the theme in the character of a refined German dance, which is followed by six variations. The final variation, Allegro, ma non tanto, does not suggest a grand finale with a dramatic climax; rather, the work concludes in an upbeat and contented mood.