Piano Sonata No.17 in D minor

 

        Piano Sonata No.17 in D minor , Op.31 , No.2 (Tempest) (1801-02)

I.Largo - Allegro

II.Adagio

III.Allegretto

هانیه فرزانگان

 

اثری که با تنالیتۀ دیر آشنای خود، ر مینور، توفان نام گرفته است. بتهوون یک بار در پاسخ به سوالی دربارۀ حالت و روحیۀ این اثر به نمایشنامۀ توفان شیکسپیر اشاره کرده بود. پاساژ های آغازین موومان نخست، که تاریک و مبهم هستند و در کشاکش اضطراب و دلهره سپری می شوند، شاید آرامش پیش از توفان را به تصویر کشیده اند. موومان آداجو به فرم سونات نوشته شده است، با یک بخش گشایش(اکسپوزیسیون) و یک بخش بازگشایش(رپریز) و بی هیچ نشانی از بخش گسترش(دولپمان). سومین موومان با ضرب 3/8 با کاراکتر آلگرتو، باز هم به فرم سونات است. این موومان سر تا سر بر نواختن دولاچنگ های بی وقفه ای تکیه دارد که موردان های ضربان دار و نافذی آن ها را همراهی می کنند. لویی کنتنر می گوید:«این موومان وداعی حسرت بار و آرزو به دل با دوران جوانی است.»

Violin Sonata no.8 in G Major

 

        Violin Sonata No.8 in G Major , Op.30 , No.3

I.Allegro assai

II.Tempo di minuetto , ma molto moderato e grazioso

III.Allegro vivace

مهسا قربانی، ویولن

صدف الماسی، پیانو

 

The Violin Sonata No. 8 in G major, Op. 30 No. 3 by Ludwig van Beethoven, the third of his Opus 30 set, was written between 1801 and 1802, published in May 1803, and dedicated to Tsar Alexander I of Russia. This sonata is characteristic of early/middle Beethoven in its solid sonata structure, just beginning to get adventurous in syncopation, with some extraordinary off beat sforzandi.

Violin Sonata No.7 in C minor

 

        Violin Sonata no.7 in C minor , Op.30, No.2 (1802)

I.Allegro con brio

II.Adagio cantabile

III.Scherzo : Allegro

IV.Finale : Allegro , Presto

آناهیتا خانزاده، ویولن

هادی یوسفی، پیانو

 

During the 18th and the 19th centuries, compositional theories asserted that certain key signatures represented particular characteristics. The key signature of C minor, for example, was said to possess “tono tragico, e atto ad esprimere grandi disavventure, morti di eroi.”
 
This description characterizes Beethoven’s Sonata Op. 30, No. 2 in C minor. Written in 1802, the sonata can be considered the first of the monumental works for the violin-piano duo literature.  
The emotional climate for the entire piece is definitively set in the fateful opening. The impetuous momentum, the sudden turning of corners, and the tragic sonority combine with tuneful, and at times playful, sections, to create not a disarray of differences but a work of epic proportion with great power and cohesiveness.
 
The sonata begins with rather understated dynamics and mysterious octaves. The transparency of the sound of octaves combined with the silences of the rests only increases the intensity and sense of dread, which is followed by agitated runs and sudden outbursts.  

 
In the slow movement, Adagio cantabile, the song-like quality and the warmth of emotion is consistent and compelling. The idyllic theme, first stated by the piano, is presented by both instruments throughout the movement in new and different ways. 
The rhythmic figure in the Scherzo that follows clearly reminds the listener of the military-inspired tune from the first movement. However, here the meter is in three, and particularly in the middle (Trio) section, the feeling of a German country dance dominates. In the outer sections, the placement of the grace notes adds humor, and wit.
 
In the Finale, the anguish and the fear-imbued atmosphere return. The tempo of this movement is quite fast, causing a breathless quality, and the sudden outbursts and the stops are, for that reason, even more striking. In the Coda (marked Presto), the sentiment is one of fury, and while the Sonata concludes in the tonic chord of C minor, the dominating character of uneasiness and nervousness remain beyond the final notes.

 

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.

Piano Sonata No.14 in C sharp minor

 

        Piano Sonata No.14 in C sharp minor , Op.27 , No.2 (Moonlight) (1801)

I.Adagio Sostenuto

II.Allegretto

III.Presto Agitato

سالار نیک کار

 

از دوست داشتنی ترین سونات های بتهوون . که عنوان خاطره انگیزش (مهتاب) را لودویگ رلشتاب، منتقد برلینی، که با شنیدن نخستین موومان اثر به یاد مهتاب دریاچۀ لوتسرن افتاده بود، بر آن نهاد. این موومان به راستی بدیع است، بیان احساس در آن اساسا هیچ اشتراکی با قالب های پیشین ندارد. ارنست هاچسن می گوید:«انگشتانی تربیت یافته نیز می توانند نت های آن را به راحتی به صدا در آورند، ولی تنها ژرف ترین احساسات است که می تواند تمنای مضطرب و تب آلود آن را متجلی سازد.» موومان دوم آلگرتویی است که لیست آن را «هم چون شاخه گلی رسته اندر میان دو مغاک» توصیف کرده است. با آن که نه سکرتسو نه منوئت، ویژگی هایی از هر دو را در خود دارد. به راستی می توان آن را آرامشی دانست که شیطان در آن به انتظار نشسته تا در موومان سوم، پرستو آجیتاتو، ظهور کند. اریک بلام نوشته است «از میان معاصران بتهوون کمتر کسی توانسته است به چنین فرمی از موسیقی دست یابد.» این موومان به فرم روندو نیست بلکه شکل مواجی از فرم سونات را دارد. بی شک آن را با آرپژ های بی امان و عنان گسیختۀ تم نخستش باید طوفانی ترین اثر دوران خود به شمار آورد. سونات پاتتیک اضطرابی پر تپش را در موسیقی عیان ساخت؛ و این سونات نشانی از بی رحمی و خشم با خود داشت.

Piano Sonata no.12 in A flat Major

 

        Piano Sonata no.12 in A flat Major , Op.26 (1800-01)

I.Andante con variazioni

II.Scherzo, Allegro molto

III.Marcia funebre sulla morte d'un eroe - Maestoso andante

IV.Allegro

امیر علی بصیری

 

اثری غیر معقول در چهار موومان، که در سدۀ نوزدهم بسیار شهرت یافت. شوپن، با آن که چندان موسیقی بتهوون را نمی پسندید، اما موومان اول این اثر، مجموعه ای از واریاسیون ها، را نواخته بود. این سونات مارش عزایی را نیز شامل می شود که عنوان فرعی اش به مناسبت مرگ یک قهرمان (Sulla morte d'un eroe) است.

Violin Sonata No.5 in F Major

 

        Violin Sonata no.5 in F Major , Op.24 (Spring Sonata) (1800-01)

I.Allegro

II.Adagio molto esspressivo

III.Scherzo : Allegro molto

IV.Rondo : Allegro ma non troppo

مجتبی طباطبایی، ویولن

مریم صوفی سیاوش، پیانو

 

Beethoven had a great love of nature and was particularly happy and inspired when in the forest or under the stars. The presence of God for him was reinforced by the beauty of nature. This tender side – bucolic, romantic, and gentle – contrasts with the well-known characteristics of extreme dynamic tension and emotional aura in much of Beethoven’s music, but it is indeed found throughout his oeuvre and is an important element in understanding the composer’s complex personality.
 
The ‘Spring’ sonata, Op. 24, is the fifth of Beethoven’s ten sonatas for piano and violin. Composed between 1800 and 1801, it was dedicated, along with the Sonata in A minor Op. 23 to one of Beethoven’s most generous Viennese patrons, Count Moritz von Fries. Both sonatas were originally intended to be paired as Op. 23, Nos. 1 and 2, respectively, but through the fault of the engraver, the ‘Spring’ sonata became Opus 24.
 
One of the most popular of Beethoven’s sonatas for piano and violin, the work is easily remembered, even after first hearing. The music is full of joy, and its refreshing, hopeful quality makes the subtitle, ‘Spring,’ most appropriate. Throughout, the melodies are immediate, simple, and elegant. There are also humorous moments, reminding listeners that Beethoven was a master of fun and games as well.
 
‘Spring’ is one of only three of Beethoven’s piano and violin sonatas to be cast in four movements, the others being No. 7, Op. 30 No. 2, and No. 10, Op. 96. It opens with one of the most unforgettable melodies of all time played in F Major by the violin. The second theme which follows is more rhythmic and energetic, and the movement develops around the two contrasting themes. The slow movement in B-flat Major speaks simply and flowingly, with violin and piano alternating in presenting the theme in slightly different variations. The third movement, a scherzo and trio, is like a game of tag in which the violin and the piano bounce off each other. The coquettish impression is strengthened by the rhythmic playfulness. The finale is in rondo form, with a lyrical theme followed by three episodes. Lighthearted and spontaneous, its dotted rhythms exemplify Beethoven’s inventiveness and sense of humor.

Violin Sonata No.4 in A minor

 

        Violin Sonata No.4 in A minor , Op.23

I.Presto

II.Andante scherzoso , Piu allegretto

III.Allegro molto

امیر حسین نوروز ناصری، ویولن

حامد محمودی، پیانو

 

The Violin Sonata No. 4 of Ludwig van Beethoven in A minor, his Opus 23, was composed in 1801, published in October that year, and dedicated to Count Moritz von Fries. It followed by one year the composition of his first symphony, and was originally meant to be published alongside Violin Sonata No. 5, however it was published on different sized paper, so the opus numbers had to be split. Unlike the three first sonatas, Sonata No. 4 received a favourable reception from critics.

Violin Sonata No.3 in E flat Major

 

        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.

Violin Sonata No.2 in A Major

 

        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.