Sonata A Major D574 - Violin
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Presented both in long lyrical quarter notes and brief, aphoristic 32nds, it is woven densely through the fabric of the entire movement in constantly varied form. Notable in the piano part is the vibrating hum of the dulcimer, conveyed in tremolos and gestures reminiscent of that hammered instrument.
Britten on Record: Schubert: Violin Sonata in A major, D | Good Morning Britten
The same compositional process of continually varying a short repeated melodic motive is used in the second movement, as well, but to more lyrical ends. In this movement two theme threads of repeated motives are varied in turn, but at a more leisurely pace than in the previous movement.
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Harp-like piano arpeggios of the utmost delicacy give the central episode an admirable simplicity and charm. The Allegretto third movement is structured in the A-B-A form of a traditional scherzo, with lively rambunctious music in the A section and a B section of a more sustained lyrical quality.
At first reluctant to join in the reverie, the violin lets the piano take the lead, but then gets drawn into the lyrical up-draught and takes over the 4-note phrase as its own to make it soar over an outpouring of throbbing tremolos in the piano. His melodies are much more complex, and certainly more chromatic than Hungarian folk melodies, and his harmonic structures equally so.
This is quite evident in his technically challenging Violin Sonata No. The gypsy improvisational style of playing provides one of the most obvious connections between the music of the rural countryside and his artistic transformation of it in this sonata. There is a willfulness to this music, an amalgam of high seriousness and emotional volatility, conveyed by the many changes in tempo marked in the score, that makes it especially compelling to listen to.
The first movement opens with a single low note on the piano answered by pulsing repetitions on a single note much higher up in the violin that then lead to a series of improvisatory musings. The two performing instruments seem to be staking out separate sound domains for themselves. And indeed the violin in this sonata largely moves in long phrases of wide-ranging melody, with many searingly intense high held notes, while the piano moves in austerely structured chord patterns or percussive attacks.
There is really very little musical material that the two instruments share between them although they do appear to be in dialogue, or at least motivated by the same waves of emotional intensity as they travel along.
Schubert Sonatas on violin and guitar
The second movement, which follows immediately, is on a more regular rhythmic footing. The pulse of the dance animates much this movement, as well as a distinctly acrobatic urge on the part of both instruments as moments of madcap frenzy alternate with pauses for lyrical reflection.
After many an exhilarating climax is reached the opening improvisatory musings in the violin return to wind down the momentum of the movement to a point of stillness. Structured in two large parts, it features an introductory Andante followed immediately by an Allegro in sonata-rondo form A-B-A-C-A , a hybrid of the simple rondo toggling between a fixed refrain and contrasting sections and the sonata, with its play of key relationships and central development section. The Introduction begins imposingly with the double-dotted rhythms of a Baroque French overture in the piano, answered by a pair of dazzling runs rocketing up to the high register — just to let you know who the star of the show is going to be.
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Violin Sonata in A major 'Duo', D composer. Studio Master:. View whole album. In the aforesaid finale, they really let their hair down and the result is truly exhilarating.
The Fantasy is as much a challenge to the pianist as to the violinist: Tiberghien emphatically holds his own! As for vigour, nothing sets the pulse racing as much as his B minor Rondo, the most assertively rhetorical work here, given a performance powerful enough to stand in for the National Grid.
Schubert himself was not immune, as can be heard in the Sixth Symphony, begun that autumn, and the two exuberant Overtures in the Italian Style. But there is no trace of Rossini, and little of Mozart, in the Sonata in A major composed during August and published by Diabelli in as Duo en la pour piano et violon. Despite moments of energetic dialogue for the two instruments, the movement is in essence a leisurely song without words for the violin that slips into all sorts of unexpected keys en route.
http://airtec.gr/images/localizar/3380-monitoreo-de.php Im Jahre machte sich in Wien das Rossini-Fieber breit.