Posted on 07/10/2015 5:58:19 PM PDT by AZamericonnie
Beethoven spent 1807 and 1808 writing three symphonies and a mass; chamber music wasnt a high priority. That would change with this piece. With his Third Symphony, he had set the symphony free; with the Kreutzer Sonata, the violin; and now he would set the cello free.
It starts with a movement in sonata format marked allegro ma non tanto, quickly, but dont force it, in 2/2 and A Major using 6-bar units, not the traditional 4- and 8-bar units of melody. The cello starts with a short passage that contains all the basic ideas of the sonata, and the piano joins to complete the phrase with a cute little cadenza. At the second statement, the cello gets the cute little cadenza. The transitional passage is in a passionate A minor, then E minor, leading into the second subject in E Major. The cello goes into its upper register for this theme. The piano turns majestic, and the cello follows. (This is one juicy passage!) The exposition repeats.
The development spends its time in the minor keys and is quiet and undramatic, except for a furious outburst in the middle.
Lou re-composes his recap, bringing the second subject back in the correct key of A Major.
The coda brings the first subject back in D Major, speeds it up for a grand restatement of the theme before he writes a magical passage for the right hand on the piano that winds it down for an ending that is almost introspective. And then he brings it to a proper conclusion.
Hi Publius!
(I LOVE the Cello, French Horn, and my electric bass. Something about those low notes really register with me! :-))
You’ll love this sonata. It’s one of the best things he ever wrote.
It is beautiful! i am enjoying it immensely.
And it only gets better.
Yes...it does! :-)
This scherzo movement, marked allegro molto in 3/4 time and A minor, is quirky, demonic and irresistible. Its in five parts (A-B-A-B-A), not three, as had been Lous custom up to this time. A two-note grupetto with an ostinato beat dominates the movement, and its a forerunner of John Williams Jaws theme, but in triple time. Its the most radical thing Beethoven had written yet.
Its also the most controversial, having launched 200 years of arguments over how those two notes are to be played. The argument is whether the curved lines linking the two notes are ties or slurs. A tie is used to show a single note that is held across a bar line, although it can be used for other purposes within a bar. A slur is indicates that both notes are to be sounded, but with different characteristics. (The vocal equivalent I use for this is Uh-huh.) On the piano, Beethoven puts a change of finger for the second note, and the argument is that the finger change makes no sense if the second note is simply to be held as a tie; that is, the changed finger keeps the key depressed and doesnt strike it again. Ive heard this movement played as ties and slurs, and I accept the argument that its a slur; that is, both notes should be sounded on both piano and cello with the second note having a different character than the first. It took me forever, but I found a video where its played as a slur.
The sneaky ending always prompts giggles from the audience. Its a good example of Lous sense of humor.
Thanks, spel, for the Saturday Edition of the Salsa Addiction Emergency Room! ((HUGS))
Beethoven still didnt trust himself to write a slow movement for cello, fearing it would degenerate into sentimental slush. That would take another decade to cure. So for this piece he wrote a slow introduction to the finale marked adagio cantabile in 2/4 time. It only lasts half a page.
The finale in sonata format is marked allegro vivace in 2/2 and starts quietly, but that first subject is wonderful and beautifully harmonized. The second subject is in E Major, and its joyous. The exposition is repeated.
Development goes to the minor before an exuberant C Major, then loses itself in a harmonic maze before finding its bearings with the recap.
Lou re-composes his recap, and everything ends up in A Major where it belongs. The end is exuberant and never fails to bring the house down.
Next Saturday, its the entire Ghost Trio, not just the slow movement that I play every Halloween.
No prob, Ma! ;-)
BOOM
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