“Sweet as
sweetest Grecian honey will my song be when I sing, O Beloved, in the season of
the Spring!” - Rubén Darío
Beethoven played the violin (and especially the viola) but his writing for the violin is often considered unfavourable to the instrument. In his sonatas for piano and violin (this is his order), besides their musical virtues, and though the piano continues to be the main instrument, the violin often takes a leading and independent role, which was rare (if existing at all) in previous works of the genre. With his sonatas for piano and cello, he actually invented the genre; this cannot be strictly said about his violin sonatas (Mozart wrote some masterworks in the genre before), but one could still say that he brought it to maturity in terms of the violin role, which, historically speaking, was to shape subsequent development.
This achievement was obtained gradually, where the sonatas op. 24, op. 30, and op. 47 hold a prominent place. The sonata No.5 in F op. 24 (“Spring”) was written in 1801 and dedicated, like its predecessor op. 23 in A minor, to count Moritz von Fries. Fries was one of Beethoven’s patrons and supporters in Vienna, mainly in the beginning of the 19th century (until he went bankrupt). He was also the dedicatee of the string quintet op. 29 of the same year, and of the much later seventh symphony op. 92.
The sonata has four movements. The name “Spring” was not given of course, by Beethoven. Its general calm and pastoral character stands in sharp contrast to the highly energetic and stormy mood of the preceding one in A minor (op. 23), which was originally intended to be published together with it.
Beethoven played the violin (and especially the viola) but his writing for the violin is often considered unfavourable to the instrument. In his sonatas for piano and violin (this is his order), besides their musical virtues, and though the piano continues to be the main instrument, the violin often takes a leading and independent role, which was rare (if existing at all) in previous works of the genre. With his sonatas for piano and cello, he actually invented the genre; this cannot be strictly said about his violin sonatas (Mozart wrote some masterworks in the genre before), but one could still say that he brought it to maturity in terms of the violin role, which, historically speaking, was to shape subsequent development.
This achievement was obtained gradually, where the sonatas op. 24, op. 30, and op. 47 hold a prominent place. The sonata No.5 in F op. 24 (“Spring”) was written in 1801 and dedicated, like its predecessor op. 23 in A minor, to count Moritz von Fries. Fries was one of Beethoven’s patrons and supporters in Vienna, mainly in the beginning of the 19th century (until he went bankrupt). He was also the dedicatee of the string quintet op. 29 of the same year, and of the much later seventh symphony op. 92.
The sonata has four movements. The name “Spring” was not given of course, by Beethoven. Its general calm and pastoral character stands in sharp contrast to the highly energetic and stormy mood of the preceding one in A minor (op. 23), which was originally intended to be published together with it.
Oh this is lovely. I wrote a poem to this last year.Dare I say this but the development section is played a little tame for my tastes but then again it is Spring here and my butterflies are charging about. I am so pleased you have a love for classical music.David Oistrach is a wonder isn't he !
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