Sonata G Major - Violin

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Streams Videos All Posts. AllMusic Featured Composition Noteworthy. Genre Chamber Music Classical. Share on facebook twitter tumblr. The Complete Oehmsclassics Recordings. Complete Sonatas for Piano and Violin. Complete Sonatas for piano and violin. The Great Violins, Vol. Complete Recordings on Deutsche Grammophon. Sonate per fortepiano e violino.

Sonatas for Piano and Violin. Each of the three movements of this sonata shares common motivic ideas or thematic materials from the principal motif of Brahms's two songs " Regenlied " and " Nachklang ", Op. The dotted rhythm motif from the two songs is not only directly quoted as a leading theme in the third movement of this sonata but also constantly appearing as fragmented rhythmic motif throughout the all three movements of the sonata so that the entire sonata has a certain coherency.

The rhythm of the rain motif appearing in the middle section of the second movement is adapted to a funeral march.

The two disruptive appearances of the main theme of the Adagio in the third movement also represent cyclic form used in this sonata. From Wikipedia, the free encyclopedia. Violin Sonata in G major No. The music moves to a huge arrival on an A-major chord. The A-major chord is followed by similar arpeggios on a B-flat major harmony. Against these, in double-stops, the violin begins to hesitantly hint at the main theme of the A section. The fragments of the main theme continue in the violin double stops, but they are then shortened.

There is a slowing and a diminishing of volume over the last dissonant arpeggio. The violin simply holds its last double stop without moving, and there is an extremely intense pause. The violin now plays the main theme in warmly harmonious double stops while the piano provides a new undulating accompaniment in triplet rhythm. The piano bass still plays the wide arpeggios, clashing with the triplets in a two-against-three conflict. As before, it moves to B-flat.

The violin continues its double stops, the piano its decorative accompaniment and clashing two-against-three rhythm. The phrase ends with a descending B-flat piano arpeggio in the triplet rhythm. The difference is in the piano accompaniment, which is still playing the florid triplet motion. The same low octaves emerge in the bass. As before, the music moves to E-flat minor and to a half-cadence.

The violin melody gains confidence and builds, as at 1: New syncopation is introduced in the flowing piano triplet rhythm. The bass octaves are as before. The piano is still playing the triplets in the right hand, at first with irregular groupings that cross bar lines, continuing the syncopated effect from the previous passage.

The countermelody is embedded in the flowing triplets. There is a building, with a delay of the cadence in E-flat, as in the first A section. The low bass octaves remain in pure E-flat major, but the supporting chords introduce the chromatic note D-flat, which creates the necessary tension. The entire passage is very soft, even softer than the beginning of the B section.

It continues constantly in the dotted rhythm, with notes held across bar lines. Above this, the right hand plays middle-range chords that do change, but quite slowly. The right-hand chords introduce more notes in addition to the D-flat that give the music an inflection toward the minor key. Above all of this, the violin surreptitiously enters after its long rest and plays the expressive, winding melody from 2: The violin departs from the melody after two sequential phrases, breaking into arching arpeggios over the piano pedal point and chords.

The violin, in double stops, begins a statement of the main theme from the A section in that key. The piano bass moves down and up by half-steps. The right hand begins to respond to the violin, and there is a sudden buildup. The main theme in G-flat breaks and reaches higher. As the buildup reaches its climax, E-flat major brilliantly emerges again on the opening figure of the theme. The violin moves down an octave, and both hands of the piano move up an octave.

The arpeggios continue a bit farther than before and reach a quiet, warm cadence. Two sighing reiterations of this cadence, the second with the piano rising, end the movement in a very peaceful manner.

The first two bars are directly derived from the minor-key Regenlied melody. The violin plays the melody itself, beginning with the distinctive dotted-rhythm upbeat. The piano plays an accompaniment derived from the song, the skittish upward motion and the winding downward motion. The piano bass has isolated dotted-rhythm upbeats, and the left hand once leaps above the steady accompaniment to play them higher. After the second bar, the melody deviates from the song, but retains the same quiet, agitated character.

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It is extended to five bars by an insertion of a bar with triplets in the violin. The left hand abandons the dotted upbeats for low octaves. The phrase moves through A minor to D minor for a cadence. The piano skips upward in a bridge, moving back to G minor. The left hand is absent here. The last two violin statements of the figures are delayed, and the final one is lengthened, leading into a restatement of the opening. Under this final lengthened violin figure, the piano bass enters with the dotted rhythm. The first phrase begins as before, but it is altered in its second half, where it reaches lower at the end.

This places the second phrase at a lower level, and through artful manipulation, it reaches lower still, allowing it to remain in G minor for its cadence. It begins higher than before and is interrupted by a smooth violin descent with the piano moving to a downward winding line. The rising figures return, and are again broken by the smooth line. The downward winding piano line moves to the left hand as the key moves to D minor. The theme begins with a sort of anticipation emerging from the previous passage.

The longer dotted rhythms and languid line in the violin will become characteristic of the theme. The right hand enters against the continuing left hand figuration. There is a small swelling and receding D minor. The piano has short interjections with low bass notes as an accompaniment, but it does have one trailing imitation of a turning violin figure in the melody. The piano plays the tune in octaves with isolated broken octaves in the left hand. The violin also takes the previous piano imitation of the turning figure, still in double stops. The end of the statement is altered to prepare for the next part of the melody, into which the violin leads with a trill.

It sweeps down in an arpeggio, then back up. This happens three times, with a descending two-note response. The two-note responses then come to the foreground, heavily accenting their upbeats, creating syncopation, and moving both up and down. The piano accompaniment and imitation of the turning phrase are largely the same as before, following the violin in the alterations and cadence.

The piano leads in with an trill, but unlike the violin statement, the piano statement increases in volume as well as agitation. The violin accompaniment is mostly in double stops unless it is joining in the two-note responses.

Unlike the violin statement, this piano statement incorporates triplet rhythms into the sweeping arpeggios, and the piano bass also includes rapid triplet arpeggios. The agitated piano passage settles down, and the violin takes over, making this phrase a virtually exact repetition of the previous one leading to the D-minor cadence. After the cadence, a piano arpeggio leads directly into the dotted-rhythm upbeat heralding a return of the Regenlied rondo theme. It steadily quiets down and moves back to the home key of G minor.

At the end, the anticipation for the actual rondo theme has reached a point of great tension and expectation. The first two phrases are given in the same form as at the beginning, without variation.

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The piano accompaniment following the G-minor cadence turns around and winds downward, extending the phrase by a bar to lead to the second contrasting theme. The transition from 0: Entering over the trailing piano descent and moving smoothly, but directly to E-flat major, the contrasting theme turns out to be the primary melody from the second movement , complete with violin double stops! It is now given more extension and spun out in a dreamy manner before the previous continuation with dotted rhythm and the scale descent are again heard.

Finally, the tune is given yet again in B-flat major, an octave higher than before. It begins in G-flat major, which is related to D-flat major and B-flat minor. It also makes a minor-key turn, but much sooner, and it stays on the same home keynote notated as F-sharp, not G-flat minor. The right hand fragments of the melody are harmonized, and the left hand now has the undulations. Suddenly, the violin enters with melodic undulations and the piano plays sharp syncopated chords with moving bass octaves. This passage is unstable and becomes loud and agitated. Sharp octave descents in the piano bass occur with short violin interjections derived from the melody.

Another climax is reached, with major winning out over minor and the violin playing a fast, downward arching arpeggio to lead into the upcoming culminating statement of the second movement melody. The piano plays sweeping arpeggios and rich low bass octaves. As at the beginning of the section, the melody then incorporates the dotted rhythm, including the descending scale. Using some biting chromatic notes and syncopated piano bass arpeggios, the melody rapidly diminishes in intensity as it approaches the cadence.

The key is still the E-flat major of the C section, but the violin soon slides upward and the piano follows it with quickly changing harmonies that move toward a radiant F-sharp major. The violin again slides upward on the dotted upbeats.