Violin Sonata in E-flat - Violin

The very short Largo sostenuto is based on the romanza-form ABABA and builds up a slightly heavy-blooded yet not too stark contrast g minor to the first movement with hints of passionate panache in the B-sections. Follows the finale without pause. It returns to the ground key of G major and thereby builds a bridge back to the first movement which is enhanced by its main theme.

Rota dedicated his violin sonata to the eminent Bolognese pianist Guido Agosti , a close friend of his who was linked by some premieres to Respighi as well. Opera ousted all other genres. Regular symphonic concerts only appeared in the second half of the century, chamber music concerts even later. Strauss had to revolt against chamber music in order to free himself from the confines of the musical world of his fathers. The generation of Italian composers born about revolted against the world of their fathers which was dominated by opera and verismo, by writing and promoting chamber music.

And they did it not only by producing chamber music, and also by rediscovering and re-evaluating ancient music with its clearcut, lucid forms. Moreover instrumental and chamber music of the Baroque era brought back to consciousness the long forgotten leadership of Italian composers even in this area. In this they were laying along with musical scholars of their time the foundation of the actual revival of ancient music. At the core of this movement was the old university town of Bologna with its vast collections of ancient musical manuscripts and prints, particularly that of Padre Martini, the renowned musical scholar of the 18th century.

It is his first mature and one of his most important pieces of chamber music. Respighi steps into this tradition and pushes it further in a highly original way. The main theme of the first movement it emerges after two bars of an atmospheric piano-introduction in the violin is characterized by passionate upswings over huge intervals running out in slightly calmer melodic lines. Its uneven rhythms underline its nervously pressing impetus. The second theme — dolcissimo and in the parallel key of D major — flows in small intervals and calmer time values and creates a contrasting atmosphere of cantability.

In the development section these two worlds blend marvellously, they get sharply juxtaposed again, interlocking, constantly changing their harmonic and melodic features. The dialogue of the instruments oscillates between the extremes of a total fusion and an, at times more lyrical, at times more dramatic, exchange of the constantly evolving thematic material.

Harmonically as well as melodically Respighi invests so much inventiveness in the development of the material that the basically conservative form shines with freshness. The Andante espressivo again follows the classical romanza form ABA with a long, athmospheric piano-introduction and a passionate, bipartite B-section. The bass theme, that runs throughout the 17 variations, consists of ten bars and alludes, with its punctuated sarabande-rhythm, to baroque music. The baroque variation techniques of diminuition of long time values, of passaggio and closely interlocked dialogue dominate the first five variations.

A beautiful, flowing melody emerges some 20 bars later, but this is just a subsidiary to that opening idea. Another beautiful, flowing melody, this one in B flat major and marked espressivo e appassionato, serves as the proper second theme. The second movement is called Improvisation and marked Andante cantabile.

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Improvised it is not: The finale begins with nine bars of sepulchral Andante introduction for the piano alone; Allegro is the tempo of the movement proper, whose initial, symphonic thrust is so compelling that it prompts the violin to explode with a frenzy of sixteenth notes. When everything has been said, the two instruments agree on blatant heroism for the close of the Sonata. AllMusic relies heavily on JavaScript.

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Romantic Evening Sex All Themes. Streams Videos All Posts. AllMusic Featured Composition Noteworthy. Genre Chamber Music Classical. Share on facebook twitter tumblr. The Art of Violin, Vol. Following the completion of his Cello Sonata and Piano Sonata , Strauss began working on his Violin Sonata in , and finished it in It was during this time that Strauss fell in love with Pauline de Ahna , the soprano whom he would later wed, and his amorous feelings can be heard throughout the piece.

Like all of his chamber music, Strauss' sonata follows standard classical form, though it is considered the last of his works to do so. The first movement opens with a brief piano solo, followed by lyrical violin interludes, through which the thematic material is presented. This movement follows typical sonata-allegro form, and although it begins in a melancholy tone, the movement ends jubilantly. The second movement is unique in that it is an Improvisation ; that is, the tranquil violin passages give the impression of improvisational material.

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This movement maintains a beautiful singing tone throughout, and ends meditatively.