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Scan 13
The Violin Music Of Beethoven, 1902
6 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1occur to him as being suitable for one instrument or the other, and afterwards becomes "adapted" to meet the requirements of a duo in which the parts must be equally important and interesting for both instruments. And when a striking theme has been invented for a "first" movement, upon reaching the development section (with its working out and transposition into other keys not so well suited to the peculiar limitations of the violin as the original presentment) real difficulties are encountered in the production of a work in the highest form of instrumental art;—the "sonata form" common alike to the sonata, quartet, and symphony. For all these reasons it will be seen that the sonata, so far as the violin is concerned, does not spring so spontaneously from the fingerboard and what is most particularly convenient to it, or serves best to display its special effects, as many a virtuoso piece, but must take its stand as absolute music, "musician's music" rather than violinist's, if we may be permitted to make this distinction. Thus it is that violin sonatas which fulfil all conditions are rare.
3To Beethoven's violin playing there is but little allusion in the biographies, but it is known that in 1785 he was studying the violin with Franz Ries, father of Ferdinand Ries, from whom Louis Ries of "Monday Pop." fame and Franz Ries, the composer of the well-known suites for violin and piano, are directly descended. Beethoven was then fifteen; later in life we are told that he was fond of amusing himself occasionally with the double bass.
5The first three sonatas for piano and violin, op. 12, are dedicated to F. A. Salieri, a prolific Viennese composer, whose advice was from time to time asked by Beethoven chiefly with regard to the correct arrangement of Italian words to his vocal music. The first sonata in D contains but few traces of the individuality which was subsequently made manifest in Beethoven's writings; the opening movement, an allegro con brio, might have been written by Mozart, so thoroughly is it in that composer's style, with its conventional runs, used to link the subjects
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