Books › The Violin Music Of Beethoven, 1902 › scan 27
Scan 27
The Violin Music Of Beethoven, 1902
10 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1Before the final reappearance of the principal theme, we are taken into the remote key of B flat, in which key the theme of the second episode is presented again to us, first in the violin part, then as a bass in the piano part. Composers do not find it an easy task, as a rule, when the key of the semitone above is established, to pass back again to the original key of the semitone below, but Beethoven manages it with such consummate ease that the transition falls on the ear with an effect perfectly natural and convincing. The bass progression is worth quoting:—
3Ex. 11.
5Having thus arrived at the dominant E of the original key, we have eight bars with E as a bass, thus reinstating the key of A minor, the original theme appearing now in the piano part as a bass. The movement is brought to a unisonal conclusion, piano.
7We now come to one of the best known and most popular of the violin sonatas, No. 5, in F, Op. 24. Here, for the first time, the composer gives us four movements, the scheme being as follows:—Allegro, C time, F major; Adagio molto expressivo, three-four time, B flat major; Scherzo (allegro molto), three-four time, F major; Rondo, (allegro, ma non troppo), common time, F major.
9The graceful opening theme of the first movement captivates the listener at once.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.