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Scan 43
The Violin Music Of Beethoven, 1902
15 lines. Read by computer on 23 September 2026. No printed page number was found. See the scan on archive.org.
1carefully graduated crescendi and diminuendi, with good rhythmic feeling are the chief essentials for the satisfactory reproduction of such inspirations as these.
3The allegro vivace, in G major, certainly justifies its title. The semiquaver figure with which it starts is but seldom interrupted, so that it is a kind of anticipation of the "Perpetuum mobile" of later writers, although the continuity is preserved now by one instrument, now by the other. It is in the form of a rondo, and during its merry course the principal theme is transferred into the keys of C and E flat with excellent effect;—an effect all the greater from the persistent adherence to the original tonic in the rest of the movement.
5Dr. A. B. Marx, the distinguished German theorist and writer on musical aesthetics, regards the remarkable trio of sonatas grouped under Op. 30, as being full of especial charm and heartiness; "wonderful elves which leap forth spontaneously from the strings, stealing imperceptibly through the ear into the soul, leading us we know not whither, captivating us we know not how." Much violin music of the virtuoso type remains at that outer portal, the ear, merely arousing curiosity and wonder by reason of difficulties overcome; let us then be thankful that Beethoven remains to us, a perennial spring of purest melody. Of him, perhaps it may be said more truly than of any other composer save Bach:—
7"Age cannot wither him, nor custom stale
8His infinite variety."
10These three sonatas (succeeded by an equally remarkable set of three for the piano alone under Op. 31) were written in 1802, and saw the light in May of the following year, the original title running as follows:—
12"Trois Sonates pour le Pianoforte avec l'accompagnement d'un Violon, composées et dédiées a Sa Majesté Alexandre I. Empereur de toutes les Russies par Louis van Beethoven, Œuvre XXX. A Vienne au Bureau d'Arts et d'Industrie."
14"With the accompaniment of a violin" reads somewhat curiously to us, considering the perfectly impartial
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