VIOLIN SONATA NO. 2 in A MAJOR, OP.
Recording: Itzhak Perlman,
violin and Daniel Barenboim, piano (live performance) [Sony SK
The second sonata
for violin and piano is shorter than its earlier companion, Op. 78, but like that piece, it is in
three movements. It is also the second of a group of
three chamber works including the Cello Sonata, Op. 99, and the Piano Trio, Op. 101, all composed at Lake Thun
in Switzerland, that seem designed to form a group. The
three works have some similarities, including in all cases an
unusually brief finale. Op. 100 is known as an amiable,
particularly warm work (in keeping with the tempo marking of
its first movement), but it is not without its darker moments,
particularly in the first contrasting section of the
finale. Nonetheless, it represents Brahms at his most
unbuttoned and is almost pastoral in character. The
second movement is rather unusual in its mixture of two
alternating tempi, creating a sort of “double rondo”
form. This is something he had earlier done on a more
extended scale in the F-major String Quintet, Op. 88. Like this work, that
one has three movements, and it almost seems as if the fast
sections of the nominal “slow” movement are meant to
substitute for a missing scherzo, and indeed, those potions of
the movement are dance-like. As in the other two violin sonatas,
the first movement has no exposition repeat.
The recording used in this guide was made from a 1989 live
performance in Chicago.
IMSLP (First Edition from Brahms-Institut Lübeck)
SCORE FROM IMSLP (First Edition [monochrome] from Berlin
State Library--includes violin part)
IMSLP (from Breitkopf & Härtel Sämtliche Werke)
Movement: Allegro amabile (Sonata-Allegro form). A
MAJOR, 3/4 time.
0:00 [m. 1]--Theme
1. A pleasant, gentle waltz tune presented by the
piano. After a regular phrase, the violin adds a short
response over a piano arpeggio, creating an irregular five-bar
phrase. The pattern is repeated with the first two bars
a step higher and the last three a step lower.
0:15 [m. 11]--The
piano has a more urgent phrase with mild syncopation in the
last two bars. Another violin response leads to a second
phrase of urgent music, the five bars being completely given
by the piano. There is half-step motion and some more
mild syncopation. An arrival point is implied.
0:31 [m. 21]--The
violin now begins a new statement of the theme over flowing
piano arpeggios and bass notes. The first phrase has the
same melody, the piano providing a version of the previous
violin response. The second phrase begins as before, a
step higher, but the violin diverts the melody and rather then
sinking down, the statement soars even higher. The piano
again provides the short response.
0:46 [m. 31]--Transition.
develops from the “urgent phrase” previously played by the
piano. The irregular five-bar units are abandoned.
Loud, leaping violin octaves are punctuated by sharp piano
chords. The music begins to move toward E major for the
second theme. There are two “hemiolas,” where three 2/4
bars are implied over two 3/4 bars, one at the end of each
0:57 [m. 39]--The
volume backs off a bit, then the violin, still with the
punctuating piano responses, begins a soaring ascent that
again grows. Another “hemiola” is used in the
ascent. At the top, the piano begins to play flowing
arpeggios as the violin descends and the music settles down in
the new key. The violin leads alone into the second
1:15 [m. 51]--Theme
2. It is extremely vocal in character, strongly
reminiscent of theme from a contemporary song (“Wie Melodien
zieht es mir,” Op. 105, No. 1). The piano presents the
melody. It is richly harmonized, with left hand
arpeggios in triplet rhythm (groups of three), going against
the straight duple grouping of the melody. The violin
adds short commentaries to the end of the two phrases (E
1:29 [m. 59]--The
music becomes more aggressive after veering to G-sharp
minor. The piano plays heavily dotted (long-short)
chords. The triplets continue in the left hand.
The music builds to a loud level. The piano then settles
down with sighing thirds. The violin is absent from this
1:43 [m. 67]--The
violin presents Theme 2, back in E major. The piano
accompanies with a rippling right hand in triplet
rhythm. The left hand arpeggios are in straight rhythm,
so the piano hands have reversed their rhythms. The
second phrase in the violin is altered so that it stays in E
and soars higher. This second phrase also builds, so
that the following passage enters at a stronger level.
1:57 [m. 75]--The
violin leads the “aggressive” music, but it is now more heroic
in character. The dotted rhythms in the violin are not
as sharp as those in the piano chords, and the violin lines
move slightly ahead. These dotted rhythms lead directly
into the closing theme at the climax.
2:04 [m. 79]--Closing
Theme. The piano plays a bright, joyous melody with
triplet octaves. The violin accompanies with more dotted
rhythms. The violin then takes up the melody, the piano
triplets moving to precede the violin ones. The music
settles down, both instruments trailing off on the closing
material. The violin drops out first, and the piano ends
the exposition, leaving the expected close in E major
unresolved and hanging before a one-bar pause.
2:21 [m. 89]--Statement
of Theme 1 in the violin beginning in E major. It is
fragmented and quickly modulates away from E. The piano
plays upward-reaching harmonized two-note groups. As the
theme is further fragmented, the segments are placed closer
together, and there is another “hemiola” with duple cross
groupings briefly obscuring the triple meter.
2:33 [m. 97]--Statement
of Theme 1 in the piano beginning in A major. It also
fragments and modulates. The violin takes the
upward-reaching two-note groups. Like the previous
passage, the fragmented segments culminate in a “hemiola” with
cross-rhythms suggesting duple meter.
2:45 [m. 105]--The
“head motive” of Theme 1 becomes harmonically active.
The passage begins in F major. The violin plays the
motive quietly, and the piano left hand responds loudly, the
violin and piano right hand joining in. This pattern is
repeated beginning on B-flat, with the piano right hand
responding in octaves instead of the left.
2:54 [m. 111]--The
motive is now passed between both hands of the piano and the
violin, beginning on E-flat and intensifying greatly, with
ever richer harmonies. This continues, and the music
moves toward B.
3:02 [m. 117]--The
“heroic” closing theme is presented in a much darker B
minor. The violin leads, the piano punctuating it with
sharp groups of chords beginning off the beat. The mood
is very passionate here, and the violin adds a new flourish at
the end of this phrase of the closing theme music.
3:07 [m. 120]--The
material of the closing section continues in this passionate
vein. It is played in piano bass octaves in the key of
F-sharp minor, which is closely related to the home key of A
major. The violin responds with its new flourish, still
3:13 [m. 124]-- The
violin and piano right hand alternate with closing theme
fragments. These gradually settle down in the key of
C-sharp minor. The piano bass thumps octaves on the
“dominant” note of that key, G-sharp. The violin is
later reduced to isolated statements of these octaves that
alternate with the piano bass, and the piano right hand trails
off with dotted rhythms.
3:37 [m. 137]--The
formerly heroic “piano octave” closing theme is transformed
into a melancholy and passionate, but quiet version in C-sharp
minor. The piano leads the statement, with arching
triplet arpeggios in the left hand and the violin. The
new “flourish” is incorporated. The piano rounds off the
theme with two incomplete cadence chord gestures.
3:57 [m. 146]--The
violin leads another melancholy statement of the closing
theme, still in C-sharp minor. The piano accompanies
with short gestures in triplet rhythm from both hands.
Only one phrase is given in the minor key.
4:05 [m. 150]--In the
second phrase of the violin statement, the music makes an
extremely sweet turn to C-sharp major. The piano triplets become more
florid, alternating thirds with steady top and bottom notes
and moving to chords at the end of each bar. The theme
is extended with cadence gestures and comes to a full close in
C-sharp major (which it had not done in the exposition--see
2:21 [m. 89]). The ending of the development section is
thus extremely serene rather than containing the usual tension
4:21 [m. 158]--The
reprise begins abruptly, with no preparation for the sudden
return home to A major. The first phrase of Theme 1 is
given as at the beginning, but in the second phrase, the
melody is transferred to the violin, the piano taking an
accompanying role with broken octaves in the right hand moving
to more syncopated figures. The piano takes the “fifth
bar” response normally associated with the violin.
4:36 [m. 168]--The
first four bars from 0:15 [m. 11] are played by the piano, but
then this material is broken off. The violin response,
the second phrase of urgent music, and the entire violin
statement of the theme from 0:31 [m. 21] is omitted.
4:43 [m. 172]--Transition.
in a similar manner to 0:46 [m. 31], but it now follows
closely upon the material from which it is derived. The
harmony is changed to remain in the home key. After only
one phrase of the loud, leaping violin octaves, the music
moves to an expanded version of the “soaring ascent” from the
violin. This is now accompanied by rapid piano arpeggios
beginning off the beat and dovetailing between the hands.
4:53 [m. 180]--At the
high point, the extended transition settles down with rapid
piano arpeggios plunging downward and a heavily syncopated
violin line. As in the exposition, the violin alone
leads into the second theme.
5:04 [m. 187]--Theme
2, which has not been heard for some time, now played in the
home key of A major. The piano plays it, including as
before the two-against-three conflict between the hands.
As in the exposition, the violin adds short responses to the
end of each phrase.
5:17 [m. 195]--Aggressive
rhythms, analogous to 1:29 [m. 59]. The key to which the
music veers is C-sharp minor. The piano settles down
with sighing thirds, and again the violin rests.
5:31 [m. 203]--Violin
statement of Theme 2, as at 1:43 [m. 67], back in A
major. Rippling piano accompaniment and higher soaring
second phrase, as before, with buildup to the next passage.
5:44 [m. 211]--Aggressive
rhythms led by the violin, as at 1:57 [m. 75]. They
still lead into the closing theme, but there is an unexpected
harmonic shift at the end, preparing D major. Since
Brahms is in the home key in the recapitulation, such a shift
is unnecessary, but adds variety.
5:51 [m. 215]--Closing
theme in the “wrong” key of D major as a result of the
preceding unexpected shift. It proceeds as expected for
four bars, first with the piano taking the theme, then the
violin taking over.
5:58 [m. 219]--The
progress of the closing theme is cut off. Piano and
violin both make a transition into the coda in longer, quieter
notes. The violin plays a slow reminiscence of the
lead-in to the closing theme. The piano plays two slow,
downward-arching arpeggios over a steady, static low bass on
the note A.
6:12 [m. 227]--The
violin line now becomes more directly reminiscent of the
aggressive dotted rhythms that led to the closing theme, but
the character is completely changed by the presentation in
longer note values at a very quiet level. The passage
begins in D major and merges into another downward-arching
arpeggio, this time from the violin over a long piano chord
and a steady low bass on the note D.
6:25 [m. 235]--The
previous passage is repeated at a higher level, now beginning
in G major. The steady bass under the downward-arching
arpeggio is also on the note G.
6:39 [m. 243]--Brahms
marked this passage vivace,
but it begins quietly. The dotted rhythms are presented
beginning in C major and gradually regaining their aggressive
character, first in the piano, with arching triplet arpeggios
in the left hand, then in the violin with the arpeggios moving
to the piano right hand.
6:45 [m. 247]--Another
piano statement builds to a high point. This is also
repeated by the violin as the piano briefly plays a downward
low bass motion in straight rhythm before again playing in
triplets. The violin statement reaches even higher, then
starts to settle down. The violin plays in thirds with
the piano right hand as the music becomes steadily quieter,
still in C major. The left hand plays static downward
arpeggios in triplets. Then there is a slight slowing as
well, as the harmony gradually moves back to the home key of
A. The left hand arpeggios begin to reach up from a
steady low bass on E, the preparatory “dominant” of A.
7:06 [m. 259]--Theme 1
is serenely stated in A major, opening as it had at the
beginning. The theme is then spun out, with a violin
arpeggio reaching upward three times, a step higher each
time. The piano bass holds long, low E’s. There is
then another slowing and a briefly suspended moment of
7:23 [m. 268]--The
music of the “forceful” transition passage, with elements from
0:46 [m. 30] and 4:43 [m. 172], begins the closing
flourish. The final soaring violin line is accompanied
by the fast, dovetailing piano arpeggios heard in the latter
passage. The 3/4 meter remains unambiguous in this
ending, unlike previous versions of this material. The
movement ends with a sharp, short chord, then a longer, lower
7:49--END OF MOVEMENT [280
Movement: Andante tranquillo; Vivace; Andante; Vivace di
più; Andante; Vivace (ABA’B’A” form, alternating slow and
fast sections, resembling a “double rondo” form). F
MAJOR, 2/4 and 3/4 time.
tranquillo, 2/4 time.
0:00 [m. 1]--A
beautiful contrapuntal dialogue begins between violin and
piano, with leisurely and limpidly skipping dotted
rhythms. The piano begins with accompaniment, and the
violin follows with the main melody. The dotted rhythms
consist of a long note followed by two shorter ones. The
piano accompaniment trails with this rhythm after the violin
presents it in the melody. Motion to C major.
0:19 [m. 5]--Transitional
in C major. The violin spins out a steady series of
straight notes. The piano bass reiterates a low C in
syncopated rhythm, while the right hand moves slower than the
violin, but generally in the same direction. Motion back
to F major.
0:37 [m. 9]--Return to
opening material, with the piano, richly harmonized, now
beginning the main melody. The violin adds new
accompanying echoes of the dotted rhythm, then takes over the
theme itself halfway through. It is further developed
and spun out. The original piano dotted rhythms are
heard, and the music becomes even more quiet, moving toward an
apparent close that is diverted at the end by a deceptive
motion to a “hanging” D-minor chord.
1:11 [m. 16]--Unusually,
the B section is in
the same key as the A
section, perhaps to compensate for the drastic change in
tempo. The opening passage, which resembles a rustic
German dance or “Ländler,” is presented with the piano giving
the lead melody over low bass octaves. The violin
provides some accompanying harmonies in the second phrase.
1:19 [m. 24]--The
violin takes up the dance-like melody. The piano
accompaniment is light, consisting of short figures on the
1:26 [m. 31]--The
piano introduces a new, more vigorous tune. The violin
adds two brief decorations to this new melody.
1:33 [m. 37]--The
violin takes up the more vigorous tune, later fragmenting it
and taking it in a new harmonic direction, to B-flat
major/minor. It is given rich harmonization by the
piano. The tune then breaks into short, light fragments
passed between the violin and the piano right hand.
1:38 [m. 43]--The
violin begins to play rising two-note groups with several
half-steps and chromatic notes, gradually moving up the
scale. These are then taken by the piano. The
piano left hand has moved quite high, and it provides colorful
chords to harmonize these two-note groups. They help
facilitate a motion back to F major. A rapid arpeggio in
triplets from the piano left hand leads into the dance tune
1:45 [m. 49]--The
violin plays the original dance tune, now with a cascading
arpeggio accompaniment from the piano, played in triplet
rhythm. The right hand supports the arpeggios with
chords on the second beat of each bar. There is now a
motion at the end to D minor, the related minor key to F.
1:51 [m. 56]--An
extension to the dance tune gains intensity. The piano
arpeggios in the left hand briefly reverse direction, and the
right hand also briefly joins the violin on the melody.
At the climax, the cascading arpeggios return, and the music
rapidly quiets down again. The violin figures are
reduced to four two-note upward steps. A halting cadence
gesture in D minor is interrupted.
2:00 [m. 65]--The
arpeggios resume, and now the two-note violin figures move
down a step instead of up. There are only three of them,
and then the “halting” cadence gesture is heard twice (the
second time with the violin at a higher level), and broken off
both times. It is then played a third time twice as
slowly, the violin reaching still higher (while the piano
right hand moves down). This is interrupted as well, and
the full arrival in D minor is not resolved until the slow
2:09 [m. 72]--The
anticipation is resolved with the opening A material in D major.
The whole first phrase, without the brief piano lead-in, is
played in that key, and the motion at the end is to the
analogous A major.
2:26 [m. 76]--Transitional
from 0:19 [m. 5] beginning in A major. The piano part is
more filled out, especially the left hand, which replaces the
low syncopated note repetition with short arpeggios in
triplets. The last two bars shift harmonies and bring
the music home to F major.
2:44 [m. 80]--Opening
material, now again at home in F major, spun out as at 0:37
[m. 9]. The first bar of the violin part is an octave
higher than it was there.
3:09 [m. 85]--Instead
of coming to an incomplete close as at the end of the first A section, the music is
now further spun out into a very calming, still, and
dream-like extension, which reaches a subdued climax before
finally settling to the expected incomplete close on a D minor
chord, as at 1:11 [mm. 15-16]. The rhythms of both the
piano and violin remain constant through most of this
extension, becoming only slightly more active at the
climax. The violin part at the ending and incomplete
close is an octave lower than before.
B’ Section--Vivace di
più, 3/4 time
3:59 [m. 94]--The
German dance tune is now varied in an almost skeleton-like
form, with the piano playing staccato chords and bass notes
(and two syncopated gestures at the end of each phrase)
against plucked (pizzicato)
chords from the violin.
4:07 [m. 101]--Second
statement of the dance tune, with the violin now plucking
single notes, mostly on the two weak upbeats, and the piano
playing smoother figures passed between the hands.
4:15 [m. 109]--First
statement of more vigorous tune, as at 1:26 [m. 31], but now
with the violin leading. The violin taking the tune
allows the piano to provide fuller and more sonorous
harmonies, including new detached chords under the skittish
ending of the tune. The piano bass is only slightly
4:20 [m. 115]--Second
statement of more vigorous tune, with the new turn to B-flat,
as at 1:33 [m. 37]. The piano part is varied slightly,
and instead of the short fragments being passed between the
violin and piano right hand at the end, a full bar of them is
played by the violin, then another bar by the piano.
4:26 [m. 121]--In a
clever variation of the passage from 1:38 [m. 43], the rising
two-note groups are split between plucked violin notes and
detached piano octaves. The piano left hand is
unchanged. At the last bar, with the motion back to F
major, the piano takes over, and the rapid left hand triplet
arpeggio is heard.
4:31 [m. 127]--Original
dance tune, as at 1:45 [m. 49] with cascading piano arpeggios,
but again a “skeleton” version, with the violin continuing the
weak beat pizzicato
notes instead of playing the full dance tune. The right
hand piano chords that punctuate the arpeggios are moved from
the second to the third beat of each bar and played in a more
detached manner, but the rest of the piano part is unaltered.
4:39 [m. 134]--The
violin returns to bowed strings for the buildup of intensity
and extension as at 1:51 [m. 56]. This music is
unaltered from that presentation, including the four two-note
upward violin steps and the interrupted halting cadence
4:46 [m. 143]--Analogous
to 2:00 [m. 65], with the same harmony, but instead of the
three downward-moving violin figures, the previous
upward-moving ones are moved down an octave (the second one,
which repeated the notes of the first, is omitted so that
there are still three instead of four). The piano part
is slightly altered to accommodate the lower octave. The
three cadence gestures are all also presented by the violin an
octave lower than before, and the first one is on different
notes. The piano plays these in the low octave all three
times, not just the slower third one. As before, the
arrival is delayed with great expectation.
4:55 [m. 150]--The
opening material returns, but with richer full chords in the
piano, including the brief lead-in. As with A’, it begins in D
major. The violin part is played an octave higher.
The passage is rearranged and extended by three bars to
facilitate an earlier motion back to the home key of F.
This extension includes high syncopated violin notes.
5:33 [m. 157]--The
“transitional” passage from 0:19 [m. 5] and 2:26 [m. 76] is
greatly altered. The piano chords are placed in groups
of two, and there is an isolated rising violin figure.
It does not lead to a new statement of the opening theme, but
directly to the incomplete close on the D minor chord, with
slow chords from both instruments. A” is thus an abbreviated
section, as A’ had
been somewhat extended.
5:58 [m. 162]--The
“coda” based on the dance-like Vivace material is extremely brief, with the
violin playing pizzicato chords before bowing the final two
cadential measures. In character, it resembles the
“skeletal” version from B’.
The staccato piano chords grow into an upward-swelling surge
before the last three chords.
6:13--END OF MOVEMENT [168
Movement: Allegretto grazioso (quasi Andante) (Rondo
form). A MAJOR, Cut time [2/2].
0:00 [m. 1]--First
statement of RONDO theme (A),
a very warm, singable melody played in the violin's lowest
register. The piano accompanies with chords beginning on
the second beat of each bar, resting on the downbeats.
The melody has three phrases. The second phrase moves to
C-sharp minor, but the third restores the home key and comes
to a full cadence. The piano first plays on downbeats at
0:20 [m. 12]--At the
cadence, the piano introduces a contrasting phrase as the
violin drops out. It is played in full, expressive
harmony. There is then a brief “re-transition” as the
violin enters with short rising figures against piano
0:34 [m. 20]--Restatement
of the main Rondo melody. The violin cuts off the
downbeat at the beginning, but then restores the original
melodic line. The piano accompaniment is more active,
with faster notes beginning off the beat. Again, the
piano does not play on a downbeat until the cadence. All
three phrases of the melody are given in full.
0:53 [m. 32]--FIRST
CONTRASTING THEME (B).
This B section is
more a transition than a theme. In comparison to the
Rondo theme, it is surprisingly dark and ominous, with rapid
piano arpeggios on colorful chords, many of them quite
unstable “diminished sevenths.” The violin plays winding
turn figures. The “theme” does not stay in one key,
moving in two waves from A minor to B minor to E minor.
It is mostly played at a quiet level, with small climaxes at
the key changes. When the music does finally somewhat
settle on E minor, undulating piano arpeggios under long
violin notes take the music to a very quiet level.
1:21 [m. 49]--A long
transition begins with high octaves in the piano against low
figuration in the violin. The piano octaves become
chords, the right hand following the left after the
beat. The violin figuration becomes slower, resembling
the main argument of the B
section. When the music reaches its softest level, the
piano chords slow down and become syncopated, or held over
strong beats. The winding violin line reaches a cadence
in E major at that point, leading back to A major and the
1:44 [m. 63]--Second
full statement of RONDO theme (A’).
three phrases are played in full by the violin, but this time
the piano accompaniment is more active even than it was at
0:34 [m. 20]. It now constantly undulates between lower
single notes and higher thirds, and plays on downbeats
throughout. The hands are largely doubled in octaves for
the first two phrases. This breaks in the third phrase,
along with the constant undulation, but the piano remains
steadily active until the cadence.
2:03 [m. 74]--The
piano again introduces the contrasting phrase, but instead of
making a transition to another statement of the Rondo theme,
the music gains momentum, becoming harmonically active and
developing into a full transition to the second contrasting
theme. Arpeggios in both the piano and the violin
develop fragments of the Rondo theme. These build to a
full climax. At the top, strong left hand chords and
arpeggios arrive on F-sharp minor, the relative minor key to A
2:30 [m. 90]--SECOND
CONTRASTING THEME (C).
It is based on downward-turning arpeggios. These move
faster in the piano (in triplet rhythm, both hands) than in
the violin (in straight rhythm). Two phrases, the second
reaching somewhat higher in the violin (F-sharp minor).
2:37 [m. 94]--The
F-sharp minor music becomes more active and passionate.
The piano now plays upward arpeggios, still in triplet rhythm,
and incorporating block harmonies on some of the notes in the
arpeggios. The violin line includes expressive grace
The volume level remains quite soft. Both instruments
emerge into two tentative hints at the opening of the C theme, returning to the
2:53 [m. 104]--Return
of the main C
theme. The piano right hand takes over the straight
rhythm on the turning arpeggios from the violin, and the
violin adds a new, faster triplet arpeggio against it.
Other than this variation, it is largely presented as before.
3:00 [m. 108]--The
active and passionate music begins again, but after two bars,
it is cut off. Two new bars return to the
downward-arching arpeggios in the piano and short, sighing
two-note figures in the violin. These bars abruptly move
to D major for the return of the Rondo theme.
3:07 [m. 112]--Abrupt
motion to the RONDO theme (A”)
in a new key (D Major), but in a greatly altered form.
The violin plays decorating triplet figures while the piano
plays a harmonized “halting” version of the tune that rests on
the downbeats until the last bar of each phrase. The
left hand is very detached and skips downward. The
second phrase moves to F-sharp minor (analogous to the C-sharp
minor in the A-major statements). The third phrase
abandons the “halting” version, and the piano plays the
original line in octaves. The cadence is approached, but
it is cut off before the final arrival.
3:26 [m. 123]--Abrupt
motion to the FIRST CONTRASTING THEME (B’),
by a dotted rhythm. As before, it is dark, ominous, and
unstable, moving from D minor to A minor. Some of the
internal pauses between the piano arpeggios are
tightened. The opening dotted rhythm continues to be
newly incorporated into the violin line. The
presentation is also more dramatic than the first B section, including
several swells in volume that are associated with the dotted
3:40 [m. 132]--At the
top climax, the music of the passionate sequel to the C theme returns. The
violin briefly returns to D minor, then moves back to A minor
as it plays the passionate melody. The piano plays very
rapid arpeggios, dovetailing between the hands. The
music then quickly quiets down. The piano arpeggios slow
down to triplets, then become more separated as chords are
held on certain beats. The violin is reduced to two
rising A-minor thirds, with the first note held over bar lines
before moving up.
3:52 [m. 137]--Final
statement of RONDO theme (A”’),
which also serves as a coda. The violin cuts off the
first downbeat, as at 0:34 [m. 20]. The theme lingers on
the first phrase as the piano echoes its fourth bar with
triplet arpeggios in the left hand. This fragment is
again played by the violin and echoed by the piano over a
slight buildup. The violin then reaches high to play a
passionate variant over two-against-three rhythm in the
piano. This quiets down before another implied cadence
4:14 [m. 146]--The
downward-arching arpeggios from C are unexpectedly incorporated before the
violin begins to move completely in rich double-stops (two
notes at once), and the piano continues to move in triplets
against the violin’s straight groups of two.
4:23 [m. 150]--The
material from C moves
to the piano left hand. The violin double-stops then
soar again on the main Rondo theme material. This
reaches a final climax over continuing piano triplets.
The warm, full mood continues as the last chords alternate
between violin and piano before the final sonorous chord.
4:46--END OF MOVEMENT [158
END OF SONATA
APPLAUSE TO END OF TRACK AT 5:00
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