VIOLIN SONATA NO. 2 in A MAJOR, OP. 100
Recording: Itzhak Perlman, violin and
Daniel Barenboim, piano (live performance) [Sony SK 45819]
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
FROM IMSLP (First Edition from Brahms-Institut
FROM 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
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.
It 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 phrase.
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 theme.
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 major).
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
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 moving harmonically.
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
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 and preparation.
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]
4:43 [m. 172]--Transition.
begins 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
dotted 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
dotted 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
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 anticipation.
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 one.
7:49--END OF MOVEMENT [280 mm.]
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.
A Section--Andante tranquillo,
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
passage 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.
B Section--Vivace, 3/4 time.
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 downbeats.
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 reprise.
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 music returns.
A’ Section--Andante, 2/4 time
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
passage 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
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
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
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 gesture.
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.
A” Section--Andante, 2/4 time
4:55 [m. 150]--The opening
material returns, but with richer full chords in the piano, including
the brief lead-in. As with A’,
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
Coda--Vivace, 3/4 time
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’.
staccato piano chords grow into an upward-swelling surge before the
last three chords.
6:13--END OF MOVEMENT [168 mm.]
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 this cadence.
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 arpeggios.
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 Rondo theme.
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 major.
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 notes (appogiaturas).
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 rhythm.
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 is aborted.
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
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 mm.]
END OF SONATA
APPLAUSE TO END OF TRACK AT 5:00
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