Violin Music of Beethoven

.?///;STRAJt

VIOLIN

MUSIC

THE"

"VIOLIN

"MUSIC"

PF

PRINTED BYE. SHORE ANDCO.,

'THE

STRAD"

LIBRARY.

No. X.

VIOLIN

MUSIC

BEETHOVEN,

J.

MATTHEWS.

COPYRIGHT.

THE

STRAD

OFFICE,3,GREENTERRACE,ROSEBERYAVENUE,E.G.

D. R.

DUNCAN,

186, FLEETSTREET,E.'C.

CHARLES

SCRIBNERS' SONS,

153157, FIFTHAVENUE.

1902.

Dedicated

_by

_permission

to

PREFACE.

A

BRIEF

explanationonlyis needed with _respect to this reprint of articles

which have

_{been appearing}

in

THE

STRAD

for_{the past}

two

or three_years.

Those

_compositions of

Beethoven

in

which

members

of the _{string family participate} as soloinstruments _only,

have

_{been regarded} as

_coming

within its _scope; to the exclusion of the orchestral works. Moreover, the

symphonies

have been so ably treated

by

the late Sir

George

Grove, that to _{cover again} the

_{same ground}

would be

a

work

of _{supererogation.}

Young

students often _suppose that _{they ought} to

admire every

work which

_{proceeds from a} great genius;

an

_attempt thereforehas been

made

to_convey

some

idea of the relative art-value

and

_importance of the various compositions discussed inthese pages.

For

between the best

work

of

_any

man

and

his least _inspired, thereis a wide difference. _{Certainly nothing}

_annoyed

the _great master

more

thanto hearhis least

mature

works _praised,

especially at a time

when

many

of his greatest creations weretoolittlestudied tobe understood save

_by

afew.

In addition to such historical notes as could be gathered,

some

assistance in analysing the form

and

construction of Beethoven's

chamber

music a

know-ledge so necessary for ensuring a correct balance in performance

and

also afewhints as tothe besteditions

have

been offered.

JOHN MATTHEWS.

CONTENTS.

PAGE

CHAPTER

I.

THE

SONATAS FOR PIANO AND VIOLIN, Nos. I,

V

i

CHAPTER

II.

THE

PIANO AND VIOLIN SONATAS, Nos. VI.

X

22

CHAPTER

III.

THE

TRIOS FOR PIANO, VIOLIN AND VIOLONCELLO .. .. ₄₅

CHAPTER

IV.

THE

STRING TRIOS 63

CHAPTER

V.

THE

_QUARTETS .. 66

CHAPTER

VI.

THE

PIANO _{QUARTETS AND THE STRING QUINTETS} .. .. ₈₇

CHAPTER

VII.

THE

VIOLIN CONCERTO, ROMANCES, VIOLONCELLO SONATAS AND VARIATIONS 89

CHAPTER

VIII.

THE

SKETCH BOOKS.. .. ₉₅

CHAPTER

IX.

THE

Violin

Music

of

Beethoven,

CHAPTER

I.

The

Sonatas

for

Piano

and

Violin.

sonatas for _piano

and

violin of Beethovenwill

JL

be

approached

by

players professional as well as

amateur

_{with very different feelings according} to

individual temperament. If, like Beethoven's greatest

interpreter, Joachim, the player is "musician first

and

violinist after," hewillregard

them

forthe intrinsicvalue of the ideas therein enshrined, as

amongst

his choicest possessions; if thevirtuoso is uppermost, hewill _surely

neglect

them

for

works more

brilliant

and

full _sounding;

such as

abound

in _strong effects written

_by

_great

violinists for the _display of a _{special violin technique.}

When,

as in a sonata for the _piano

and

violin, both

instruments are _placed

on

an _equality, the _composer

isset face to facewith a

somewhat

difficult task.

The

violin_{being essentially} a melodic instrument,it_appears

like a dethroned

monarch

when made

to _{play ordinary}

accompanimental

figures to the

theme

given tothe piano.

The

violin

_may

comment

_{upon, ornament,} or

add some

entirely

new

feature of interest to the musical thought as _{originally conceived, or, failing} these, be silent

altogetherforawhile; eithercourse is preferable to the

exacttransferenceof such _figures as are best suited _to,

and

_mostly associated with, thepiano according to one's ideas of the_{fitness of things.}

Then,

again,it is _probably

seldom

that a

theme

will occur to the _composer in its

dual

form

for the

two

instruments; it is

more

likely to

2

THE

VIOLIN MUSIC OF

BEETHOVEN.

occurto

him

as _beingsuitable for one instrument or the

other,

and

afterwards

becomes "adapted"

to

meet

the requirements of aduoin

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 thedevelopment section _(with

its_working out

and

transposition into other keys not so well suitedto _{the peculiar}limitations oftheviolinas the

originalpresentment) realdifficulties are encounteredin

the production of a

work

in _{the highest}form of

instru-mental art

; the

"_{sonata form}"

common

alike to the sonata, quartet,

and symphony.

For

all thesereasons it

willbeseen that the sonata, so far as the violin is con-cerned, doesnotspring so spontaneously fromthe

finger-board

and

what

is

most

_particularly convenient to it, or

serves best to _display its _{special effects,} as

_many

a virtuoso_piece, but

must

takeits_{stand as absolute music,} "

musician's music" ratherthan violinist's,if

we

_may

be permittedto

make

this distinction.

Thus

itis thatviolin

sonatas

which

fulfilallconditions arerare.

To

Beethoven's violin_{playing there} is but little

allu-sionin _{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

thenfifteen; later in life

we

aretold that

he

was

fond of

_amusing

_{himself occasionally} with the

doublebass.

The

firstthree sonatasfor_piano

and

violin, op. 12, are

dedicatedtoF. A. Salieri, a prolific Viennese composer,

whose

advice

was

from timeto time asked

_by

Beethoven

chieflywithregard tothe correct_{arrangement of Italian}

words

to hisvocal music.

The

firstsonatain

D

contains

but fewtraces ofthe

individuality

which was

subsequently

made

manifest in Beethoven's _writings; the _opening

movement,

an_allegro con brio, might have been written

by

Mozart, so_thoroughlyis it in that _composer's

style,

THE

SONATAS FOR

PIANO

AND

VIOLIN. ₃ together.

Four

bars of introductionfor the

two

instru-ments

in unison servetousher in _{the principal}

theme

:

Ex. I. _{Allegro con}brio.

VIOLIN.

-cr

THE

VIOLIN MUSIC OF

BEETHOVEN.

The

theme

in _A,

and

its four variations

which

follow,,

are equally

Mozartean

in manner.

The

finale is a_lively rondo

which

makes

a

_charming

piecedetached from the

rest. Ex. 2. RONDO.

^,

i^zzzmiq

-r^stai

i

T

THE

SONATAS FOR PIANO

AND

VIOLIN.

Here

are no _big effects; not a note

more

than is

absolutely necessary do

we

find. All is Arcadian simplicity; the

"_welt-schmerz "

which

has fastened as

with a _grip of iron on so

much

modern

German

and

Russian music

was

then

unknown

; the naive

was

not

then consideredchildish.

Yet

one transientnote of _pain

intrudesitself

_upon

the

_merry

scene_(in themiddleof the

movement

where

thesecond note of the

_melody

is

made

F

_natural)

and

a _{deeper earnestness pervades} themusic;

a _{foreshadowing} of the _things

which

were to

come!

Fourteen bars from the

end

we

are treated to one of

Beethoven's_subtly

humorous

effects

Ex. 3.

i

r

It is _{as though,} with thesudden breakin the_rhythm,

violinist

and

_pianist

had

lost themselves,

and were

cautiously feeling their

way

in these pp passages: six

bars fromthe_{end they} find each _{other, proceeding with}

growing

confidencetothefinal rush of _semiquaversffin

the_{penultimate bar}

which

announces theend ofthework.

It is_verycharacteristic ofthe

_composer

thusto_playwith the listener

_by

_{arresting the flow}of the music, so that

one

wonders what

is tofollow; theparts, eitherashere,

timidly searchingforthe lost idea, orinothercases, each instrument_insisting

on

its

own

entry in contradiction to the other.

Such

touches of

humour

in classical

works

are often far too subtle for the _{comprehension} of the averagehearer,

who

listens with a resigned air to

works

in sonataform, as though a smile

would

bequite out of

6

THE

VIOLIN MUSIC OF

BEETHOVEN.

place,

and

show

undue

levity!

_Farmyard

_effects,

imita-tions of _tuning

_up

; yes, these he understands, but the

refined playfulness ofthe greatmasterstouches

him

not;

his jests

must

_{be duly}labelled. Yet it is the _privilege of

all really great music to traverse the whole range of

human

emotion,

and no

previous

composer

understood

this so wellas Beethoven.

. _Technically, thissonata is about the

most

suitable for

studentsto _begintheir_studyof

Beethoven

with.

Smooth

legato playing, neatness

and

delicacy in the staccato passages, are the qualities requisite for the _proper renderingofit,ratherthan

power and

vigourof_style.

As

apreparation forthe

Beethoven

sonatas_generally, it

_may

besaid here that_nothingbetterthanKreutzer's celebrated 40studieswill befound,to

which

_{might be added} those

of Fiorillo

and

Rode

forthe_masteryofthe_different

posi-tions. Kreutzer_especiallyaccustoms _{the player} to take

some

_{characteristic violin figurethrough}various

modula-tions,

and

in positions or on degrees of the scale

which

causethe _original idea to

become

_technically

more

diffi-cult

and

awkward

to renderwith _purity

and

_{certainty of}

intonation. Fiorillo _{impartsflexibility} of _bowing, rather than the firmness of _grip one _acquires from Kreutzer;

whilst

Rode

_{takes the player} over _{the various positions}

and

in all the _keys in such a

_way

that his _technique

cannotfailto be improved.

Some

ofthe

Mozart

sonatas

for _piano

and

violin should be studied before those of

Beethoven, forbothtechnical

and

historical_reasons,

and

to the

_young

student

who

has learnt

some

of Mozart's,

.this firstone ofBeethoven's will

seem

but a continuation

ofthe older masterrather_{than a composition} in a _style

entirely

new

to him.

The

second sonata of Op. 12, in

A

_{major, quite} as

much

as the_first, recalls the_days

when

"

Music, heavenly maid,was young."

If asked to describe in

two words

_{the prevailing}

mood

of the _tone-poem

now

before us, those

words would

be

"

THE

SONATAS

FOR

PIANO

AND

VIOLIN. ₇

of

modern

art _and,beitnoted, it

was Beethoven

himself

who

_prepared the _way, in his later works, forthe

more

passionately emotionalutterancesof

_Wagner

and

Tschai-kowsky

ithas

become

to

_many

of_{us increasingly}difficult

to _{transport ourselves} into the _right

mood

for the un-alloyed enjoyment of these earlierworks.

And

attimes

we

find ourselves _{actually tempted} to _{lay sacrilegious}

hands

even

_upon

_{the productions of great}masters of the

sonata form.

The

broader

and

fuller _sounding

effects (thoughtheideas

_may

not be in themselves _{so valuable)}

of

modern

sonatas

make

us wishhere

and

theretofill

_up

the thin two-part writingforthe_pianointhesesonatas of

Beethoven

!

When

_temptedsoto do,

we

should

remember

thatit

was

_veryfarfromthe_composer'sintentionto

make

these earlier

works sound

big, imposing

and

orchestral, like the "Waldstein"

and

"_Appassionata" sonatas of a

later period, forthe_{piano alone, forexample.} Daintiness, delicacy

and

grace are instead

stamped upon

everypage.

So

strongly does themusicreflect these characteristics

that a_{large tone}

and

brilliant style so necessaryin

_many

other

works

seem

here _positively out of _place; the

players are invited to wrestle neither with violent emotions nor _great difficulties, but both violinist

and

pianist

must

be thoroughlyin

sympathy

with eachother

THE

VIOLIN

MUSIC

OF

BEETHOVEN.

The

sonatain

A

_majorconsists ofan_{Allegro vivace in}

six-_{eight time,}

an

Andante, "Piu tosto _Allegretto" in

A

minor, two-four time,

and

an _{Allegropiacevole,} three-four time.

A

_glanceatthe

above

_{quotation, giving the}first_subject

of the Allegro vivace,

shows

its _{interchangeable character} with regardtothe

two

instruments. Thisfirst

movement

already reveals tous

Beethoven

as thebold innovatorin

formal construction.

The

second _subject, instead of

appearing in the usual

dominant

_key, starts on the

dominant

of

F

_sharp

minor

the sub-mediant but is

very modulatoryin character.

We

_{pass rapidly within} the limits of sixteen bars _through

F

_{sharp minor,}

G

major,

E

major,

F

major,

and back

again to

E

major.

And

after the"_{free fantasia,"} or _{developmentsection,}

we

sub-THE

SONATAS FOR

PIANO

AND

VIOLIN.

dominant

ofthe_originalkey.

Yet

_{everythingappears}to

come

about in the

most

natural _manner, so that_nothing unusual is felt. _Indeed, itseems as is _{so frequently the} casewith Beethoven's experiments in design, asifitcould not be otherwise. But,

remembering

the periodat

which

this

work was

written, it

must have

_{appeared very novel}

to his

most

conservative contemporaries.

Many

of

them

shook

theirheads

and

_{expressed grave misgivingsjust}as

theirsuccessors

have

been doing in ourtimewith _regard

to

_Wagner.

Here

is a melodious unisional _{passage from} thefirst

movement, which

toharmonise _fully

would

be_{to spoil}:

The

_pianopart bothhandsinthebassclef doubles the

violinpartinoctaves; itisthereforeunnecessarytogiveit.

The

second

_movement,

the "

Andante

piu tosto

Alle-gretto

"

in

A

minor,opens with aplaintive

and

eminently vocal

theme

; the first eight bars for the piano being

immediately taken

up and

repeated

by

theviolinasfollows:

Ex.6.

===h:

10

THE

VIOLIN MUSIC OF

BEETHOVEN.

Equallyvocalin characteris the second subject in

F

major,with its _closelyinterwoven imitation in the _piano

part. Beethoven, great pianist though hewas, neverfell

into the error of

_making

the _{piano part}

more

brilliant

and

_interestingthanthat fortheviolin; aperfect balance

is_alwaysmaintained.

The movement

isfullof_interesting

points over

which

we

would

fain linger,

showing

the admirable use

Beethoven makes

ofhis thematicmaterial;

the _{shortening or lengthening out} of short phrases from the principal

theme

in the latter half of the

_movement,

with the occasional addition of

some

new

feature of

interest,

and

the carewith

which

all

_dynamic

_signs are

indicated, so as to _{bring each} climatic _point into the strongest relief, all of

which

_risings

and

_fallings, or fluctuations in the _music,

we

usually, but rather

more

vaguely

and

loosely, are content to

sum

up

under the one term "_expression," or

_by

_{borrowing from}the sister

art, the term "shading."

The

Allegro piacevole is

a

rondo of

most

_graceful

and

_captivating character

_upon

this

theme

started

_by

the pianoforte:

THE

SONATAS FOR

PIANO

AND

VIOLIN. II

IJLTT ^~ |I

A

most

_expressivecantilenafor the violinis the _pageof episodein

D

major, after

which

a portion ofthe principal subject .matter is _{played with} in its _major

and minor

forms, until

we

areled back to the _{original key, though} notatonce to _{the principal subject}in its _entirety. It is

worthy

of note that the orthodox

dominant

_pedal

which

prepares usfor itis hereina middlepart:

Ex. 8.

This little four-bar section is _given three times in succession, without

any

modification.

The movement

is

thereflection of a light-hearted

and

genial .mood,with

no

premonitionofthe troubles of Beethoven's after_{years to}

12

THE

VIOLIN MUSIC OF

BEETHOVEN.

^^The^hird

sonata of _0|>

_v

i2 contains an _Allegro con

spirito in

E

flat,

C

time; an

Adagio

conmolt' espression

in

C

major, two-four time,

and

a

Rondo

in

E

_flat,

two-four, Allegro molto.

The

first

movement

isthe_{least interesting}one

we

have yet hadto dealwith.

Much

of _{the writing therein} is of

a

somewhat

conventional

_{and commonplace}

_description,

measuringthe

_{composer by}

himself.

The

Adagio is

more

deeplyfelt. In these long

drawn

out melodies,Beethoven invariablysounded anote of _{deeper feeling}than _previous composers. Occasionally, indeed, with cheerful old

papa

Haydn,

we come

across a _page of music so serious

and

"

intense," that

we

wonder, as in the case of the _flyin

amber,

how

it _gotthere. Letnot the student confuse the

Beethoven Adagio

with the_{composer's own,} or

_any

other

composer's Andantes.

The

true Beethoven

_Adagio

is a profound reverie,very broad

and

sustainedin _style,with very slowbeats.

The

_frequentafter division ofthe notes

intothose oftheshortest_{duration,ought}to be asufficient

indication of the slow

_{and measured rhythm}

_underlying the whole

movement.

Where

there is no _suggestion of

change

in _{the time,} such _passages in _{demisemiquavers}

oreven shorter notes,

however

florid, were never

meant

to_conveythe idea that a rapid

and

brilliant _presto

was

being played.

An

Adagio

movement

thus

commenced

in

the spirit of an

Andante

will often lead the player into

confusion

when

the

more

florid _portions are reached, in

the attemptto maintain a _{uniform tempo.}

A

much

less

objectionablefaultisthe_{slightquickening}ofa

movement

intended to be _bright

and

_animated, such asan _Allegro bordering on a Presto, provided, of course,the_player's technique be fullyequal to the occasion.

But

when

a

slow

movement

is

made

to feel like a _{quick one,} orto

conveythat _impressionto the_listener,theentire _spiritof

themusic is lost,

and

we

are rudely

awakened

from our

dream

ofmeasureless content

and

_repose.

The

Rondo,asinthe

two

_{previous sonatas, begins}with

its first _eight-bar section for the _{piano alone, repeated} thus

_by

theviolin:

THE

SONATAS FOR

PIANO

AND

VIOLIN.

₁₃

14

THE

VIOLIN MUSIC OF

BEETHOVEN.

The Rondo

ofthe

A

_{major sonata}is_idyllicincharacter.

This

is

more

_exuberant,

and

from the_beginningto the

end

its irresistible_gaietyis maintained.

The

_{three sonatas constituting} Op. 12 are _{just exactly} a _century old; an advertisement in a Viennese paper

showing

that _they

were

in _print in _{January 1799;}

pro-bably Beethoven's musical friends

had

heard

them

some-what

before that date.

_They

were

dedicated to Antonio

Salieri, Beethoven's teacher, the Court Capellmeister of the Viennese _capital for _{fifty years.}

The

_original title-page

was

thus inscribed in Italian:

"

Tre Sonate _per il Clavicembalo o Forte-Piano con un

Violino _composte, e dedicate al _Sigy. Antonio _{Salieri, primo} Maestrodi

Capella della Corte Imperiale di Vienna, etc.,etc., dal _{Sigy. Liugi van Beethoven Opera} 12.

A

Vienna_presso

Artariae_Comp.

The

fourth sonata, Op. 23, in

A

minor, contains the following

movements

:

Presto, six-eight time,

A

minor

;

Andante

scherzoso, piuallegretto,two-fourtime,

A

major;

Allegro molto,

common

time,

A

minor.

The

first

movement

_{opens with}this_subject:

10. Presto.

--fp

THE

SONATAS

FOR, PIANO

AND

VIOLIN.

Our

modern

tarantellas are anticipated in _{this presto.}

Itis alsonoticeablefortheunusualfeature of

two

repeated

sections,the

mad

pace proper to the

movement

making

this _possiblewith

_good

effect.

Beethoven

hasstudiously refrained from the use of full-sounding chords for the sakeofeffect; the_part-writingis clear

and

distinct as in

a_pieceofBach's,

and

in this _light it

must

be _viewed,

and

notfrom_{the standpoint} of the

modern

sonata.

The

rhythmic variety so characteristic of

Beethoven

in the majority of his

works

finds here

no

place, but the " _Tarantella"

rhythm

and

feeling is maintained to

the end.

The

"Andante

scherzoso, piu allegretto" is in the

form of a first

_movement,

with second _subject in the

dominant

key of

E

_major, full close in _{that key,repeat,}

and

short _developmentsection.

The

_principal

theme

on its _reappearance is decorated with shakes, etc.,

and

the

whole

movement

shows

us

Beethoven

in his

most

_playful

mood,

light-hearted,

and

asfullofaninnocent gaiety ashis

predecessor,

Haydn.

The

_Allegro moltois _virtuallya rondo with_episodes in

the_keys of

A

and

F

major.

The

first _episode is

singu-larlybrief, occupying

two

lines only; the

theme

of the

F

majorepisode,first_given in semibreves, is variedfirst

withcrotchetsinthe_{violin part,}

and

thenenlivenedwith crotchets as _triplets, i.e.9 six crotchets in the bar as a

counterpoint against the "whole notes

"

i6

THE

VIOLIN MUSIC OF

BEETHOVEN.

Before thefinal _reappearance of the principal theme,

we

aretakeninto the_{remote key} of

B

flat, in

which

keythe

theme

ofthesecondepisode is_{presentedagain to us,} first

in the violin _part, then as a bass in the _{piano part.}

Composers

donotfind it an _easy task, as a rule,

when

the_keyofthe semitone aboveis _{established, topass}

back

again to the _{original key} of the semitone below, but

Beethoven manages

itwith such

consummate

ease that

the transition falls on the earwith an effect _perfectly

natural

and

convincing.

The

bass progression is worth quoting:

Ex. n.

Having

thus arrived at the

dominant

E

of the_original

key,

we

have

eight barswith

E

as a bass,thus reinstating

the_key of

A

_{minor, the original}

theme

_appearing

now

in

the piano part as abass.

The movement

is _brought to

a _{unisonal conclusion,piano.}

We

now

come

to one of the best

known

and most

popularoftheviolin

sonatas,|No. 5, in

F

? Op. 24.\ Here,

forthefirst_{time, the}

_composer

"gives usfour iriovements,

the_

scheme

being as follows ."Allegro,

C

time,

F

major;

^

Adagio

molto _{expressivo, three-four time,}

_B

fiat _major; Scherzo _{(allegro molto), three-four time,}

F

major;

Rondo,

(allegro,

ma

non

troppo),

common

time,

F

major.

The

_{graceful opening}

theme

of the first

_movement

THE

SONATAS

FOR

PIANO

AND

VIOLIN. ₁₇

To

save_space I

have

here compressed the _{piano part}

into the bass clef. _{Yet, notwithstanding} this _eloquent

opening, the subject matter

which

follows,

and

the

treatment thereof, is brilliant rather than _passionate or profound.

The

ff passage in unison _(after the first full

close inthe

_{dominant key}

of_C)

awakens

_expectation,but itsubsidesatthe fourthbartoa_piano. Aftera chromatic descendingscale_passage

and

uprisingfull chords in the pianopart, the followingfragment of the second_subject isthustossed about

from

one instrument to the other in

imitation:

THE

VIOLIN MUSIC OF

BEETHOVEN.

The

_development section _appears to us _curiously uninteresting for _{so great} a master,

and

we

are glad to

get

back

tothe beautifulopening theme, the returnbeing

effected through a shake on

A

and

G

sharp of several bars duration. In the coda, this

theme

_{appears with}

charming

effect in the _bass, echoed in alternate bars

by

theviolin in the treble, against a tripletfigure. In

the final _bars, the first four _semiquavers of the

theme

become

a

mere

_{repeated turn followed}

_by

ascale_passage

in unison for both the instruments, bringing the

move-ment

to a _{perfectly simple} conclusion without fuss or demonstration of

_any

kind.

An

enthusiastic but

some-what

rhapsodical writer once _spoke of the imitative passage in the coda as the"sea _echoingthestars," but

as theechocomes_first the simile _appears rather curious!

However,

Beethoven, in his Pastoral

_Symphony,

_{gives us}

the lightningafterthe thunder, so our enthusiast

was

not without a _precedentforthe reversal!

The

_{piano begins} the

theme

of _{the adagio,}

which

has a _passage of _truly noble _feeling in the middle of the

THE

_{SONATAS FOR PIANO}

_AND

_VIOLIN,

Ex.14.

The

modulation into

G

flat is _surprisingly beautiful,

and

the deeper

meaning

given to the

theme

_merely

_by

flattening its initial note, is in itself _quite a stroke of

genius.

One

wishesthis

mood

had

been maintained to the end,buttheconclusion of_{the adagio} is_{elegant rather} than profound.

In the scherzo

we

are treated to one of Beethoven's

jokes.

The

violin part appears persistently against the

rhythm

of the piano part,

and

the clashingof harmonies

which

result

_may

_{well cause unsophisticated} listeners to

imaginethatviolinist

and

_pianist are _really

and

uninten-tionally at variance.

The

student will probably find

20

THE

VIOLIN MUSIC OF

BEETHOVEN.

some

difficulty with this

movement

until it has [been

played several timeswiththe piano.

PJ~ ~9~ -w~ s* -*^*-

M

-gp-

M

::

^F

:

C?

Prl

?

;t:

The

parts being readily distinguishable, I have given

theviolinpartabovethepianopart.

The

finale is a rondo of the usual "comfortable" character

_commonly

associated withthis _species of

com*

position. This, be it _{understood, applies}tothe contents

ofthe

music

itself.

Some

_passageswill_{require care}with

respect totheintonation,the brokenoctavesin theviolin part, for example, about the middle of the movement,, though nothingin the sonatais of

_any

greatdifficulty, a

fact

which

has doubtless _helped in _attaining such a

popularity.

But

it

would

not be Beethoven if, in the

course of a_{generallyeasy piece,}

some

_passage of

com-parative difficultydid not sooner or later present itself

THE

SONATAS FOR

PIANO

AND

VIOLIN. 21

who

aspiresto _playBeethoven with an

outward

ease

and

freedom.

The

two

sonatas

we

have

been _considering were

originallypublished together in

Vienna

as _{Op. 23,}with

thistitle:

"Deux

senates_pourlePiano-Forte avecunViolon

wmposees et dedies a Monsieur le ComteMaurice de Fries, CJianlellan de S.

M.

_/. et R.

Par

Louis van Beethoven,

(Euvre,23, a Vienne chezT. Mollet

_Comp"

The

first

two

movements

of the

A

minor

sonatawere written in _1800,

and

the publication took place in the

autumn

of _{the following year. Subsequently} these

two

CHAPTER

II.

The

Piano

and

Violin

_{Sonatas (Continued).}

/

T

>

HE

_{three sonatasunder}

Op.

30 aredifferent indeed

JL in

mood.

The

first,in

A

major, consists of these

three

movements

:

Allegro,three-four time, in

A

;,

Adagio, molt expressive, two-four time, in

D

;

and an

Allegretto convariazioni,

common

time, in A.

The

first

movement

is _graceful,almostpastoral instyle,theinterest

is_fairlyshared between the

two

instruments,

and

in this

respect especially the unity

and

balance of the

work

claim ouradmiration. It

would

be _{interesting to}

know

what

Beethoven's views

would

be concerning

some

of our

most

impassioned

modern

duets, I

mean

those in

which

each instrument, to _{the ordinary}listener, appears

tobe_striving for_{the mastery.} If the first

movement

is

still

somewhat

akin to Mozart, or_{perhaps even}

more

to Schubert in its _{general feeling,}

we

are

_amply

convinced of_{Beethoven's powerful individuality}in the _Adagio. It

isthe

most

_deeply felt

movement

ofthethree,

and

atthe

THE

PIANO

AND

VIOLIN SONATAS.

Ex.16.

The

Allegrettoin

A

with variations, formingthe third

section ofthework,naturallyinvitescomparison withthe middle

movement

of thefirst _sonata, also a

theme

with variations in the

same

_key.

Those

_belongingto_{Op. 30}

aresix in number,the last,an "Allegro

ma

non

tanto" havingto do dutyas a finale, being

more

extended than the others.

The

A

minor

_{variation preceding} this finale

is_lengthened out after _{a pause on} thefirst inversion of

the

common

chord of

B

flat in _{the thirty-second}

and

thirty-third bars

by

a development of the

_rhythm

o the last bar but one in the _{piano part} of the _origina, theme. This _{skipping motive, tossed} from one instrument to the other, is

worked

for _eighteen bars,

24

THE

VIOLIN MUSIC OF

BEETHOVEN.

modulating back tothe

dominant

ofthe_originalkey,

and

forms a _{curious leading}overto thefinal variation.

The

advance_{in style} is _{not nearly so}

marked

in thisvariation section as in _{the previous}

movement.

In fact,it is not

until

we

come

to the _great Kreutzer sonata

and

its wonderful

Andante

that

Beethoven

reveals hisfull

_powers

inthe _{metamorphosis} of

theme which

in this _particular

form_{so plainly}

shows

either_{a composer's individuality or} his adherence to a few conventional patterns. For, althoughthe variations alargeproportionof

them

_being

quite early

works

of

Haydn,

Mozart,

Beethoven

and

other classic _composers of their times, arefar

removed

from the odious vulgarity

and

"cheap

"

effects of the publisher'shacks

who

used to be,

and

perhaps still are,

commissionedtotorture

some

_popularair intoaconvenient

medium

for _{the practice of} scales

and

_arpeggi; yet a

certain _{recognisable similarityof treatment,}

_though

not always easyto define, is to be _seen, sothat, glancing at

some

of these variations at _random,

we

cannot be

imme-diatelysure of the

composer

if _{previously unacquainted} withthework.

The

_eightbarsections with_repeats

were

closely adhered to; in the second or thirdvariations a

continuous _counterpoint in _{quavers (triplets)}

was

_pretty

sureto

make

its _appearance,

and

towardstheend a slow oneinthe tonic orrelative

minor

; frequentlyintheform

of a funeral march,followed

_by

a_{sprightlyallegretto}or

allegro in six-eight time.

But

they never presented the

air in its native _simplicity,

and

clothed with the

same

harmonies in each _variation, with _{uninterrupted} scales

and

_arpeggi

which

look as _thoughtosave timethe writer

had

exercisedhis scissors

_{upon an}

instructionbook.

The

great masters graduallyfelt their

_way

in _exploring the

possibilities lyinghidden in

some

_{simple theme,} its

capa-bilities for

new

and

beautiful _harmonies,

and

for

expan-sion i.t.9thedevelopmentof

some

short _{phrase suggested}

by

the_theme, into

an

entire

movement.

_{Often only} the harmonies

remind

us ofthe actual

theme

; inBeethoven's

piano variationsin _{F, Op. 34,} a fresh _keyis chosen for

THE

PIANO

AND

VIOLIN SONATAS. ₂₅

^

rest in _peace) in a

_meagre

_chapter on variation writing in a

work

onform, concludeswith thisremarkable

N.B.

:

"In

making

variations the _original bass should

never bealtered

"(!)Variations constructedonthis principle

would

_{speedily bring} us into _{agreement with} those

who

inour

own

timefind the form itself tedious! It

may

be

exceedinglyso, but in the hands of _genius is_capable of infinite _development

and

_variety, if

we

_grasp the idea, that, in _{metamorphosis} of

theme

combined

with great rhythmic variety,rather than in

mere

embellishment of melody, lies the chief interest.

As

a

modern

instance,

we

_may,

in

passing, refer to the wonderful

_example

in

Tschai'kowsky's

A

minor

Trio,

where movements

of the

most

varied _{character, includinga Waltz,} a

_Fugue

and

a

Mazurka

_spring from a _{simple theme,} thelastvariation

being

expanded

into afinale

which

initself is an _organic whole,regardedasaseparate

movement.

But

toreturntothe

theme which

caused_{this digression.}

Beethoven

_originallyintended thefinale'ofthe"Kreutzer"

sonatatoform thefinale ofthesonata

we

have _just been discussing.

But

he considered this finale too brilliant

(i.e., as forming too great a contrast to the previous

movements) and

therefore substituted this

theme

with

variations as_being

more

in _{keeping with} the rest.

We

have

evidence here

how

_deeply

Beethoven

_{ponderedover,}

not merelythefinish of each_separate

_movement,

butthe

aesthetic effectofeach sonataas awhole.

The

sonata

inJC minor, No.' 2,

_{Up. 30^}

is esteemed

_by

musicians asoneof thefinest," nay, as the onlyoneofthe

ten

which

rivals the "Kreutzer" in actualmerit, if not

in popularity. It has _{the following four}

movements

:

Allegro con /rio in

C

_minor,

common

time;

Adagio

cantabile in

A

flat,

common

time; Scherzo-allegro inC,

three-four time; Finale-allegro in

C

minor,

common

time.

In

thefirst

_movement,

as in the "_Pathetique" _sonata,

and

the _{thirty-second} for the _{piano alone,} Beethoven storms alongin _quitea

_symphonic

_{style. Surging}billows

seem

to rise

and

fall in the _developmentsection,

and

the

26

THE

VIOLIN MUSIC OF

BEETHOVEN.

withits_{simple counterpoint} in _quavers, is in admirable contrasttothe

more

dramaticfirst_subject.

Ex' I7 Atttgro c*nbrio. '

-*-

1 * i I i

n

q Ear. 18.

Very

concise isthis _{leadingmotif,}

which

dominatesthe

whole

movement.

We

know

that

Beethoven

_usually

had

in his

mind

some

mental _picture or _poetical idea

when

composing, at least, in the caseof

many

of his greatest works, although he seldomcaredto label his_compositions after our

modern

fashion; the titles given to his piano

sonatas, for_{example, being} forthe

most

part not his own, butthose of the _publishers.

When

_{questioned as}to the

meanings

of sonata

_movements,

he

was

reticent, or

dis-posed to _{turn aside the question} with

_vague

replies, half

in _{jest, yet perhaps furnishing}

some

_slight clue to his

mood,

when

_composing

the_{work, such} as "

The

conflict

between head

and

_{heart" (Sonata} in

E

minor, Op. 90);

"

_Go

_and

read Shakespeare's'

Tempest

'" (Sonata

Apas-sionata). If one

might

suggest, not indeed a title for this fine

_movement,

but

an

ideafor_{the private} considera-tion of violinist

and

pianist

when

about to render it, it

would

be, to regard it as the_impression of _{a stormy day}

THE

PIANO

AND

VIOLIN SONATAS.

same

idea

would

_{necessarilybe conveyed} to the listener,,

but that in concerted music of _{deep significance} some-suitable idea in

common

would

help to _{secure unity}in

the reproductionofthe music.

_{At any}

rate, if treated in

the pastoral

and

_idyllic

manner

_appropriate to

some

of the previous sonatas,

would

not the _rendering be

fore-doomed

to failureas _{a misconception}?

After the storm, a calm.

The

_placid melodiousness, of the

_Adagio

_{cantabile gives the necessary}relief to the vigorousAllegro.

The

ascendingarpeggiinsemi-quavers^

and

the _rapid scale _passages further on in demisemi-quavers

must

notbe conceivedofas a return tothe

mood

of the _{stormy opening}

_movement

; due regard

must be

paid tothe _{composer'sexpress indication} "_sempre leggiera-mente "attheoutset.

For

a

_moment,

nearer the end, the rushingseptuplets,jfseem abouttousherin

some

_vigorous,

dramatic _thought; _nothing, however, happens, but a

quiet presentmentof the _principal

theme

in the _tonality of F. _Light

and

clear rather than brilliant should be the _{demisemiquavers} in the _{pianist's part} in the

final bars.

The

Scherzo isin Beethoven'searlier style:

Ex. 19. Allegro.

r

THE

VIOLIN MUSIC OF

BEETHOVEN.

Rather _curiously, the Triosection is also in

C

major.

The

violin _part is _{imitated canonically}

_by

the _piano in

the_bass,with _arpeggi in _triplets as _{an accompanimental} figure.

The

openingofthefinale atonce_proves thatthe

mood

of the first

movement

is to dominate the whole sonata,

and

that both middle

movements

areintendedto

show

this

_up

_by

_{affording the necessary contrast} in the

.strongestlight.

Ex. 20, Allegro.

H

l;

-5

2

5

-2

We

are _{borne along with} irresistible _energyuntil the

movement

culminates in a _presto. In thefirst

and

last

movements

of this fine sonata there is

more

scope

and

THE

PIANO

AND

VIOLIN SONATAS.

of both _players than in

_any

of the

more

_pastoral

and

idyllicprevious

works

we

have been _discussing.

The

_{eighth sonata, Op. 30,}

No.

3 inG,consists ofthree

movements:

_{Allegro assai, six-eight time,}

G

major;

Tempo

di _minuetto, in

E

_{flat, three-four time; Allegro}

vivace, in G, two-four time.

With

_{great vivacity} both instruments

announce

the_{openingsubject} inunison.

Ex.21. ... Allegroassai.

This semiquaver figure is

made

extensiveuseof.

We

meet

with it, confirming the

key

of the _super tonic

_(A

major),directly afterthe shortsecondsubject

which

enters

at_{bar twenty}in theorthodox

dominant

_key of

D.

It is

30

THE

VIOLIN MUSIC OF

BEETHOVEN,

in the_keyofD,

and

thenin G,like _{a mysterious echo} of the ff close in

A

before alludedto; then

new

_subject

matter follows in _{three-part counterpoint,}

and

fresh

developments, including apassage wherein the _keyof

D

is established; all this before the real development or

"_{free fantasia}"

section isreached.

We

have, it is true,

the orthodox close in the

dominant

and

_repeat of the whole ofthefirst section,yet a careful studyof thisfirst

movement

will

show

how

far in advance of all other

composers

Beethoven

had

already

gone

in this _{Op. 30.}

I cannot call to

mind

_any

"

first

movement

" of the

Mozartean

period in

which

the

composer had

given us

members

of his first _{subject immediately}after _the

pre-sentment of the first _portion of his second _subject, the secondary group of themes being immediately resumed.

Yet

everything follows in the

most

natural

and

_convincing

manner,

and

"varietyin unity

"

was

never better

shown

than here,so that the_{satisfactory result}obtained_justifies, .as _usual, Beethoven's departure from the ordinary

treat-ment

of the sonataform.

The

real _developmentsection

contains _{only twenty-three} bars; shakes of half a bar

duration_beingtossedfrom one instrument to the other againsta semiquaver

accompaniment

in _{the piano.}

Then

in the _key of

C

_sharp

minor

the first _subject rolls

mysteriouslyin the depths,

and

is_lightlyimitated

_by

the

violin above the staff, _{modulating through}

B

minor and

A

minor

so as toenterwithan exact _repetition of the

opening bars as already

shown

in

_Example

21.

The

after _portion follows orthodox _procedure, the

dominant

portion of the first section is _{duly transposed} into the tonic key, with onlyfourbarsadded

_by

_way

of coda.

The

Tempo

di Minuetto is an _exquisite

movement.

What

_{deep feeling}Beethoven is able to _{express through}

the

medium

of this old dance form! Observe the

addi-tional indication"

ma

molto moderate e_gvazioso" It isthe minuet idealised. _Surely the _{very dancers}

must

have paused to listen if such _{lovely melodies}were _ever pro-vided for _them,unless their brainswere

entirelylocated in their heels!

The

first

THE

PIANO

AND

VIOLIN SONATAS. ₃₁ quote in these_columns,

and which

we

will not spoil

by

curtailment is

virtually a delicious duet for the

two

instruments with a _{simple bass}; the violin_{repeating the}

melody

just given

by

the piano,

and

_{closing again} inthe

tonic.

The

responsive section leadsto

G

minor.

There

is

no

formal trio section, but another beautiful _melody,

which

asoulful violinist can

make

much

of is

_announced

in the middle _portion.

We

_{give the}

melody

only, the

accompaniment

being asingletripletfigure:

Ex.22.

*

_{j^-^iq~--^ijKq}

When

this hasbeen heard

_by

_{each instrument} in_turn,

thereis aresponsive

melody

in

E

flat_minor,

_and

areturn to the _principal theme.

The

theme shown

in

_Example

122 _reappears, but breaks off at the sixth bar

when

the piano hasitwith a chord of the sixthon

C

_(C,

E

flat,

A

_natural),and a _considerablyextended coda follows, in

which

the _principal

theme

is alternated betweenthe

two

instruments in the _{shortest motifs into}

which

the

_melody

couldwell besubdivided. _But, after_all,

what

arewords

and

the _{dry bones}of _analysis in face of a

movement

of

such

_{unalloyed beauty}?

Put

aside _your

_showy

concert

pieces,gentle reader; secure a sympathetic _pianist,

and

playit,with a certain inward feeling

and

refinement of expression,

and

the ears

must

be dull indeed

which

_prove

insensible to its charm.

Be

_sparing with _your close

32

THE

VIOLIN MUSIC OF

BEETHOVEN.

carefully graduated crescendi

and

diminuendi, with

_good

rhythmic feeling are the chief essentials for the

satis-factory reproduction of suchinspirations as these.

The

_allegro vivace,in

G

_{major, certainly justifies} its

title.

The

_{semiquaver figure}with

which

it starts is but seldom_{interrupted, so that} itis 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 arondo,

and

duringits

merry

course the principal

theme

is transferred into the

keys of

C

and

E

flat withexcellent effect; an effect all

the greater from the_persistent adherence to the _original tonic inthe rest of the

movement.

Dr.A. B.

_Marx,

_{the distinguished}

German

theorist

and

writer

on

musicalaesthetics,regards theremarkable trio of sonatas _{grouped under Op. 30,} as _being full_{of especial}

charm and

heartiness;

"_wonderful

elves

which

leapforth 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,

theear,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

:

"Age

cannot wither him, nor custom stale

His infinite _variety,"

These

three_{sonatas (succeeded}

_by

an _equally

remark-ableset of three for the _piano alone_{under Op.}

31)

were

written in _1802,

and saw

thelight in

May

of_{the following} year,theoriginal title_runningasfollows:

"_{Tvois Senates}

poi>w le

Pianoforte avec I*_{accompagnement}

d'un _{Violon, composees} et dediees a So, _{Majeste Alexandre}I.

Empenur

de toutes Us Russies _par Louis van Beethoven,

CEiivre

XXX.

A

Vienne an

Bweau

d'Artset a"Industrie"

"

_With

_the

accompaniment

of a violin" reads

THE

PIANO

AND

VIOLIN SONATAS. 33

manner

inwhichthethemes _{are given}toeach instrument

in turn.

We

come

now

totheviolinsonatawhich is

known

the best of all toconcert _goers, thefamous!"Kreutzer^" Op.

47,

and

certainlynoviolin sonata deserves"so

wefTsuch

frequent repetition and wide-spread popularity as this

perennially fresh inspiration of Beethoven.

Rodolphe

Kreutzer_(bornVersailles, 1766, died Geneva, 1831)

was

violinprofessor of the_{newly formed} Paris Conservatoire

in Beethoven's time.

He

was

a_{fairly prolific composer,} as well as a celebrated violin virtuoso; nineteen

con-certos,

two

double concertos, fifteen_{string quartets,} etc., were written

_by

him,butthe celebrated _FortyStudiesfor

theviolin

and

the dedication

we

are

now

alluding to,

alone _keep his

_memory

fresh.

He

succeeded

Rode

as solo violinist at the

Grand

_Opera,

and

was chamber

musician to the first _Napoleon. Beethoven

made

his

acquaintance in 1802,

when

Kreutzer visited

Vienna

in

thesuite of General Bernardotte,

Ambassador

of

Bona-parte. Hector Berlioz remarksconcerning this

dedica-tion, "IIfaut conveniv que I'hommage etait Uen adresse.

Anssilecelebveviolonne_{pent-iljamais}sedecider_{a Jouer}cette

composition outvageusementinintelligible" It seemsincredible

that a composer

whose

_{above-mentioned Forty}Studies aresuch an excellentpreparation to Beethoven's works, should failto understand

and

appreciate the sonata and thehonour done

him

; but the situation is

by

no

means

singular. Beethoven'spupil, Ferdinand Ries, says that the sonata

was

originally written for _Bridgetower.

George

Augustus PolgreenBridgetower, to give

him

his

full

_{name, was}

_{partlyAfrican, partly}Polish,or

German

by

birth, domiciled in

London, and

a

member

of Salomon's

orchestra.

He

was

known

in musical circles as the

"

Abyssinian Prince."

He

evidently

had

an

immense

opinion of his

own

importance, forhe left anote on his

copy of the

work

to the effect that Beethoven

was

so delightedwith a

Cadenza

introduced

by him

inthe ninth bar of thePresto _(inimitation of the_{piano cadenza}in the

34

THE

VIOLIN

MUSIC

OF

BEETHOVEN.

embraced

him,cryingout,

"Noch

einmal,meinlieberBursch."

("

Once

more,

my

dear fellow.")

We

are disposed to

believe that this statement is

an

_{ingenious mingling} of truth

and

falsehood. _Probably

some

_repetition

was

desired

_by

the_{composer, but} for_{a very} different reason

to_{that assigned}

_by

the violinist.

And

this view of the caseis borneout

_by

_{Czerny, who, speaking}of this par-ticular _{occasion, says that}

Bridgetower played thesonata extravagantly,

and

was, in _{consequence, laughed} at

_by

the _{composer. Further, Bridgetower admits} to _having

had

a _quarrel with the _{composer, giving} this _(without

entering into _details) as the reason

_why

the intended dedication

was

withdrawn.

The

sonata

was

_readyfor_publication in _1840, but

was

notin _printuntil _{the followingyear.}

The

last

movement

was

_{already written}in _{1802, having been} intended as a

finale to _{Op. 30 under circumstances previously}

men-tioned. Ries draws a _parallel between this

and

the

Horn

_Sonata, with _respect to the _difficulty

Beethoven

felt _{in finishing}

them

to his satisfaction.

He

says, "In this casematters did not_proceed

much

_{better, although}

a_{large part} of _{the Allegro}

was

finished betimes. Bridge-tower _pressed

him

_very

much

because the

_day

of the concert

was

_alreadyfixed,

and

he wished to _practice his part.

One

morning Beethoven had

me

called to

him

as early asfiveo'clock

and

said,'

Copy

me

quicklythis violin

partofthe first _Allegro.'

The

_pianopart

was

_{only noted}

here

and

there.

The

_{wondrously-beautiful}

theme

with variations in

F

_{major Bridgewater}

had

to _play at the concert inthe _Augarten inthe

_morning

at _{eight o'clock,}

from Beethoven's

own

_manuscript, because there

was no

timefor _copying."

Turning

to the

work

itself, its _plan is as follows:

Adagio

sostenuto _{(Introduction),} three-four _time,

A

major; Presto,

common

time,

A

minor;

Andante

con

variazioni,

two

-four _time,

F

_major;

Finale, Presto,

six-eight time in

A

major.

^

The

introduction is_{stately in manner,}

_and

forthefirst

timein these sonatas theviolin_{begins alone}:

THE

PIANO

AND

VIOLIN SONATAS. ₃₅

Ex. 23 Adagiosostenuto

Note

the_{intensityimparted} tothe_phrase

_by

_{the piano,} repeatingit with the F's natural insteadof _sharp.

I _{ought, perhaps, beforeproceeding} further in

what

is

practicallyaverylate"review

"

of a

work

so well

known

to experienced violinists

and

_{concert-goers as} this is, to

advise those

who

are _perfectlyfamiliar with _everybar of

it,to skip this portion.

But

I

am

mindful of the fact

that the keenest

and

most

enthusiastic readers are

often

_young

students

who

are _beginning to

make

their

first _{practical acquaintance} with the _masterpieces of violin literature.

For

such, analysis of _{important works}.

isuseful,whilstto_experienced

and

culturedviolinistsitis

a

weariness to find _{such compositions}

continuallybeing dissected afresh.

An

introduction

awakens

_expectancy; indefinitenessof

outline,vaguenessasto tonality,sudden contrastsof tone,

varietyin rhythm, unexpected pauses

and

modulations are the materialat the_{composer's disposal} for_producing this _effect,

and

none

knew

betterthan Beethoven

how

to

carry thelistenerfrom one _surprise to another.

We

are brought at _{the eighteenth} bar to a_pause,

_pp

in the_key

of

D

minor.

Out

of thisthe_fieryPresto_appearstodart

from

the_bow,only tobearrestedinits

mad

career at the endof itsfirst _{phrase with a pause on} the chordof C,

and

_{again with} the _{piano cadenza on} the

same

chord.

To

save space the violin_{part alone} is _givenhere,as the

melody

sufficientlysuggests to

anyone

advanced

_enough

to _{grapple with}the

work

the plainharmonies with

which

the_{pianosupports the}violin.

THE

VIOLIN MUSIC OF

BEETHOVEN.

Ex. 24 Prtsto

In exquisite contrast to the _stormy, impetuous principal subject is the _tranquil cantabilesecond

theme

in

E

_{major beginning:}

Ex. 25

p

doIce

Not

for _{long, however, do}

we

remain thus lulled to repose, the billows rise again

and

bear us irresistibly

onward. In the _developmentsection _{great use} is

made

of the first

two

notes of the _presto, as if the _subject, as _originally presented to us, were striving to enter on different _degrees ofthe_scale,

and

invariousremote_keys.

The

whole

development portion is _{incomparably fine;}

Beethoven must have

conceived it in a _{perfect fury of}

inspiration.

Woe

be to the unlucky intruder

who

interrupted

when

this spell

was

on

him

!

Long

holding notes_{with pauses over}

them

now

and

_again, arrest this

impetuous utterancewith the sense of a sudden shock,

only, however, tolet it loose_{again with}

renewed

_energy.