Beethoven: Violin Sonatas Nos. 6 & 9 'Kreutzer'

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LUDWIG VAN BEETHOVEN
Beethoven: Violin Sonatas Nos. 6 & 9 'Kreutzer'
James Ehnes (violin) & Andrew Armstrong (piano)

[ Onyx Classics / CD ]

Release Date: Friday 12 May 2017

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Beethoven's ten violin sonatas span the period 1798-1812, from Opus 12 to Opus 96. The sixth sonata, in A major, Opus 30 No.1, is the first of a group of three composed in April and May 1802. Beethoven's substitution of a new finale for the A major Sonata makes this burst of creativity even more remarkable. Only months later, in October that year, he wrote the Heiligenstadt Testament, the despairing document which he kept secretly for the rest of his life. Beethoven dedicated Opus 30 to the young, recently-crowned Tsar Alexander I, whose apparently enlightened views - political and philosophical - he admired.

A great many life-and-works volumes give minimal attention to the A major Sonata, possibly because of its unostentatious, non-dramatic character. The sonata begins with an essentially lyrical movement in 3/4, its opening theme containing a turn figure. Introduced by the piano, the second theme is a delightful inspiration which, when adopted by the violin, acquires triplet arpeggios in the piano and some playful syncopation. In the development Beethoven treats elements of his first subject before exploiting the turn figure and, after a regular recapitulation, there is a final, witty reference to what began as a relatively insignificant scrap. Concentration on such an incidental feature would develop into a characteristic hallmark of Beethoven's mature style. Marked Adagio molto espressivo, the central movement is a rondo with two contrasting episodes. Above a rocking rhythm in the piano part the rondo theme unfolds with great tenderness. The only element of doubt to briefly disturb the peaceful, intimate mood is the minor key of the second episode. Two tiny cadenzas, the first for piano and the second for both instruments, prepare each return of the opening theme. Beethoven originally intended as the finale of this sonata the movement which would become the concluding Presto of the 'Kreutzer' Sonata. The substituted movement, in the form of a theme with six variations, is more consistent with the generally relaxed and graceful character of this earlier sonata, whereas the original Presto is taut and energetic. The affable theme leads to wide-ranging variations, beginning with brilliant triplet figuration, then legato quavers in Variation 2. The piano's moto perpetuo triplets drive Variation 3 and a humorous, skeletal version in violin multi-stopping constitutes Variation 4. Then a minor-key variation leads to a proliferation of Scotch snaps, and finally, following a brief digression, a 6/8 transformation of carefree, uncomplicated character.

The 'Kreutzer' Sonata in A major, Opus 47, the longest and grandest of Beethoven's works for this combination, is named after its eventual dedicatee, the great violinist Rodolphe Kreutzer. However, Beethoven's original dedication named George Bridgetower, an outstanding Caribbean/Polish violinist who, like Haydn, had been employed by the Esterházy family. He gave the premiere with the composer but subsequently they fell out after Bridgetower made disparaging remarks about a woman Beethoven admired. The sonata is a work of wide emotional range, described by Beethoven as 'written … almost in the manner of a concerto', each movement inhabiting its own world - vehement, sumptuously lyrical and fiercely energetic respectively. It begins with an Adagio sostenuto in A major which is of doubly striking originality. Firstly, the violin's spacious multiplestops are unaccompanied, and secondly, the major key is soon replaced by A minor, which is to be the principal key of this first movement. This introduction finally dwells on a rising semitone (E-F), which then proves germinal, not only launching the initial subject of the Presto but also prominent in the last and most powerful theme of the exposition, introduced by the piano. The intense, fiery character of the Presto is relieved only by the dolce, hymn-like second subject, beginning in E major but answered by the piano in E minor. The development is dominated by this same theme. A brief reminiscence of the Adagio intervenes before the emphatic final bars of a movement which ranks among Beethoven's greatest to date. The extended central movement comprises a theme in F major with four variations, in the first of which Beethoven wittily relegates the violin to a subsidiary, naïvely simplistic role. Variation 2 is gracefully virtuosic, exploring the violin's upper register, and the remaining variations juxtapose a legato meditation in the tonic minor and a joyful profusion of ornamentation. The transcendental quality Beethoven achieves here - more often associated with his late period - is further enhanced by the sublime coda. The Presto finale in A major, announced by a fortissimo chord from the piano, is in tarantella rhythm and again the rising interval of a semitone (from the opening movement) occasionally becomes an insistent feature. Schubert, though he seldom imitated Beethoven in an obvious way, was surely influenced by this finale when he composed the equivalent movement of his D minor Quartet. The second subject, closely related to the third theme of the opening movement, maintains the compulsive rhythmic character, accompanied by galloping quavers. A third idea in 2/4 - beginning with three minims - brings respite and leads to a ritardando before the original tempo returns. The intense development finally appears to lose its way (in the manner of Haydn) before a crescendo heralds the recapitulation. Near the end two Adagio phrases only briefly restrain the momentum of this joyful, irrepressible finale.

Philip Borg-Wheeler (from the CD liner notes)

"There's a clarity of ideas that means they never have to overstate...For some listeners, the featherweight diction won't be brawny or volatile enough for mid-period Beethoven, but it would be wrong to mistake cleanliness for lack of emotional heft...The uncluttered, conversational generosity of this duo speaks volumes." Guardian

"there is always room for performances as vital and compelling as these... it's the subtle interplay between the two players, ceding to each other as they "converse" melodically in the central variation movement [of the Kreutzer], that impresses here." Sunday Times

"[Kreutzer Sonata] Ehnes and Armstrong are ravishing in the slow movement, truly molto espressivo, while a sense of playfulness is apparent in every bar of the finale, setting the seal on a compelling addition to Ehnes and Armstrong's remarkable discography" Gramophone

"The Kreutzer Sonata is placed first, so we hear James Ehnes and Andrew Armstrong presenting their credentials in turn - Ehnes with effortless accurate double stops, and Armstrong picking up the thread, matching phrasing and mood. The turbulent main section of the movement is absolutely precise in ensemble, and projects a wide gamut of tone and dynamics." BBC Music

Tracks:

Violin Sonata No.9 in A op.47 'Kreutzer'
1 Adagio sostenuto 13.43
2 Andante con variazioni 16.07
3 Finale: Presto 8.23

Violin Sonata No.6 in A op.30/1
4 Allegro 7.54
5 Adagio molto espressivo 7.23
6 Allegretto con variazioni 8.16