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Beethoven: Violin Sonatas Nos. 6-8

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Ludwig van Beethoven (1770 - 1827) Sonata for Violin and Piano in A Major, Op. 30, No.1 Sonata for Violin and Piano in C Minor, Op. 30, No.2 Sonata for...

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Ludwig van Beethoven (1770 - 1827)

Sonata for Violin and Piano in A Major, Op. 30, No.1

Sonata for Violin and Piano in C Minor, Op. 30, No.2

Sonata for Violin and Piano in G Major, Op. 30, No.3

Ludwig van Beethoven's early musical training at home in Bonn had provided him with some ability as a string player as well as with more remarkable virtuosity on the keyboard. As a court musician, he followed his inadequate father and his highly distinguished grandfather in the service of the Archbishop-Elector of Cologne, employed both as court organist and as a viola-player. When he finally left Bonn for Vienna in 1792, it has been suggested that he took violin lessons from Ignaz Schuppanzigh, a former viola-player, six years Beethoven's junior, who had recently turned to the violin and a professional career that was to be of some distinction.

Beethoven's memorandum book, at least, contains the note Schupp. 3 times a W., which others suppose a reference to Schuppanzigh's father, a professor at the Realschule, who might have been recruited to help make up the deficiencies in the young man's general education. He also received instruction on the violin from Wenzel Krumpholtz, a former member of Haydn's orchestra at Esterhaza, who had recently joined the Vienna court orchestra, a musician who showed a rare early understanding of Beethoven's work as a composer.

Nevertheless his early career in Vienna was primarily as a pianist of considerable virtuosity, a course of life limited from the turn of the century by his deafness and by his growing prowess as a composer of the most remarkable power and originality.

Beethoven's compositions for violin and piano cover a period from about 1790 until 1818. An early set of variations on a theme from Mozart's opera The Marriage of Figaro and a Rondo were followed by the first complete violin and piano sonatas, a set of three published in 1799 and composed during the course of the preceding two years. The sonatas were dedicated to the Imperial Kapellmeister Antonio Salieri, from whom Beethoven had sought lessons on his first arrival in Vienna, acquiring from him a growing understanding of vocal writing. While early lessons from Haydn were soon abandoned, the lessons with Salieri, for which no charge was made, continued for at least ten years.

The three sonatas of Opus 30 were dedicated to Tsar Alexander I of Russia and written in 1802, at a time when Beethoven was increasingly depressed by ill health. The first of the sonatas, in the key of A major, originally included the finale of the later Kreutzer Sonata. The first movement opens with a genuine duet between violin and piano, while the second theme is entrusted first to the keyboard. The slow movement is an expressive D major Adagio, followed by a final theme and six variations, the contrapuntal fifth of them in the key of A minor, before the final lilting Allegro.

The second sonata of the set, in the key of C minor, opens with a rhythmic figure that assumes considerable importance in the movement. The second theme, in E major, offers a sprightly contrast and material for the later contrapuntal treatment. The A flat Adagio cantabile is characteristic of Beethoven in its singing quality, an aspect of his keyboard-playing that was much admired by contemporaries. There is a lively C major Scherzo and a canonic Trio that Haydn might have approved. The last movement explores a wide range of the keyboard, with a gruff principal theme in C major, the key in which the sonata ends.

The third of the Opus 30 violin sonatas, in G major, opens with a dramatic figure played together by violin and piano, a brief introduction to a snatch of melody, seized upon by the violin and extended. Unexpectedly the second subject is in D minor, followed by a D major conclusion to the exposition, a brief development that makes much of the opening figure and a final recapitulation. The second movement, in E flat, is marked at the speed of a Minuet. It opens with a singing melody played by the piano, followed by the violin and later undergoing various gentle metamorphoses. The final movement, a lively moto perpetuo, may sometimes remind us of Haydn, a composer from whom Beethoven, his pupil, churlishly claimed to have learned nothing. There is an initial contrast between the rapid notes of the piano and the melody introduced above it by the violin. From this material much of the rest of the movement is derived.

Takako Nishizaki

Takako Nishizaki is one of Japan's finest violinists. After studying with her father, Shinji Nishizaki, she became the first student of Shinichi Suzuki, the creator of the famous Suzuki Method of violin teaching for children. Subsequently she went to Japan's famous Toho School of Music, and to the Juilliard School in the United States, where she studied with Joseph Fuchs.

Takako Nishizaki is one of the most frequently recorded violinists in the world today. She has recorded ten volumes of her complete Fritz Kreisler Edition, many contemporary Chinese violin concertos, among them the Concerto by Du Ming-xin, dedicated to her, and a growing number of rare, previously unrecorded violin concertos. For Naxos she has recorded Vivaldi's Four Seasons, Mozart's Violin Concertos, Sonatas by Mozart and Beethoven and the Mendelssohn, Tchaikovsky, Beethoven, Bruch and Brahms Concertos.

Jeno Jando

Jeno Jando was born at Pecs, in south Hungary , in 1952. He started to learn the piano when he was seven and later studied at the Ferenc Liszt Academy of Music under Katalin Nemes and pal Kadosa, becoming assistant to the latter on his graduation in 1974. Jando has won a number of piano competitions in Hungary and abroad, including first prize in the 1973 Hungarian Piano Concours and a first prize in the chamber music category at the Sydney International Piano Competition in 1977. He is currently engaged in a project to record all Mozart's piano concertos for Naxos. Other recordings for the Naxos label include the concertos of Grieg and Schumann as well as Rachmaninov's Second Concerto and Paganini Rhapsody and Beethoven's complete piano sonatas.

Disc 1

Violin Sonata No. 6 in A major, Op. 30, No. 1

(more info)

Composed by: Ludwig van Beethoven
Artur Balsam, piano
Benjamin Schmid, violin
Joseph Fuchs, violin
Franz Rupp, piano
Jeno Jando, piano
Regis Pasquier, violin
Jean-Claude Pennetier,
Takako Nishizaki, violin
Alfredo Perl,
Fritz Kreisler, violin

I. Allegro - 7:23
II. Adagio, molto espressivo - 7:17
III. Allegretto con variazioni - 7:46

Violin Sonata No. 7 in C minor, Op. 30, No. 2

(more info)

Composed by: Ludwig van Beethoven
Artur Balsam, piano
David Oistrakh, violin
Benjamin Schmid, violin
Hephzibah Menuhin, piano
Joseph Fuchs, violin
Franz Rupp, piano
Jeno Jando, piano
Regis Pasquier, violin
Jean-Claude Pennetier,
Paul Badura-Skoda,
Yehudi Menuhin, violin
Takako Nishizaki, violin
Alfredo Perl,
Fritz Kreisler, violin

I. Allegro con brio - 7:56
II. Adagio cantabile - 8:38
III. Scherzo: Allegro - 3:26
IV. Finale: Allegro - 5:26

Violin Sonata No. 8 in G major, Op. 30, No. 3

(more info)

Composed by: Sergei Rachmaninov Ludwig van Beethoven
Artur Balsam, piano
Christoph Seybold, violin
Byol Kang, violin
Boris Kusnezow, piano
Benjamin Schmid, violin
Joseph Fuchs, violin
Franz Rupp, piano
Jeno Jando, piano
Regis Pasquier, violin
Jean-Claude Pennetier,
Milana Chernyavska, piano
Takako Nishizaki, violin
Alfredo Perl,
Fritz Kreisler, violin
Recording date: April - June 1952

I. Allegro assai - 6:26
II. Tempo di Menuetto - 7:39
III. Allegro vivace - 3:26

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Flash 9 required. Click to download.

Composer(s):
Beethoven, Ludwig van

Artist(s):
Jando, Jeno; Nishizaki, Takako

Label: Naxos Classics
UPC: 730099528627
Item Number: 8550286
Release Date: Apr 25, 1990