![]() ![]() This abates a little with the serene second theme, but the first movement nonetheless ends emphatically in the minor key. As the work unfolds so too does a tension between the ‘home’ key of A major and A minor, where a lot of the music sits. When the Allegro arrives, however, both instruments share the theme. The violin takes much more of the lead in proceedings, much more so than in the previous works, dominating the introduction of the first movement. The dramatic chord from the violin beginning the piece is on a grand scale, a cadenza in all but name. ![]() Right from the start it is clear we are on different ground with the Kreutzer sonata. Kreutzer Sonata, painting by René François Xavier Prinet (1901), based on Leo Tolstoy’s 1889 novella, ‘The Kreutzer Sonata’ He notes Berlioz’s opinion of the Kreutzer as ‘one of the most sublime of all violin sonatas’, and that Leo Tolstoy, who wrote a short story entitled The Kreutzer Sonata, described the work as ‘the supreme example of the power of music’. Lewis Lockwood writes that ‘with Op.47 we reach the summit of Beethoven’s early violin sonata style, now raised to a brilliant pitch of virtuosity in the most difficult violin writing of the period’. In writing the Kreutzer, he ensured the other two movements’ themes were still related to this Rondo. Beethoven wrote the Rondo finale before the other two movements, originally intending it as the finale of the sonata Op.30 no.1. It is in a sizeable three movements, lasting around 40 minutes – almost double the length of any of the other violin sonatas. ![]() The musical style, however, reflects the original violinist’s technical ability and ambition, confirmed in its labelling ‘scritta in uno stilo, molto concertante quasi come d’un concerto’ (written in a highly concert-like style, almost in the manner of a concerto’). Bridgetower had shown his prowess in an early concert performance, particularly in the slow movement, but soon after he and Beethoven quarrelled over a female friend, and the dedication was altered. The change in dedication allegedly came after the two had rehearsed the piece. Simon Nicholls, writing booklet notes for the recording by Paul Barritt and James Lisney on Woodhouse Editions, writes how Beethoven’s friend and contemporary Carl Czerny described Bridgetower as a ‘bold, extravagant’ virtuoso. A charismatic child prodigy of mixed race, the violinist ultimately settled in Britain but left his mark all over the piece, due in part to a West Indian heritage that was exotic to those he encountered. Its dedication to Rodolphe Kreutzer, who never played the piece, masks its intention as a performing vehicle for George Bridgetower, a violinist with whom Beethoven had recently become good friends. Sonata no.9 for piano and violin in A major Op.47 ‘Kreutzer’ (1803, Beethoven aged 32)īeethoven’s biggest violin sonata has a curious back story. Landscape with Noah, Offering a Sacrifice of Gratitude (1803) by Joseph Anton Koch ![]()
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