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Home > Schnabel, Artur > Sonate für Violine und Klavier

Schnabel, Artur : Sonate für Violine und Klavier

Work Overview

Music ID : 17013
Composition Year:1935 
Publication Year:1961
First Publisher:Boosey & Hawkes
Instrumentation:Chamber Music 
Genre:sonata
Total Playing Time:23 min 00 sec
Copyright:Public Domain

Commentary (1)

Author : Hatano, Sayuri

Last Updated: September 1, 2010
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Composed in Tremezzo from June to September 1935, and premiered in New York on May 6, 1945, by Alexander Schneider and Bruno Eisner, this sonata is one of Schnabel's most frequently performed works. It consists of four movements, which are motivically interconnected. Each movement is meticulously constructed down to the smallest detail, and the intricate rhythmic interplay of the individual voices creates a unique tension.

First Movement

The first movement has a structure based on traditional sonata form. The use of the violin's relatively low register, reminiscent of a viola, and the climax created by persistent rhythmic repetition are striking.

Second Movement

The second movement, which has a scherzo-like character, is notated with the violin part in 1/2 time and the piano part in 5/8 time. Furthermore, many sections of the piano part require both hands to play a 5-against-6 rhythm, resulting in highly complex rhythmic combinations at a rapid tempo.

Third Movement

In the third movement, a gradual emergence of subtle movements from a calm progression, forming a grand climax before returning to a tranquil atmosphere, is depicted alongside lyrical melodies reminiscent of the late Romantic period.

Fourth Movement

The fourth movement is again a rapid movement with intersecting complex rhythms. As one of the tricks to create a floating sensation, irregular phrase structures that defy expectation are employed; however, for ease of performance, Roman numerals are inscribed in such passages, a method also found in Schnabel's practical editions of Beethoven's scores. The concluding section, following a climax formed by extreme rhythmic subdivisions, suddenly becomes calm, with the bass voice, reminiscent of an ostinato rhythm, uttering fragmented monologues and gradually fading away.

Writer: Hatano, Sayuri

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