A Life in Music, Box 4. Brahms: Kammermusik. Brahms: The 3 Violin Sonatas. Brahms: Violin Sonatas; Sonatensatz. The Library of Congress Recital. Beethoven: Piano Sonata No. Itzhak Perlman Collection. Oleg Kagan Musikfest ' Ricardo Odnoposoff, Violine. Brahms: Violin Sonatas; Scherzo. Brahms: Sonatas for Piano and Violin, Opp.
The Art of Itzhak Perlman. Johannes Brahms: Symphony No. Brahms: The 3 Violin Sonatas [ Recording]. A Tribute to Joseph Szigeti. Brahms, Bartok and Schubert. Brahms: Op. Brahms: Sonatas, Opp. Brahms: Violin Sonatas Opp.
E" -Sonata. Elmar Oliveira plays Brahms, Strauss, Sarasate and others. Johannes Brahms, The Violin Sonatas. Johannes Brahms: Sonatas for Piano and Violin. Leonid Kogan Legacy, Vol. Live in Vienna. The Brahms Recordings. The Great Violin Sonatas. Violin Masterpieces.
Yulia Ziskel: Violin. B Records. Paladino Music. Solo Musica. Evil Penguin. Menuetto Classics. Oehms Classics. Warner Classics. Rhine Classics. Deutsche Grammophon. Dux Records. Sony Classical. RCA Red Seal. SWR Music. Champs Hill Records. Harmonia Mundi. Sony Classics. Brilliant Classics.
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EMI Classics. Sony Music Distribution. Camerata Records. EMI Music Distribution. Sony Classical Essential Classics. Musical Concepts. Arte Nova Classics. Rca Red Seal. Its development section is particularly remarkable, being completely built over a constantly and regularly reiterated single note. The second movement is an instrumental song of great beauty that almost seems too short.
It manages to maintain a secretive playfulness despite its minor key. The finale gives the impression of being romantic and unrestrained, but indeed, it is just as carefully and economically constructed as the rest of the sonata. As in the other two violin sonatas, the first movement has no exposition repeat. The recording used in this guide was made from a live performance in Chicago. A highly dramatic tune in the violin that almost seems to start in mid-thought. It begins with a rising leap of a fourth followed by a turn figure. Against this, the piano plays restless notes alternating between hands, beginning with a distinctive descending figure in wide octaves.
The opening is marked sotto voce , giving the entire theme an unusually quiet intensity. The piano deviates from, then returns to, the two-octave distance between the hands. The triplet chords then take over completely. It begins with sudden loud chords and then develops the opening gesture in both instruments.
The piano left hand plays more isolated ascending broken octaves while the right hand decorates its descending gestures with chords and faster intervening notes. The gestures reverse direction, then the violin drops out, leaving the piano to cascade downward to a half-cadence in F. The arching figures of this gesture will play a role in the context of Theme 2. A lyrical melody in the piano with strong accents on weak parts of beats.
The left-hand accompaniment includes wide-ranging leaps, and there are many prominent rolled chords F Major. The violin the enters in counterpoint. It is slightly expanded and reaches a climax with strong syncopation, which then recedes as the tune arrives at a full cadence. While now in F major, it retains the distinctive flattened sixth degree from the minor mode. It is divided between the violin and piano, which also plays an accompaniment of quick arpeggios in a triplet rhythm, alternating descents and ascents.
The exposition closes with a distinct cadence with violin double stops, and Brahms even marks a light double bar in the score. A pedal point on A implies a motion to D the home key , and the longer it is sustained, the greater the tension and anticipation for that motion grows. The violin plays another sotto voce version of Theme 1 in the home key D minor. The violin spins out new material from the theme. The passage is centered around A minor and major. The harmony is less stable than at [m. Three longer descending notes in the violin are played, then repeated at a lower level.
The piano right hand continues the steady, constant arpeggios. The key moves closer to home, going through F major and again D major. The harmony moves from F-sharp minor to A major as the piano arpeggios now again including double notes and pedal point continue. The piano arpeggios become more repetitive, then they slow down to a wide triplet rhythm.
The violin drops out, and the constant motion of the piano right hand is finally broken up into four isolated two-note descents. It is similar to the opening of the movement, but the broken octaves of the piano are replaced by a more even and smooth motion in both hands, which move together, but not in octaves. The anticipated resolution to D minor is not completely confirmed until the second measure.
The right hand, rather than participating in the triplet chords, plays arpeggio groups against them in a four-against-three conflict. At first, these arpeggio groups ascend, but when the triplet chords take over as they had in the exposition, the arpeggio groups descend. It continues to incorporate the turn figure from the beginning of Theme 1.
The three-sharp key signature of A major and F-sharp minor is used. The transition now follows its course to a half cadence in the home key of D instead of the F of the exposition. The violin enters in counterpoint. The piano figuration is somewhat altered from the exposition. A shorter statement than in the exposition, it does not reach a full cadence, but is interrupted earlier by the closing gesture as it hints at F major.
Rather than settling to a cadence, however, it goes the other direction and builds, culminating in the forceful descending passage from the new transition from [m. The descending piano line, broken between the hands as at the beginning, is now in full harmony. CODA [m. A new pedal point begins, but now it is on D instead of A. The two-string oscillation between Theme 1 and the opening bass line is heard, as at the opening of the development, along with the entry of the right-hand counterpoint and the turn figure now also heard in the piano bass.
Also, the pedal point on the keynote D does not have the sense of tension and anticipation as the one on A had. The three descending notes from the end of the development section at [m.
The pedal point is broken and the bass note moves as two anticipatory rests are reached in both instruments. The initial rising fourth swells in volume and the following turn figure is heard three times, each an octave lower than the last. These are passed down the strings and dovetail each other while settling back down to a quiet dynamic. They continue to suggest D minor as the full harmonies of the piano beginning with strong syncopation move to D major. The final major chord is very serene. See more works by this composer. Read more at Wikipedia. This entry is from Wikipedia , the user-contributed encyclopedia.
If Movies Were Real: What is the worst fictional movie to be in, without knowing what will happen? Sonatina in G major, Anh. Back Support. Prestissimo Recorded circa , performed by Artur Schnabel file help. Namespaces Article Talk. Brahms: Op.
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