Phone
Tablet - Portrait
Tablet - Landscape
Desktop
Toggle navigation
Performers
Steinway Performers
Albright, Charlie
Anderson, Greg
Arishima, Miyako
Benoit, David
Biegel, Jeffrey
Birnbaum, Adam
Braid, David
Brown, Deondra
Brown, Desirae
Brown, Gregory
Brown, Melody
Brown, Ryan
Caine, Uri
Chen, Sean
Chulochnikova, Tatiana
Deveau, David
Farkas, Gabor
Feinberg, Alan
Fung, David
Gagne, Chantale
Golan, Jeanne
Goodyear, Stewart
Graybil, Matthew
Gryaznov, Vyacheslav
Gugnin, Andrey
Han, Anna
Han, Yoonie
Iturrioz, Antonio
Khristenko, Stanislav
Kim, Daniel
Li, Zhenni
Lin, Jenny
Lo Bianco, Moira
Lu, Shen
Mahan, Katie
Mao, Weihui
Melemed, Mackenzie
Min, Klara
Mndoyants, Nikita
Moutouzkine, Alexandre
Mulligan, Simon
Myer, Spencer
O'Conor, John
O'Riley, Christopher
Osterkamp, Leann
Paremski, Natasha
Perez, Vanessa
Petersen, Drew
Polk, Joanne
Pompa-Baldi, Antonio
Rangell, Andrew
Roe, Elizabeth Joy
Rose, Earl
Russo, Sandro
Schepkin, Sergei
Scherbakov, Konstantin
Shin, ChangYong
Tak, Young-Ah
Ziegler, Pablo
Facebook
Twitter
Instagram
Back 1 step
Ludwig van Beethoven
Ludwig van Beethoven
Sonata for Violin and Piano no 5 in F major, Op. 24 "Spring"
Interpretations
About This Work
Controls
Cover
Artists
Label
Movements
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
About This Work
This, Beethoven's fifth violin sonata, was the first to break away from the Classical three-movement sonata format. It was a tentative breach, though; the new Scherzo is barely more than a minute long. The work breaks with the eighteenth century in other ways, particularly in the relaxed lyricism that suffuses each movement.
The opening Allegro begins with one of those generously lyrical themes, sung by the violin over delicate keyboard accompaniment. A second theme group is busier and more clouded, but the soft sunlight soon returns in the curvaceous opening melody. In the development section, Beethoven uncharacteristically gives equal attention to all his themes, but he casts the opening tune in a minor key, maintaining an unsettled (though never violent) feeling throughout the section. The slow movement, Adagio molto espressivo, shifts to the key of B flat and a deeply pensive mood. The piano first presents the nostalgic melody, upon which the violin then meditates for a while. The two instruments then engage in a gentle dialogue based on this theme. The witty third movement, Scherzo & Trio, Allegro molto, begins and ends with a brief stop-and-start tune, with the violin deliberately out of sync with the piano. In the middle comes a very brief, skittering passage for both instruments. The final movement is far more substantial. A rondo marked Allegro ma non troppo, it begins in a pleasant, rather courtly Mozartean style. This refrain returns in various guises, though never significantly altered; in between are minor mode passages of some agitation and modest drama, although the sunny disposition of the main theme wins out in the end.
-- AllMusic.com
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
1090F77007856732CAE7BE5837362694