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Famous Violin Sonatas
Composers: Beethoven, Brahms, Schumann, Grieg, Saint-Saëns, Respighi, Debussy, Ravel, Franck, Busoni, Poulenc, Enescu, Korngold
Artists: Kristóf Baráti, Klára Würtz, Andrea Cortesi, Marco Venturi, Alexander Vinnitsky, Vladimir Ovchinnikov, Mauro Tortorelli, Angela Meluso, Fabio Paggioro, Massimiliano Ferrati, Fabrizio Falasca, Stefania Redaelli, Matteo Fossi, Duccio Ceccanti, Antal Zalai, József Balog
💎🎵 Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): https://brilliant-classics.lnk.to/FamousViolinSonatasID
🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: https://www.brilliantclassicslicensing.com/
You can find the tracklist in the pinned comment below.
👉 Soci...
published: 22 Aug 2020
-
Beethoven.Violin.Sonata.No.9.Op.47.kreutzer.[Anne-Sophie Mutter.-.Lambert.Orkis]
نرجوا دعمكم ☺ ☺ Please support me
إشتراك + أعجبني✔ ✔Subscribe + Like
published: 01 Oct 2011
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Tartini Violin Sonata in G minor ''Devil's Trill Sonata''
Violin Sonata in G minor:
1. Larghetto affettuoso
2. Allegro moderato
3. Andante
3. Allegro assai-Andante-Allegro assai
published: 27 Dec 2010
-
Claude Debussy: Violin Sonata / Alina Pogostkina, Jérôme Ducros
Claude Debussy (1862-1918): Violin Sonata L 140 (1917)
Alina Pogostkina, Violine / Jérôme Ducros, Piano
I. Allegro vivo (0:02)
II. Intermède: Fantasque et léger (5:01)
III. Finale: Très animé (9:11)
Filmed at Solsberg Festival 2016
www.solsberg.ch
http://www.alinapogostkina.de
Producer: Thomas Märki
Sound: Joël Cormier
Post Production: Amaury Berger
Cameras: Oliver Herzog, Johannes Bachmann, Muriel Kunz, Julian Gresenz
© HMF Productions
published: 06 Apr 2017
-
César Franck - Violin Sonata
- Composer: César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 -- 8 November 1890)
- Performers: Krystian Zimerman (piano), Kaja Danczowska (violin)
- Year of recording: 1981
Sonata in A major for Violin and Piano, written in 1886.
The 4 movements alternate between slow and fast:
00:00 - I. Allegretto ben moderato
06:24 - II. Allegro
15:01 - III. Ben moderato: Recitative-Fantasia
22:45 - IV. Allegretto poco mosso
This sonata is one of Franck's best known compositions, and considered one of the finest sonatas for violin and piano ever written. It is an amalgam of his rich native harmonic language with the Classical traditions he valued highly, held together in a cyclic framework. it was a wedding present for the 31-year-old violinist Eugène Ysaÿe. Twenty-eight years earlier, in...
published: 03 Oct 2015
-
Violin Sonata No. 26 in Bb, K. 37
Provided to YouTube by TuneCore
Violin Sonata No. 26 in Bb, K. 37 · Wolfgang Amadeus Mozart
50 Mozart Masterworks You Have to Listen Before You Die (Golden Deer Classics)
℗ 2018 Oregan Publishing
Released on: 2018-01-19
Auto-generated by YouTube.
published: 22 Jan 2018
-
Robert Schumann - Violin Sonata No. 1, Op. 105 (1851)
Robert Schumann (8 June 1810 – 29 July 1856) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Please support my channel:
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Sonata for violin & piano No. 1 in A minor, Op. 105
1. Mit leidenschaftlichem Ausdruck (0:00)
2. Allegretto (8:32)
3. Lebhaft (13:22)
Ara Malikian, violin and Serouj Kradjian, piano
Description by Blair Johnston [-]
Both of Schumann's Sonatas for Violin and Piano (the present item ...
published: 05 Jun 2015
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Hilary Hahn - J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto
Music video by Hilary Hahn performing J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto. © 2018 Hilary Hahn, under exclusive licence to Decca Music Group Limited
http://vevo.ly/vzFCet
published: 08 Oct 2018
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Beethoven Violin Sonata No.3 op.12
陳子鈞小提琴獨奏會
指導教授 : 王般若教授
鋼琴合作 : 邱巧靜老師
地點 : 清華大學南大校區音樂系館演奏廳
Beethoven Violin Sonata No.3 in E b Major Op.12-3 貝多芬小提琴奏鳴曲第三號,作品12
I. Allegro con spirito
ll. Adagio con molta espressione
lll. Rondo Allegro molto
published: 02 Jun 2024
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Mozart - Violin Sonata No. 21, E Minor, K. 304 [Szeryng/Haebler]
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child prodigy, from an early age he began composing over 600 works, including some of the most famous pieces of symphonic, chamber, operatic, and choral music.
Please support my channel:
https://ko-fi.com/bartjebartmans
Sonata for violin & piano No. 21 in E minor, K. 304 (K. 300c) 1778
1. Allegro (0:00)
2. Tempo di Menuetto (6:50)
Henryk Szeryng, violin and Ingrid Haebler, piano
Description by Brian Robins [-]
The fourth of seven sonatas for piano and violin composed by Mozart in Mannheim and Paris during 1778, the E minor Sonata is the only one in a minor key. Recent paper dating has shown that while the opening Allegro was composed i...
published: 25 Mar 2016
6:41:26
Famous Violin Sonatas
Composers: Beethoven, Brahms, Schumann, Grieg, Saint-Saëns, Respighi, Debussy, Ravel, Franck, Busoni, Poulenc, Enescu, Korngold
Artists: Kristóf Baráti, Klára W...
Composers: Beethoven, Brahms, Schumann, Grieg, Saint-Saëns, Respighi, Debussy, Ravel, Franck, Busoni, Poulenc, Enescu, Korngold
Artists: Kristóf Baráti, Klára Würtz, Andrea Cortesi, Marco Venturi, Alexander Vinnitsky, Vladimir Ovchinnikov, Mauro Tortorelli, Angela Meluso, Fabio Paggioro, Massimiliano Ferrati, Fabrizio Falasca, Stefania Redaelli, Matteo Fossi, Duccio Ceccanti, Antal Zalai, József Balog
💎🎵 Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): https://brilliant-classics.lnk.to/FamousViolinSonatasID
🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: https://www.brilliantclassicslicensing.com/
You can find the tracklist in the pinned comment below.
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Most Popular Piano Music: https://brilliant-classics.lnk.to/MostPopularPianoID
Beautiful Classical Music: https://brilliant-classics.lnk.to/BeautifulClassicalMelodiesID
Classical Music For Dinnertime: https://brilliant-classics.lnk.to/ClassicalMusicforDinnertimeID
Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for other pieces on violin and more of the greatest composers. We upload daily with complete albums and compilations with the best classical music. https://brilliant-classics.lnk.to/YouTubeID
#Famous #Violin #Sonatas #BrilliantClassics #Composer #Classical #Music #Beethoven #Brahms #Schumann #Grieg #SaintSaëns #Respighi #Debussy #Ravel #Franck #Busoni #Poulenc #Enescu #Korngold
https://wn.com/Famous_Violin_Sonatas
Composers: Beethoven, Brahms, Schumann, Grieg, Saint-Saëns, Respighi, Debussy, Ravel, Franck, Busoni, Poulenc, Enescu, Korngold
Artists: Kristóf Baráti, Klára Würtz, Andrea Cortesi, Marco Venturi, Alexander Vinnitsky, Vladimir Ovchinnikov, Mauro Tortorelli, Angela Meluso, Fabio Paggioro, Massimiliano Ferrati, Fabrizio Falasca, Stefania Redaelli, Matteo Fossi, Duccio Ceccanti, Antal Zalai, József Balog
💎🎵 Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): https://brilliant-classics.lnk.to/FamousViolinSonatasID
🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: https://www.brilliantclassicslicensing.com/
You can find the tracklist in the pinned comment below.
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Beautiful Classical Music: https://brilliant-classics.lnk.to/BeautifulClassicalMelodiesID
Classical Music For Dinnertime: https://brilliant-classics.lnk.to/ClassicalMusicforDinnertimeID
Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for other pieces on violin and more of the greatest composers. We upload daily with complete albums and compilations with the best classical music. https://brilliant-classics.lnk.to/YouTubeID
#Famous #Violin #Sonatas #BrilliantClassics #Composer #Classical #Music #Beethoven #Brahms #Schumann #Grieg #SaintSaëns #Respighi #Debussy #Ravel #Franck #Busoni #Poulenc #Enescu #Korngold
- published: 22 Aug 2020
- views: 133750
16:31
Tartini Violin Sonata in G minor ''Devil's Trill Sonata''
Violin Sonata in G minor:
1. Larghetto affettuoso
2. Allegro moderato
3. Andante
3. Allegro assai-Andante-Allegro assai
Violin Sonata in G minor:
1. Larghetto affettuoso
2. Allegro moderato
3. Andante
3. Allegro assai-Andante-Allegro assai
https://wn.com/Tartini_Violin_Sonata_In_G_Minor_''Devil's_Trill_Sonata''
Violin Sonata in G minor:
1. Larghetto affettuoso
2. Allegro moderato
3. Andante
3. Allegro assai-Andante-Allegro assai
- published: 27 Dec 2010
- views: 55018038
14:04
Claude Debussy: Violin Sonata / Alina Pogostkina, Jérôme Ducros
Claude Debussy (1862-1918): Violin Sonata L 140 (1917)
Alina Pogostkina, Violine / Jérôme Ducros, Piano
I. Allegro vivo (0:02)
II. Intermède: Fantasque et lége...
Claude Debussy (1862-1918): Violin Sonata L 140 (1917)
Alina Pogostkina, Violine / Jérôme Ducros, Piano
I. Allegro vivo (0:02)
II. Intermède: Fantasque et léger (5:01)
III. Finale: Très animé (9:11)
Filmed at Solsberg Festival 2016
www.solsberg.ch
http://www.alinapogostkina.de
Producer: Thomas Märki
Sound: Joël Cormier
Post Production: Amaury Berger
Cameras: Oliver Herzog, Johannes Bachmann, Muriel Kunz, Julian Gresenz
© HMF Productions
https://wn.com/Claude_Debussy_Violin_Sonata_Alina_Pogostkina,_Jérôme_Ducros
Claude Debussy (1862-1918): Violin Sonata L 140 (1917)
Alina Pogostkina, Violine / Jérôme Ducros, Piano
I. Allegro vivo (0:02)
II. Intermède: Fantasque et léger (5:01)
III. Finale: Très animé (9:11)
Filmed at Solsberg Festival 2016
www.solsberg.ch
http://www.alinapogostkina.de
Producer: Thomas Märki
Sound: Joël Cormier
Post Production: Amaury Berger
Cameras: Oliver Herzog, Johannes Bachmann, Muriel Kunz, Julian Gresenz
© HMF Productions
- published: 06 Apr 2017
- views: 214104
29:02
César Franck - Violin Sonata
- Composer: César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 -- 8 November 1890)
- Performers: Krystian Zimerman (piano), Kaja Danczowska (violin)
-...
- Composer: César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 -- 8 November 1890)
- Performers: Krystian Zimerman (piano), Kaja Danczowska (violin)
- Year of recording: 1981
Sonata in A major for Violin and Piano, written in 1886.
The 4 movements alternate between slow and fast:
00:00 - I. Allegretto ben moderato
06:24 - II. Allegro
15:01 - III. Ben moderato: Recitative-Fantasia
22:45 - IV. Allegretto poco mosso
This sonata is one of Franck's best known compositions, and considered one of the finest sonatas for violin and piano ever written. It is an amalgam of his rich native harmonic language with the Classical traditions he valued highly, held together in a cyclic framework. it was a wedding present for the 31-year-old violinist Eugène Ysaÿe. Twenty-eight years earlier, in 1858, Franck had promised a violin sonata for Cosima von Bülow. This never saw the light of day, but it has been speculated that whatever work Franck had done on that piece was put aside and eventually ended up in the sonata he wrote for Ysaÿe in 1886. Ysaÿe kept the Violin Sonata in his repertoire for the next 40 years of his life. His championing of the Sonata contributed to the public recognition of Franck as a major composer. This recognition was quite belated, as Franck would be dead within 4 years, and did not have his first unqualified public success until the last year of his life (19 April 1890, at the Salle Pleyel, where his String Quartet in D was premiered).
- I. Allegretto ben moderato, 9/8
This gentle and sweetly reflective rocking theme, introduced by the violin after a short introduction by the piano, is the thematic core of the entire work; Franck originally intended it as a slow movement, but Ysaÿe preferred a slightly quicker tempo, and convinced Franck to mark it Allegretto.
- II. Allegro
This turbulent movement is sometimes considered the real opening movement, with the Allegretto ben moderato serving as a long introduction.
- III. Ben moderato: Recitative-Fantasia
This is improvisatory in nature, and free in both structure and expression.
- IV. Allegretto poco mosso
The main melody is heard in canonic imitation between the instruments, and recurs in a rondo-like manner to a triumphant and soaring conclusion. James Harding described the movement as "a magnificent example of canonic writing, simple, majestic and irresistible in its ample, beautifully wrought proportions".
The Franck Violin Sonata regularly appears on concert programs and on recordings and is in the core repertoire of all major violinists. Jascha Heifetz played the Violin Sonata at his final recital in 1972.
https://wn.com/César_Franck_Violin_Sonata
- Composer: César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 -- 8 November 1890)
- Performers: Krystian Zimerman (piano), Kaja Danczowska (violin)
- Year of recording: 1981
Sonata in A major for Violin and Piano, written in 1886.
The 4 movements alternate between slow and fast:
00:00 - I. Allegretto ben moderato
06:24 - II. Allegro
15:01 - III. Ben moderato: Recitative-Fantasia
22:45 - IV. Allegretto poco mosso
This sonata is one of Franck's best known compositions, and considered one of the finest sonatas for violin and piano ever written. It is an amalgam of his rich native harmonic language with the Classical traditions he valued highly, held together in a cyclic framework. it was a wedding present for the 31-year-old violinist Eugène Ysaÿe. Twenty-eight years earlier, in 1858, Franck had promised a violin sonata for Cosima von Bülow. This never saw the light of day, but it has been speculated that whatever work Franck had done on that piece was put aside and eventually ended up in the sonata he wrote for Ysaÿe in 1886. Ysaÿe kept the Violin Sonata in his repertoire for the next 40 years of his life. His championing of the Sonata contributed to the public recognition of Franck as a major composer. This recognition was quite belated, as Franck would be dead within 4 years, and did not have his first unqualified public success until the last year of his life (19 April 1890, at the Salle Pleyel, where his String Quartet in D was premiered).
- I. Allegretto ben moderato, 9/8
This gentle and sweetly reflective rocking theme, introduced by the violin after a short introduction by the piano, is the thematic core of the entire work; Franck originally intended it as a slow movement, but Ysaÿe preferred a slightly quicker tempo, and convinced Franck to mark it Allegretto.
- II. Allegro
This turbulent movement is sometimes considered the real opening movement, with the Allegretto ben moderato serving as a long introduction.
- III. Ben moderato: Recitative-Fantasia
This is improvisatory in nature, and free in both structure and expression.
- IV. Allegretto poco mosso
The main melody is heard in canonic imitation between the instruments, and recurs in a rondo-like manner to a triumphant and soaring conclusion. James Harding described the movement as "a magnificent example of canonic writing, simple, majestic and irresistible in its ample, beautifully wrought proportions".
The Franck Violin Sonata regularly appears on concert programs and on recordings and is in the core repertoire of all major violinists. Jascha Heifetz played the Violin Sonata at his final recital in 1972.
- published: 03 Oct 2015
- views: 1274745
19:57
Violin Sonata No. 26 in Bb, K. 37
Provided to YouTube by TuneCore
Violin Sonata No. 26 in Bb, K. 37 · Wolfgang Amadeus Mozart
50 Mozart Masterworks You Have to Listen Before You Die (Golden De...
Provided to YouTube by TuneCore
Violin Sonata No. 26 in Bb, K. 37 · Wolfgang Amadeus Mozart
50 Mozart Masterworks You Have to Listen Before You Die (Golden Deer Classics)
℗ 2018 Oregan Publishing
Released on: 2018-01-19
Auto-generated by YouTube.
https://wn.com/Violin_Sonata_No._26_In_Bb,_K._37
Provided to YouTube by TuneCore
Violin Sonata No. 26 in Bb, K. 37 · Wolfgang Amadeus Mozart
50 Mozart Masterworks You Have to Listen Before You Die (Golden Deer Classics)
℗ 2018 Oregan Publishing
Released on: 2018-01-19
Auto-generated by YouTube.
- published: 22 Jan 2018
- views: 387951
19:04
Robert Schumann - Violin Sonata No. 1, Op. 105 (1851)
Robert Schumann (8 June 1810 – 29 July 1856) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the R...
Robert Schumann (8 June 1810 – 29 July 1856) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Please support my channel:
https://ko-fi.com/bartjebartmans
Sonata for violin & piano No. 1 in A minor, Op. 105
1. Mit leidenschaftlichem Ausdruck (0:00)
2. Allegretto (8:32)
3. Lebhaft (13:22)
Ara Malikian, violin and Serouj Kradjian, piano
Description by Blair Johnston [-]
Both of Schumann's Sonatas for Violin and Piano (the present item and the Sonata, Op.121 in D minor) were composed during his tenure as a conductor in Düsseldorf in 1851, substantially later than his chamber works -- Piano Quintet, Piano Quartet, and the three string quartets -- which have achieved a more general renown. As such, they present a different set of challenges and rewards than do those earlier works. Signs of Schumann's impending collapse are certainly evident in the A minor Violin Sonata, but not through any deficiency of musical value; the work's dramatic and psychological complexities speak for themselves.
The undulation of the Sonata's first movement is established by the unbroken sixteenth note figuration in the piano's right hand. The music is played out with great surges of emotion and activity; the ponderous tone of the opening bars is carried away to heights of more hopeful passion as the second theme appears. The development is concise, concerning itself almost exclusively with the opening motive. The move into the recapitulation, seamless as it is, is a master stroke, as is the manner in which Schumann adapts the harmonic motion of the opening to achieve a sense of finality.
There could be little more contrast than that between the agitated closing bars of the first movement and the gentle tones of the second, marked Allegretto. This is a movement with virtually no dramatic motion. It is, instead, built of the same stuff that formed so many of the composer's earlier character-pieces. Witness the gentle, essentially dispassionate dialogue between contrasting musical ideas, the one built on a delicately descending, syncopated motion, the other more sprightly, with spiccato textures and trills, but no more forceful in nature than its companion. There is also a third idea, in F minor, more smoothly melodic and entirely pianissimo, which makes one appearance and then disappears forever. The frequent fermatas are by no means mere separation of phrases and sections, but are entirely necessary to the character of the movement. The agitation of the slightly quicker middle section is brief, only affording the players an opportunity to make a few more forceful statements before, inevitably, winding back down into the intimate tone of the opening. In this movement we can clearly see the myriad persona of Schumann characterized in his youthful writings by the names Florestan, Eusebius, and Master Raro in outline.
It is difficult to say whether or not the third and final movement of the Sonata, marked Lebhaft (Lively), is of lesser substance than its companions, for, in the hands of a capable duo, its perpetual motion sparkles until the final crescendo, after which the three staunch chords seem somewhat obtrusive and unnatural. More often than not, however, the movement comes across as dry and unnecessarily repetitive. But surely the movement's apparent shortcomings result from its composer's quest to explore increasingly subtle gradations of musical psychology. The feeling of irresolution at the end of the Sonata can by no means be construed as unintentional, but rather must be seen as Schumann's effort to honestly explore the depths of his own increasingly agitated and complex mind, regardless of whether or not the resulting product corresponded with pre-existing musical values.
https://wn.com/Robert_Schumann_Violin_Sonata_No._1,_Op._105_(1851)
Robert Schumann (8 June 1810 – 29 July 1856) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Please support my channel:
https://ko-fi.com/bartjebartmans
Sonata for violin & piano No. 1 in A minor, Op. 105
1. Mit leidenschaftlichem Ausdruck (0:00)
2. Allegretto (8:32)
3. Lebhaft (13:22)
Ara Malikian, violin and Serouj Kradjian, piano
Description by Blair Johnston [-]
Both of Schumann's Sonatas for Violin and Piano (the present item and the Sonata, Op.121 in D minor) were composed during his tenure as a conductor in Düsseldorf in 1851, substantially later than his chamber works -- Piano Quintet, Piano Quartet, and the three string quartets -- which have achieved a more general renown. As such, they present a different set of challenges and rewards than do those earlier works. Signs of Schumann's impending collapse are certainly evident in the A minor Violin Sonata, but not through any deficiency of musical value; the work's dramatic and psychological complexities speak for themselves.
The undulation of the Sonata's first movement is established by the unbroken sixteenth note figuration in the piano's right hand. The music is played out with great surges of emotion and activity; the ponderous tone of the opening bars is carried away to heights of more hopeful passion as the second theme appears. The development is concise, concerning itself almost exclusively with the opening motive. The move into the recapitulation, seamless as it is, is a master stroke, as is the manner in which Schumann adapts the harmonic motion of the opening to achieve a sense of finality.
There could be little more contrast than that between the agitated closing bars of the first movement and the gentle tones of the second, marked Allegretto. This is a movement with virtually no dramatic motion. It is, instead, built of the same stuff that formed so many of the composer's earlier character-pieces. Witness the gentle, essentially dispassionate dialogue between contrasting musical ideas, the one built on a delicately descending, syncopated motion, the other more sprightly, with spiccato textures and trills, but no more forceful in nature than its companion. There is also a third idea, in F minor, more smoothly melodic and entirely pianissimo, which makes one appearance and then disappears forever. The frequent fermatas are by no means mere separation of phrases and sections, but are entirely necessary to the character of the movement. The agitation of the slightly quicker middle section is brief, only affording the players an opportunity to make a few more forceful statements before, inevitably, winding back down into the intimate tone of the opening. In this movement we can clearly see the myriad persona of Schumann characterized in his youthful writings by the names Florestan, Eusebius, and Master Raro in outline.
It is difficult to say whether or not the third and final movement of the Sonata, marked Lebhaft (Lively), is of lesser substance than its companions, for, in the hands of a capable duo, its perpetual motion sparkles until the final crescendo, after which the three staunch chords seem somewhat obtrusive and unnatural. More often than not, however, the movement comes across as dry and unnecessarily repetitive. But surely the movement's apparent shortcomings result from its composer's quest to explore increasingly subtle gradations of musical psychology. The feeling of irresolution at the end of the Sonata can by no means be construed as unintentional, but rather must be seen as Schumann's effort to honestly explore the depths of his own increasingly agitated and complex mind, regardless of whether or not the resulting product corresponded with pre-existing musical values.
- published: 05 Jun 2015
- views: 402414
3:32
Hilary Hahn - J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto
Music video by Hilary Hahn performing J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto. © 2018 Hilary Hahn, under exclusive licence to D...
Music video by Hilary Hahn performing J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto. © 2018 Hilary Hahn, under exclusive licence to Decca Music Group Limited
http://vevo.ly/vzFCet
https://wn.com/Hilary_Hahn_J.S._Bach_Sonata_For_Violin_Solo_No._1_In_G_Minor,_Bwv_1001_4._Presto
Music video by Hilary Hahn performing J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 4. Presto. © 2018 Hilary Hahn, under exclusive licence to Decca Music Group Limited
http://vevo.ly/vzFCet
- published: 08 Oct 2018
- views: 3144443
17:22
Beethoven Violin Sonata No.3 op.12
陳子鈞小提琴獨奏會
指導教授 : 王般若教授
鋼琴合作 : 邱巧靜老師
地點 : 清華大學南大校區音樂系館演奏廳
Beethoven Violin Sonata No.3 in E b Major Op.12-3 貝多芬小提琴奏鳴曲第三號,作品12
I. Allegro con spirito
ll. Adagi...
陳子鈞小提琴獨奏會
指導教授 : 王般若教授
鋼琴合作 : 邱巧靜老師
地點 : 清華大學南大校區音樂系館演奏廳
Beethoven Violin Sonata No.3 in E b Major Op.12-3 貝多芬小提琴奏鳴曲第三號,作品12
I. Allegro con spirito
ll. Adagio con molta espressione
lll. Rondo Allegro molto
https://wn.com/Beethoven_Violin_Sonata_No.3_Op.12
陳子鈞小提琴獨奏會
指導教授 : 王般若教授
鋼琴合作 : 邱巧靜老師
地點 : 清華大學南大校區音樂系館演奏廳
Beethoven Violin Sonata No.3 in E b Major Op.12-3 貝多芬小提琴奏鳴曲第三號,作品12
I. Allegro con spirito
ll. Adagio con molta espressione
lll. Rondo Allegro molto
- published: 02 Jun 2024
- views: 43
11:59
Mozart - Violin Sonata No. 21, E Minor, K. 304 [Szeryng/Haebler]
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child pro...
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child prodigy, from an early age he began composing over 600 works, including some of the most famous pieces of symphonic, chamber, operatic, and choral music.
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Sonata for violin & piano No. 21 in E minor, K. 304 (K. 300c) 1778
1. Allegro (0:00)
2. Tempo di Menuetto (6:50)
Henryk Szeryng, violin and Ingrid Haebler, piano
Description by Brian Robins [-]
The fourth of seven sonatas for piano and violin composed by Mozart in Mannheim and Paris during 1778, the E minor Sonata is the only one in a minor key. Recent paper dating has shown that while the opening Allegro was composed in Mannheim, the following Tempo di Menuetto was composed in Paris, where Mozart and his mother finally arrived on March 23. Like all but the last of its companions, K. 304 has only two movements, but it departs from the distinctly domestic feel of the first three works in finding a new profundity of dramatic expression fully in keeping with its minor mode. In this it bears a strong resemblance to another minor-key work composed in Paris at much the same time -- the Piano Sonata in A minor, K. 310.
It may not be too fanciful to see in both works some reflection of the emotional upheaval Mozart must have experienced on leaving Aloysia Weber, the first love of his youthful life, behind in Mannheim. It was an event he had striven to delay as long as possible, much to the annoyance of his father Leopold back at home in Salzburg. Mozart's attempts to give greater equality to the violin in a genre traditionally dominated by the keyboard (not for nothing are all Mozart's sonatas designated as being for piano and violin, rather than the reverse) here takes a further step forward in the opening theme of the Allegro, which is dramatically announced complete by both instruments in unison, after which it is taken up not by the piano, but the violin. The Tempo di Menuetto movement that follows is less intense and includes a section in the major. The six sonatas K. 301 through K. 306 were published in Paris later in 1778 as Opus 1, Nos. 1-6, with the title page bearing a dedication to Maria Elisabeth, Electress of the Palatinate. For this reason they are frequently known as the "Palatine Sonatas."
https://wn.com/Mozart_Violin_Sonata_No._21,_E_Minor,_K._304_Szeryng_Haebler
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child prodigy, from an early age he began composing over 600 works, including some of the most famous pieces of symphonic, chamber, operatic, and choral music.
Please support my channel:
https://ko-fi.com/bartjebartmans
Sonata for violin & piano No. 21 in E minor, K. 304 (K. 300c) 1778
1. Allegro (0:00)
2. Tempo di Menuetto (6:50)
Henryk Szeryng, violin and Ingrid Haebler, piano
Description by Brian Robins [-]
The fourth of seven sonatas for piano and violin composed by Mozart in Mannheim and Paris during 1778, the E minor Sonata is the only one in a minor key. Recent paper dating has shown that while the opening Allegro was composed in Mannheim, the following Tempo di Menuetto was composed in Paris, where Mozart and his mother finally arrived on March 23. Like all but the last of its companions, K. 304 has only two movements, but it departs from the distinctly domestic feel of the first three works in finding a new profundity of dramatic expression fully in keeping with its minor mode. In this it bears a strong resemblance to another minor-key work composed in Paris at much the same time -- the Piano Sonata in A minor, K. 310.
It may not be too fanciful to see in both works some reflection of the emotional upheaval Mozart must have experienced on leaving Aloysia Weber, the first love of his youthful life, behind in Mannheim. It was an event he had striven to delay as long as possible, much to the annoyance of his father Leopold back at home in Salzburg. Mozart's attempts to give greater equality to the violin in a genre traditionally dominated by the keyboard (not for nothing are all Mozart's sonatas designated as being for piano and violin, rather than the reverse) here takes a further step forward in the opening theme of the Allegro, which is dramatically announced complete by both instruments in unison, after which it is taken up not by the piano, but the violin. The Tempo di Menuetto movement that follows is less intense and includes a section in the major. The six sonatas K. 301 through K. 306 were published in Paris later in 1778 as Opus 1, Nos. 1-6, with the title page bearing a dedication to Maria Elisabeth, Electress of the Palatinate. For this reason they are frequently known as the "Palatine Sonatas."
- published: 25 Mar 2016
- views: 1262810