Program Notes. Debussy: Sonata in G minor for Violin and Piano. Print Program Notes. Create a playlist. Public Not listed Private. Violin Sonata - L Other french artists. Connect to add to a playlist. Add Videos on this page Add a video related to this sheet music.
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Be the first to write down a comment. You are not connected, choose one of two options to submit your comment Login. Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist. Both principal themes reveal soaring lyricism, the first dramatic, the second more vocal in style.
Only in the coda does the headlong rush of events subside. It is one of the most moving slow movements in all Beethoven, comparable to some of the utterances of the great final piano sonatas and string quartets. The Finale is no less astonishing. Here, for the first time, Beethoven incorporates a full-fledged, four-part fugue into an instrumental work, a practice he was to continue almost obsessively in his later works.
It is announced in the cello, with the remaining three entries given to the piano. All the traditional fugal techniques are brought into play: statements and counterstatements, inversions, imitations, episodes and stretto. The fugue culminates in a flurry of scales and trills. Born just a year apart, they also shared during their lifetimes a deep common interest in music of their homeland, and conducted extensive scholarly research into music of the Hungarian gypsies and peasants in addition to that of surrounding countries.
As such, they were among the first important ethnomusicologists. For cello and piano his catalogue includes, in addition to the work on this program, a Romance lyrique, a Sonatina and a Hungarian Rondo originally with orchestra.
For unaccompanied cello there is a capriccio and a sonata, and for violin and cello a Duo. A rhapsodic air prevails in the opening movement as it unfolds in a series of juxtaposed sectional divisions.
The first sounds are for the cello alone, a rising motif that will prove to be a key structural element in both movements of the sonata. Its descending version is equally important. In contrast to the darkly ruminative, moody Fantasia, the exuberant second movement is powerfully rhythmic and infused with the spirit of the dance. Yet, as in the case of the just-mentioned symphonies, the work seems complete despite its outward appearance as a torso.
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