Representing as they do all the major and minor keys, in strict order, the set invites comparisons with similar collections by Bach and Chopin. The personal, individual stamp that each prelude receives is wholly Chopinesque, while neo-baroque Bachian contrapuntal textures abound. Each prelude is sharply etched in mood, with a concentration of effect resulting from an elemental simplicity of texture.
Arrangements of these pieces abound.
The tension in these pieces is between expectation and arrival. Almost as shocking, however, is when they manage to arrive at a perfectly conventional and pleasing cadence.
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The final result is a kind of thrilling grotesqueness, easily interpretable as having a satiric bite, but not entirely dismissible as pure comedy: the aura of melancholy and lament is far too vivid in the ear. The mock-waltz feel is even stronger in No.
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By the time it finally breaks into song, the piece, sadly is almost over. The last prelude in the set, No. It opens in an introspective but troubled frame of mind, with the violin musing obsessively over a repetitive melodic pattern. The second theme, announced by the piano before being taken up by the violin, is a lyrical tidbit of small melodic range with an insistent dotted rhythm. Where the weighty mystery lies in this movement is in the development section, in which the piano intones a low A, dominant of the key, for almost 50 bars beneath relatively serene motivic deliberations from the violin above.
All seems to be well during the recapitulation, but no sooner is the first subject reviewed when another development section breaks out that is as harmonically volatile as the previous development was stiflingly stable. Its passion spent, the recapitulation continues, but with the piano plumbing another pedal point, a low D, at the bottom of the keyboard.
Sonata N.1, Johann Sebastian Bach
Balancing the dark mysterious mood of the first movement is the Adagio, an openly lyrical aria for the violin, accompanied throughout by the piano. Noteworthy in its unvaried repetitions throughout this movement are the deeply affecting falling intervals and passionately expressive outbursts in double thirds, reminiscent of the gypsy manner.
The third movement Un poco presto e con sentimento is teasingly ambiguous in mood. That description might also apply to the second piece, marked Einfach, innig Simply, ardently , but for a somewhat tense middle section. All three pieces are very similar in the character of their main themes: each, in fact, is songful and might have served the voice just as well as the oboe.
Sonata for violin & piano No. 3 in… | Details | AllMusic
The third piece is the liveliest of the trio. Marked Nicht schnell, it is also the most rugged and colorful-sounding one in its main theme. There is more than a hint of Brahms here, a composer who was just beginning to make his mark. The middle section is lovely, similar in character to the opening melodies of the first two pieces.
The piano accompaniment is deftly wrought throughout, never overwhelming the oboe, yet always making its supportive presence felt. These Three Romances were first published in and soon entered the repertory of concert oboists throughout the world.
Descriptions from: www. Basket 0. Click on a track title to listen 1. Sonata in E-flat major, Op. Allegro amabile. Allegro appassionato. Andante con moto - Allegro. Adagio and Allegro in A-flat major, Op. Sonata in A major Allegretto ben moderato. Sonata in A major Allegro. Sonata in A major Recitativo-Fantasia. Sonata in A major Allegretto poco mosso. Drei Romanzen, Op.
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While the Third Violin Sonata is more complex in structure than its Op. Shades of two other Op. The development concludes as abruptly as it began, replaced by a conventional recapitulation of the opening section. Two characteristic moods alternate in the Andante tranquillo, in which a wistful theme is confronted by the music of a sprightly triple-time scherzo.
Violin Sonata No. 3 (Brahms)
The juxtaposition of slow and quick sections recalls the formal contrasts already explored by Brahms in the Quasi Minuetto of his String Quartet in A minor Op. Here Brahms contrasts the gentle warmth of his rondo theme with episodes of great expressive intensity. With four movements and a striking range of ideas in its outer movements, the Third Violin Sonata is bigger in size and scope than both its predecessors. The work, sketched by the shores of Lake Thun in , appears not to have been completed until later.
The composer first showed the finished piece to a group of close friends, Clara Schumann among them, in and oversaw its publication the following April. The opening Allegro is launched by a soaring main theme in the violin, the intensity of which is only lightened momentarily by the appearance of a second theme delivered by the piano in F major. Peace slowly emerges in the coda, constructed like the first development section above a piano pedal, and finds its resolution in the major mode.
Related Violin Sonata No. 3 in D Minor (2nd movement: Adagio)
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