The great Ukraine-born Soviet violinist of the 20th century, Leonid Kogan, and his daughter, pianist Nina Kogan perform Ludwig van Beethoven’s Violin Sonata No. 9 Opus 47, commonly known as the “Kreutzer Sonata”.
Beethoven’s Violin Sonata No. 9 Opus 47, the “Kreutzer Sonata”
Beethoven’s Violin Sonata No. 9 in A major, Op. 47, widely known as the “Kreutzer Sonata,” is one of his most ambitious and technically demanding works for violin and piano. Composed in 1802-1803, this sonata stands out not only for its length and complexity but also for its dramatic, almost symphonic character.
Sources suggest the work was originally titled “Sonata mulattica composta per il mulatto Brischdauer (Bridgetower), gran pazzo e compositore mulattico” (Mulatto Sonata composed for the mulatto Brischdauer, big wild mulatto composer), and in the composer’s 1803 sketchbook, as a “Sonata per il Pianoforte ed uno violino obligato in uno stile molto concertante come d’un concerto”.
The sonata was originally dedicated to the Afro-European (born in Poland) violinist George Bridgetower (11 October 1778 – 29 February 1860), who performed it with Beethoven at the premiere on 24 May 1803 at the Augarten Theatre at a concert that started at the unusually early hour of 8:00 am. Bridgetower sight-read the sonata; he had never seen the work before, and there had been no time for any rehearsal.
However, research indicates that after the performance, while the two were drinking, Bridgetower insulted the morals of a woman whom Beethoven cherished. Enraged, Beethoven removed the dedication of the piece, dedicating it instead to the French violinist Rodolphe Kreutzer (15 November 1766 – 6 January 1831), who was considered the finest violinist of the day. However, Kreutzer never performed it, considering it “outrageously unintelligible”. He did not particularly care for any of Beethoven’s music, and they only ever met once, briefly. Despite this, the name “Kreutzer Sonata” has endured, and the piece remains one of Beethoven’s most celebrated chamber works.
The Kreutzer Sonata challenged the conventions of the classical violin sonata, showcasing Beethoven’s innovative approach to form, harmony, and emotional expression. At the time, violin sonatas often emphasized elegance and balance, with the violin usually playing a complementary role to the piano. Beethoven, however, expanded the sonata’s scope, crafting a piece that gives equal prominence to both instruments. The piano and violin engage in a dynamic, almost conversational relationship, with each instrument taking turns leading, echoing, and challenging the other. This interplay contributes to the sonata’s heightened sense of drama and intensity, setting it apart from the more restrained works of the Classical era.
From its opening notes, the Kreutzer Sonata captures attention with a fiery, intense quality that moves through a range of moods – passionate, lyrical, and even turbulent at times. Beethoven uses rapid shifts in tempo, dynamic contrasts, and intricate passages to create an emotionally charged atmosphere. The sonata’s dramatic nature and technical demands have made it a favorite for performers, though it requires not only technical skill but also a deep emotional connection to interpret its complexities effectively.
The sonata’s groundbreaking nature has also had a profound impact on music and culture. It inspired numerous works in literature, including Leo Tolstoy’s novella The Kreutzer Sonata, which explores themes of passion, jealousy, and obsession, reflecting the intensity of Beethoven’s music. The piece also holds a significant place in the violin and piano repertoire, symbolizing Beethoven’s transition from Classical restraint to Romantic expressiveness. In its daring complexity, the Kreutzer Sonata exemplifies Beethoven’s ability to push musical boundaries and redefine genres, leaving a lasting influence on both violin sonatas and chamber music.
Referring to Beethoven’s composition, Leo Tolstoy’s novella The Kreutzer Sonata was first published in 1889. That novella was adapted into various stage and film productions, contributing to Beethoven’s composition becoming known to the general public.
Movements
1. Adagio sostenuto – Presto (A major – A minor, sonata form)
The first movement of Beethoven’s Kreutzer Sonata, marked Adagio sostenuto – Presto, is both dramatic and innovative, setting a powerful tone for the entire piece. The movement begins with a slow, stately Adagio sostenuto in A major, an unusual opening for a violin sonata of this period. This introduction features a hauntingly beautiful melody on the violin, supported by rich chords on the piano. The restrained yet intense opening creates a sense of anticipation and tension, establishing an emotional depth that foreshadows the turbulent Presto section to come.
The Adagio then abruptly transitions into the Presto, shifting to A minor and launching into a fast, furious sonata form. Here, the music becomes fiery and vigorous, with rapid scales, sharp accents, and dynamic contrasts between the violin and piano. Both instruments engage in a thrilling exchange, with the violin delivering passionate, sweeping phrases while the piano provides a relentless, driving rhythm. This interplay gives the movement an almost symphonic quality, blurring the lines between chamber music and orchestral texture.
In Presto, Beethoven explores a wide range of emotions, from fierce intensity to moments of lyrical beauty, using sudden shifts in dynamics and harmony to keep the listener on edge. The movement’s dramatic contrasts and technical demands make it a showcase for both instruments, requiring virtuosity, precision, and expressive depth. This opening movement serves as a statement of Beethoven’s bold vision, pushing the boundaries of the violin sonata form and paving the way for the expressive possibilities of the Romantic era.
2. Andante con variazioni (F major, variation form, with the third variation in F minor)
The second movement of Beethoven’s Kreutzer Sonata, titled Andante con variazioni, provides a stark contrast to the intensity of the first movement. Set in F major, this movement adopts a theme and variations form, bringing a more lyrical and introspective quality to the sonata. The main theme is simple, graceful, and delicately balanced, with a song-like melody introduced by the piano and echoed by the violin. This gentle opening theme creates a serene and almost pastoral atmosphere, giving the listener a moment of calm after the stormy first movement.
Each variation explores different textures and emotional nuances, allowing both instruments to alternate between supporting and leading roles. The first two variations maintain the light-hearted character of the theme but gradually introduce more intricate embellishments, with the violin showcasing elegant ornamentation and the piano providing rhythmic support. In the third variation, Beethoven shifts to F minor, bringing a darker, more melancholic tone to the movement. This variation introduces a haunting depth that contrasts with the brightness of the original theme, offering a glimpse of emotional complexity within the overall calm.
The final variation returns to F major, restoring the movement’s gentle character with flowing, decorative lines that feel almost improvisational. The movement concludes with a sense of balance and poise, leaving behind a feeling of warmth and lyrical beauty. Through these variations, Beethoven showcases his skill in transforming a simple theme into a multifaceted expression, demonstrating both restraint and creativity. This movement serves as a reflective interlude, highlighting the lyrical interplay between violin and piano and providing emotional contrast within the sonata.
3. Presto (A major, sonata form)
The third movement of Beethoven’s Kreutzer Sonata, marked Presto and set in A major, is a thrilling and high-spirited finale that brings the sonata to an energetic conclusion. Returning to sonata form, Beethoven crafts a movement full of vitality and technical demands, requiring both the violinist and pianist to exhibit exceptional agility and control. The movement opens with an exuberant, driving theme that bursts forth with rhythmic vigor, creating an immediate sense of urgency and excitement. This theme is characterized by rapid, syncopated passages and sharp accents, which propel the music forward with a relentless pace.
Throughout the movement, Beethoven employs dynamic contrasts and complex, interwoven textures, allowing the violin and piano to engage in a spirited dialogue. Both instruments alternate in leading and responding roles, showcasing intricate runs and virtuosic flourishes that demand precision and coordination. Moments of playful exchange between the violin and piano add a lighthearted quality, balancing the movement’s intensity with flashes of humor and spontaneity.
The Presto finale also features sudden shifts in harmony and dynamic extremes, heightening the movement’s sense of unpredictability. These rapid changes and unexpected twists give the music an edge of drama, keeping listeners engaged as the tension builds toward the final cadence. This movement is a display of Beethoven’s command over structure and intensity, blending technical prowess with joyful expression. As the sonata reaches its conclusion, the Presto provides a dazzling showcase of energy and virtuosity, ending the Kreutzer Sonata on a jubilant and triumphant note.
Sources
- Violin Sonata No. 9 (Beethoven) on Wikipedia
- Rodolphe Kreutzer on Wikipedia
- George Bridgetower on Wikipedia
- Violin Sonata No. 9, Op. 47 (Beethoven, Ludwig van) on the International Music Score Library Project website
- A history and anatomy of Beethoven’s ‘Kreutzer’ Sonata on The Strad website
- The ‘Kreutzer’ Sonata: Beethoven’s Iconic Violin Sonata on LV Beethoven website
- “Rudolphe Kreutzer (1766-1831): Beethoven’s Kreutzer Sonata” on the Classic FM website
