The great Argentine pianist Martha Argerich and the French violinist Renaud Capuçon perform the French romantic composer César Franck’s Sonata in A major for Violin and Piano. This performance was recorded on June 25, 2020.
César Franck’s Sonata in A major for Violin and Piano
César Franck’s Sonata in A Major for Violin and Piano is widely regarded as one of the greatest works for violin and piano ever composed. Written in 1886, it is a masterpiece that seamlessly blends Franck’s rich harmonic language with classical traditions, all while being structured within a cyclic framework – a technique where thematic material is recurrent throughout the work. This sonata stands as a testament to Franck’s compositional genius and deep understanding of both instruments.
Franck composed the sonata as a wedding gift for the renowned violinist Eugène Ysaÿe, who was 28 at the time. Although Franck was unable to attend the wedding, his gift was presented by their mutual friend Charles Bordes, who hurriedly organized a rehearsal for Ysaÿe and pianist Marie-Léontine Bordes-Pène. The pair performed the sonata to wedding guests shortly after receiving it.
The first public performance took place in Brussels later that year, on December 16th, at the Musée Moderne de Peinture. During the concert, the final movements had to be performed from memory in near darkness, as the gallery authorities did not permit artificial lighting. Despite the challenging conditions, the performance was a great success. Franck later approved Ysaÿe’s interpretation, acknowledging that his tempo adjustments enhanced the music.
Ysaÿe’s commitment to the piece ensured its lasting fame. He performed it with a wide range of pianists, including famous names like Ernest Chausson and Ferruccio Busoni. Ysaÿe’s promotion of the sonata helped cement Franck’s reputation as a major composer, even though this recognition came late in Franck’s life. Within four years of the sonata’s première, Franck passed away, having experienced only limited public success during his lifetime.
The sonata remains a staple in the repertoire of many major violinists today. It is admired for its emotional depth, its technical demands on both instruments and its harmonious blending of musical ideas. Particularly challenging is the piano part, which features extensive technical difficulties, often requiring large hands and great agility, especially in the second movement. Despite these challenges, the Violin Sonata in A continues to be celebrated as one of Franck’s finest compositions.
Movements
The sonata is distinctly cyclic in nature, with each movement sharing common thematic material that binds the work together as a cohesive whole. Franck masterfully reintroduces themes from one movement in subsequent sections, but often with significant transformations. This approach gives the sonata a sense of unity while allowing the themes to evolve and express different emotions throughout the piece.
Franck adopted this technique from his friend Franz Liszt, a pioneer in the use of cyclical form and also the father of Cosima von Bülow, to whom Franck had once promised a violin sonata. The cyclical method adds an additional layer of sophistication to the composition, giving the music a deeper narrative structure.
Vincent d’Indy, a student of Franck, famously praised the sonata, calling it “the first and purest model of the cyclical use of themes in sonata form.” He also referred to the work as “a true musical monument,” recognizing it not just as a masterpiece of its time, but as a significant contribution to the evolution of Western classical music. Through the use of this cyclical technique, Franck created a work that transcends the traditional sonata form, providing a seamless flow of ideas and emotions that resonate from beginning to end.
There are four movements. With the start times in the video above:
- Allegretto ben moderato 0:33
- Allegro 6:56
- Ben moderato: Recitativo-Fantasia 15:19
- Allegretto poco mosso 22:45
1. Allegretto ben moderato
The first movement of César Franck’s Violin Sonata in A major, titled Allegretto ben moderato, is a gentle and lyrical introduction to the sonata, characterized by its unusual 9/8 time signature. This rhythmic structure gives the movement a flowing, pastoral quality, setting it apart from more conventional opening movements, which often employ more straightforward meters.
The movement begins with a calm, song-like theme introduced by the violin, accompanied by soft chords on the piano. This theme is built on a three-note motif that will recur throughout the entire sonata, creating the cyclic structure that is a hallmark of Franck’s work. The interplay between the violin and piano is delicate and intimate, with the piano often echoing and developing the violin’s melodies.
Despite its moderate tempo and lyrical nature, there is a sense of subtle tension beneath the surface, created by the way Franck develops the harmonies and melodic ideas. The 9/8 meter further enhances the flowing and dream-like atmosphere of the movement, as the melody glides effortlessly over the compound rhythm, creating a sense of continuous motion.
The movement serves as a prelude, introducing the thematic material that will be explored in later movements. Its restrained beauty and expressive depth make it a captivating beginning to the sonata. The rhythmic and harmonic complexities in Allegretto ben moderato immediately showcase Franck’s skill in balancing emotional expression with structural innovation, making it a memorable and unique opening.
2. Allegro
The second movement of César Franck’s Violin Sonata in A major, Allegro, is a vibrant and energetic contrast to the gentle first movement. Set in a lively 3/4 time, this movement bursts with vitality and showcases the virtuosic capabilities of both the violin and piano. It is marked by rapid changes in mood and dynamic shifts, making it one of the most dramatic sections of the sonata.
The movement opens with a bold, sweeping piano introduction, immediately establishing a sense of urgency and forward motion. The violin soon joins with a powerful, soaring melody, and the dialogue between the two instruments becomes intense and fiery. This movement is highly demanding, especially for the pianist, featuring fast arpeggios, leaps, and passages that require significant technical skill. The violin, too, is pushed to its limits with rapid, intricate figurations and wide-ranging melodies.
What makes this movement particularly fascinating is its structural complexity. The main theme, full of energy and drama, contrasts with a more lyrical secondary theme that provides moments of respite. These themes alternate, creating a sense of dynamic tension and release throughout the movement.
Despite its contrasting sections, the movement retains the cyclic nature of the sonata by reintroducing material from the first movement in subtle ways. The thematic unity, combined with its technical brilliance and emotional intensity, makes the Allegro a thrilling centerpiece of the sonata. The movement builds to an exhilarating climax, demonstrating Franck’s mastery in crafting dramatic contrasts and bringing out the expressive potential of both instruments.
3. Ben moderato: Recitativo-Fantasia
The third movement of César Franck’s Violin Sonata in A major, marked Recitativo-Fantasia: Ben moderato, is the most introspective and free-form section of the entire sonata. Unlike the structured, rhythmic drive of the previous movements, this one unfolds in a more improvisational, rhapsodic manner, with a sense of deep contemplation and emotional nuance.
The movement begins with the violin playing a series of recitative-like phrases, almost as if it is speaking in a dialogue with the piano. These phrases are unaccompanied at first, giving the violin a sense of freedom and spontaneity. The piano enters gradually, providing sparse, atmospheric chords that complement the violin’s lines without overpowering them. This creates a haunting and ethereal soundscape, allowing both instruments to explore their full expressive potential.
The structure of the movement is loose, as the title Fantasia suggests, with alternating sections of quiet reflection and more intense, dramatic outbursts. The violin often seems to be searching for something, with wandering melodies that rise and fall unpredictably, while the piano responds with delicate, shimmering textures. The mood is contemplative, even mysterious, evoking a dream-like atmosphere.
Though the movement lacks the overt thematic repetition of earlier sections, it still maintains Franck’s cyclic structure. Melodic fragments from the first movement subtly reappear, woven into the fabric of this freer musical conversation. This continuity, along with the movement’s emotional depth and improvisational feel, gives Recitativo-Fantasia a unique character that bridges the passionate second movement and the more structured finale. Its lyrical intensity and free-flowing nature make it a deeply expressive and emotionally rich part of the sonata.
4. Allegretto poco mosso
The fourth movement of César Franck’s Violin Sonata in A major, titled Allegretto poco mosso, serves as the joyful and triumphant conclusion to the sonata. This movement is marked by its warm, lyrical character and a sense of resolution, bringing together many of the thematic elements introduced earlier in the work. It is structured in a canon, where the violin and piano engage in a conversation of overlapping and echoing phrases, creating a sense of unity and harmony.
The movement opens with a gentle, flowing melody introduced by the piano, which the violin soon picks up. This melody is elegant and optimistic, contrasting with the more introspective mood of the previous movement. The cyclic structure of the sonata is once again emphasized, as the themes from earlier movements reappear in transformed versions, giving the finale a sense of cohesion and closure.
What sets this movement apart is the way Franck masterfully balances simplicity and complexity. The canon structure creates intricate interplays between the violin and piano, but the overall effect is one of clarity and ease, allowing the melodic beauty to shine through. The dialogue between the instruments is intimate and balanced, with neither overshadowing the other.
As the movement progresses, the music becomes increasingly expressive and radiant, building to a joyful climax. The emotional warmth of the final passages brings the sonata to a satisfying close, with both instruments sharing the melodic lines equally in a celebratory conclusion. The Allegretto poco mosso encapsulates the overall spirit of the sonata – cyclic unity, emotional depth, and technical brilliance—making it a fitting and uplifting finale to one of Franck’s most beloved works.
Sources
- Violin Sonata (Franck) on Wikipedia
- Violin Sonata (Franck, César) on the International Music Score Library Project website
- César Franck: Sonata for Violin and Piano in A Major, M. 8 on the Classical Connect website
- César Franck: Sonata for Violin and Piano on the L.A. Phil website
- Chopin: Scherzo No. 3 [İlyun Bürkev] - September 14, 2024
- César Franck: Violin Sonata [Argerich, Capuçon] - September 8, 2024
- Beethoven: Piano Sonata No. 23 “Appassionata” [Anna Fedorova] - September 7, 2024