Violin Sonata No. 3, Movement 1 - Piano Score
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The central section is more animated, and recalls the dotted rhythm of the previous movement's main theme; the principal theme returns in the violin's double stops to round out the movement. Brahms wove two songs from his Op. The movement is in rondo form, and, in its scherzando quality, recalls the finale of the B-flat Piano Concerto, written just a year before.
Most of the movement whose main theme begins with the familiar dotted rhythm is couched in a romantic minor key it turns brighter during one episode for a return of the theme from the second movement, played in double stops by the violin , but moves into a luminous major tonality for the coda.
Search Search Gift Shop cart Cart. Log In Log In. Experience the Digital Stage. Give Now Help us continue to provide the outstanding performances you've come to expect! Gift Shop Shop Now. Back Plan Your Trip. It continues to incorporate the turn figure from the beginning of Theme 1. The three-sharp key signature of A major and F-sharp minor is used. The transition now follows its course to a half cadence in the home key of D instead of the F of the exposition.
The violin enters in counterpoint. The piano figuration is somewhat altered from the exposition. A shorter statement than in the exposition, it does not reach a full cadence, but is interrupted earlier by the closing gesture as it hints at F major. Rather than settling to a cadence, however, it goes the other direction and builds, culminating in the forceful descending passage from the new transition from 4: The descending piano line, broken between the hands as at the beginning, is now in full harmony.
A new pedal point begins, but now it is on D instead of A.
The two-string oscillation between Theme 1 and the opening bass line is heard, as at the opening of the development, along with the entry of the right-hand counterpoint and the turn figure now also heard in the piano bass. Also, the pedal point on the keynote D does not have the sense of tension and anticipation as the one on A had.
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The three descending notes from the end of the development section at 2: The pedal point is broken and the bass note moves as two anticipatory rests are reached in both instruments. The initial rising fourth swells in volume and the following turn figure is heard three times, each an octave lower than the last.
These are passed down the strings and dovetail each other while settling back down to a quiet dynamic. They continue to suggest D minor as the full harmonies of the piano beginning with strong syncopation move to D major. The final major chord is very serene. Adagio Binary form, with statement and expanded counterstatement.
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The melody is characterized by a long note followed by three shorter ones. The piano plays steadily on each beat of the slow triple meter. The left hand is largely in octaves. Near the first cadence, it becomes mildly syncopated, tying two chords over bar lines. At the weak cadence, the piano imitates the violin. The piano becomes more active, adding an moving internal voice that harmonizes with the bass.
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The piano bass has a bar line-crossing syncopation at the cadence. The strong cadence merges into an upward winding passage from the violin over two-note piano descents.
It rapidly increases in volume and culminates in a very warm descending series of minor-tinged double-stop thirds in the violin against rolled chords in the piano. The music quickly settles back down.
The first statement of the Theme 1 outburst is the same as in the exposition. It now moves toward B-flat minor. Sor - Six divertissements pour la guitare Opus 2. Connect facebook twitter youtube instagram tumblr. After two statements of this phrase with different harmonies, a cadence in C-sharp minor is reached. A lyrical melody in the piano with strong accents on weak parts of beats. Adagio molto espressivo III.
The piano plays a three-chord figure with the first chord leaping down to a repeated chord. This is similar to its accompaniment pattern at the opening of the movement. The piano alone then uses both elements to lead back to D major for the counterstatement. The piano right hand now doubles the violin in the melody while the left hand plays detached arpeggios in triplet rhythm three notes to a beat.
The statement is significantly stronger than the opening of the movement. Doubling ends after four measures, and the music becomes more quiet. A small expansion happens right before the first weak cadence, which is now in G major instead of D. The triplet arpeggios in the left hand become spaced out by a beat and then stop. The piano bass has the bar line-crossing syncopation previously heard before Theme 2. The strong cadence is analogous to that at 1: A winding figure in the violin, played over piano chords with the hands in contrary motion, gains intensity and speed, culminating in an expanded, rapturous statement of the descending double thirds without the minor-key flavor.
This is the climax of the movement, and arrives over faster arpeggios and low bass octaves in the piano. The descending thirds and the piano arpeggios slowly settle down. A violin trill leads into the final Theme 1 statement. The two repeated notes, the jump up a third and back to them, and the descending three-note figure created when that third is filled in are the important elements. Violin double stops punctuate the gesture, mostly on weak beats. The music is secretive and quiet.
A rapidly descending piano arpeggio is heard, and the left hand of the piano, nearly absent until now, begins to assert itself with punctuating chords and octaves that are heard together with the violin double stops. After two statements of this phrase with different harmonies, a cadence in C-sharp minor is reached. The violin now takes the lead with the figures previously heard in piano octaves. The piano plays light arpeggios, first descending and later ascending, where the violin double stops had been.
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The left hand introduces a strong descending scale figure in detached notes. Here, the violin resumes its original role where it had previously abandoned the double stops. The piano now plays upward instead of downward sweeping arpeggios as the C-sharp minor cadence is reached. The violin figures emerge into a line that runs in counterpoint to the main melody in the piano.
It now moves toward B-flat minor. The violin now has the gesture itself in double stops continuing the role reversal from 1: Do not see this window again for the duration of the session. Adagio molto espressivo III. Be the first to write down a comment. You are not connected, choose one of two options to submit your comment: Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist.
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