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Peters , n.

About 'Violin Sonata op. 30 nr. 2 1st movement complete'

Editor Harold Bauer , piano editor Franz Kneisel , violin editor. Schirmer's Library of Musical Classics , Vol. New York: G. Schirmer , Plate Editing: re-sampled to dpi, converted to black and white tif files, de-skewed, and set uniform margins. Plate J. I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too small e. You may ask me for a manually cleaned version.

Arranger Robert Keller — Berlin: N.

Brahms, Sonata for Violin and Piano No. 1, in G Major, Op. 78

The youthful Violin Sonata No. At the time, Grieg was not yet able to reconcile traditional classical formulas like the sonata form with either his profuse lyrical outpourings or the nationalistic ingredients that would color his later compositions more strongly. Still, attentive listeners may detect echoes of traditional Norwegian music in the outer movements, often from the occasional modal flavors of the melodies as well as their characteristically sudden major-minor shifts.

The finale is an exhilarating tumble of glittering melodies, again built upon three varied themes. The Violin Sonata No.

Violin Sonata No. 2 (Beethoven) - Wikipedia

But from there on, the mood shifts back and forth between the poignant lyricism of the opening and the more urgent passages of soaring rhapsodic motifs, leading into a magnificent coda. The piano leads off the second movement, setting its pensively reflective mood.

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But the theme soon grows in power and intensity, interspersed with variants of the minor-hued melancholic opening theme. A contrasting middle section shifts into the major mode, bringing an air of calm and quiet contentment before giving way to fresh elaborations of the opening theme.

Beethoven: Violin Sonata no. 5 in F major, op. 24

The dancing final movement emerges as a cleverly built sonata-form rondo, again introducing a traditional droning effect in the exposition as it builds into a waltzlike interlude. These drafts start out for all intents and purposes as fair copies, but we can see literally how Elgar begins to correct, deletes, rewrites and finally discards the whole manuscript.

In order to keep track of the many manuscripts, he finally recorded the respective current correction status on the title pages, noting, e. On top of that, the trial play-through with William Henry Reed initiated a new correction process. The fair copies include numerous erasures, corrections in ink, but also in various red and blue pencils. Different hands can be detected as apparently both Elgar and Reed made entries. We see in these autographs a composer who not only meticulously corrected his work, but who also wanted to keep maximum control over the entire production process.

And the story is still not over: The differences between the autographs and the first edition clearly show that Elgar very thoroughly read the galley proofs and even changed details at this stage, adding indications and stipulating, for example, dynamic markings. Fortunately, such a set of proofs with his entries has survived.

But this set of proofs does not explain all the changes between autograph and published first edition.

C.Milliken - Violin Sonata No. 2 in D major

If we compare the readings, autograph — galley proof — first edition, then it necessarily follows that he read two more sets of galleys, and that amongst these three galleys, what is extant is the middle set. As mentioned at the outset, such a complete documentation of the compositional process is rather rare. The first edition ultimately authorised by Elgar appeared in , thus offering a precise score secured by all the rest of the sources. But does that musical text also leave nothing to be desired? When I put it that way, then probably hardly. Here are some examples:.

At two places there are ties in the piano part of the autograph fair copy that have not made it into the printed version. Would he actually have overlooked these ties during three proofreadings? In the fair-copy autograph of the 1 st movement, bb. Are they intentionally omitted in the print? Has then the information gotten lost in the first edition?

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Or is it the other way around: Did Elgar mean ties and therefore eradicated the fingering in print to avoid misunderstandings? And, finally the dynamics in the violin right at the end of the sonata.