For performers Julian Rachlin and Itamar Golan, Beethoven's final violin sonata is 'unbelievably cosmic, magical. Thank God he wrote the Tenth, and just imagine if he had also made it to a Tenth Symphony…'
This 'monumental' sonata was ahead of its time at its 1812 publication
Ludwig van Beethoven
Sonata No. 10 in G Major for violin and piano, op. 96: 2nd movement: Adagio espressivo
Julian Rachlin, violin
Itamar Golan, piano
MP3 recorded by Deutsche Welle (DW) in the chamber music hall of the Beethoven House, Bonn, on September 19, 2011
In 1812, Beethoven published his tenth and last violin sonata. Many may have thought Beethoven wouldn't write another violin sonata after his ninth - that he had reached the pinnacle of the form with the "Kreutzer" sonata. But he proved them wrong, creating a work that once again brings forth completely new sounds. The great violinist Carl Flesch marvelled in 1928 at "the spiritual depth and impressionistic, delicate colors. The sonata is of exquisite workmanship, has this dreamy, moody quality, and is ahead of its time just like certain parts of the last quartet."
Julian Rachlin agreed that the sonata goes beyond the Ninth:
"After the seeming high-point of the Kreutzer Sonata, Beethoven returns with the Tenth Sonata with completely new dimensions, new highs and lows. To me, this sonata is monumental and very forward-thinking. In principle, it has nothing to do with the other nine sonatas Beethoven had written before. Here, he enters completely new territory."
Author: Marita Berg / gsw
Editor: Rick Fulker