Violinist Julian Rachlin calls the sonatas of opus 30 'key works' within the cycle, as they mark Beethoven's departure from the tradition of focusing on the piano. 'For me, it's a revolution,' Rachlin said.
Beethoven breaks with tradition to bring the violin and piano into a dialogue of equals
Ludwig van Beethoven
Sonata No. 6 in A Major for violin and piano, op. 30, No. 1: 2nd movement: Adagio molto 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 18, 2011
In 1801, just after Beethoven had finished composing the sonatas of op. 23 and 24, he began sketching new violin sonatas. By early 1802, three new works - in A Major, C Minor and G Major - were finished.
Beethoven clearly treads new paths here, treating both piano and violin as full equals and no longer distinguishing between melodic and accompanying instrument. Instead, both share themes inseparably, both present the essential musical ideas and motifs.
"I love the A Major Sonata, its purity and intensity," said Julian Rachlin. "I consider it a bridge between the early and later sonatas. Here, for the first time, Beethoven really turns the listener's expectations upside down."
Author: Marita Berg / gsw
Editor: Rick Fulker