Соната №5 для скрипки и фортепиано F-dur, Op.24

Скрипичная соната №5, известная как "Весенняя" или "Frühlingssonate", была опубликована в 1801 году и посвящена графу Морицу фон Фрис (Moritz von Fries), которому также были посвящены четвертая скрипичная соната, струнный квинтет и седьмая симфония.

Произведение состоит из четырех частей:

1. Allegro
2. Adagio molto espressivo
3. Scherzo. Allegro molto
4. Rondo. Allegro ma non troppo

Гидон Кремер, скрипка
Марта Аргерих, фортепиано

Скерцо и его трио необычно короткие. Общее время звучания - около 22-х минут.

Beethoven's sonata in F-major opus 24, the "Spring" sonata was published in 1801 and advertised at the time as a sonata for the piano with violin obligato. For all that, the work is well-balanced as between the two instruments. This is a flowing, lyrical work from Beethoven's first period and reminds the listener of Beethoven's ability to compose beautiful melody. The first movement consists of a lyrical, expansive initial theme followed by a second, energetic, theme which dips into the minor key. The second movement is a slow, reflective lyric, reminding me of Schubert, set over a piano accompanyment in broken chords. The third movement is a very short, rhythmically complex scherzo while the finale is a rondo with a singing theme reminiscent of the opening movement.

Of the ten sonatas for violin and piano composed by Beethoven, No.9 "Kreutzer" and No.5 "Spring" remain the perennial favorites. While No. 9 is dramatic, passionate and grand, No. 5 is just plain SWEET. From start to finish, it is Ludwig van at his most charming. As the prolific (not to mention modest) writer David Ewen published in his book Ewen’s Musical Masterworks – the Encyclopedia of Musical Masterpieces: "Spring Sonata in F major, Op.24 is a work requiring little comment…" (He should have left it at that.) So, don’t waste the time reading these notes . Just sit back and enjoy fully this lovely work - with the added enjoyment of knowing that despite the fact that the power may go out (yet if it did, the music could continue), you are in a place where in February the world’s already abloom.

However, for those who insist: take notice how in the first movement Allegro, at the very beginning of the opening theme Beethoven uses what might be perceived as merely an ornamental figure as a building block of the movement. Incidentally, this figure also makes an appearance in the beautiful slow movement. The third movement scherzo is striking in its brevity, barely over a minute long. Those familiar with Robert Schumann’s Album for the Young Op.68, will notice that in the second piece of the collection, The Soldier’s March (Soldatenmarsch) Schumann has appropriated the tune, without the humorous offbeat rhythm. The finale is a tuneful Rondo. For what it’s worth, the work was dedicated to Count Moritz von Fries, and the appellation "Spring" was not the composer’s.

This, Beethoven's fifth violin sonata, was the first to break away from the Classical three-movement sonata format. It was a tentative breach, though; the new Scherzo is barely more than a minute long. The work breaks with the eighteenth century in other ways, particularly in the relaxed lyricism that suffuses each movement.

The opening Allegro begins with one of those generously lyrical themes, sung by the violin over delicate keyboard accompaniment. A second theme group is busier and more clouded, but the soft sunlight soon returns in the curvaceous opening melody. In the development section, Beethoven uncharacteristically gives equal attention to all his themes, but he casts the opening tune in a minor key, maintaining an unsettled (though never violent) feeling throughout the section. The slow movement, Adagio molto espressivo, shifts to the key of B flat and a deeply pensive mood. The piano first presents the nostalgic melody, upon which the violin then meditates for a while. The two instruments then engage in a gentle dialogue based on this theme. The witty third movement, Scherzo & Trio, Allegro molto, begins and ends with a brief stop-and-start tune, with the violin deliberately out of sync with the piano. In the middle comes a very brief, skittering passage for both instruments. The final movement is far more substantial. A rondo marked Allegro ma non troppo, it begins in a pleasant, rather courtly Mozartean style. This refrain returns in various guises, though never significantly altered; in between are minor mode passages of some agitation and modest drama, although the sunny disposition of the main theme wins out in the end.

(All Music Guide)