Beethoven’s Violin Sonata Op. 23: Freedom of Interpretation in Passages of Formal Anomaly

Arielle E. Cady, BMUS Violin Performance Advisors: Ms. T. !ompson, Ms. C. Trynchuk

Abstract Formal Anomaly 1­A1!'7(2&',*'&1!2!'%.!N/!8&!+',88%((!.8!2')2'*,%.+').'&1!'Presto movement. In Findings &1!'+!"!$,/-!.&3'&1!(!')2'#'/(,/!('(!&(#.2)&),.').'/(!/#(#&),.'*,('&1!'(!&%(.',*'&1!'7(2&'&1!-!'*(,-'&1!'

!N/,2)&),.'O-!#2%(!2'PDQJPRST:''U!!&1,"!.'(!&%(.2'&,'&1!'8,((!8&'?!5'9%&'%2!2'&1!'>(,.0'&1!-!3'8(!#&).0' L. van Beethoven’s Violin and Piano Sonata Op. 23 in A minor (1800­1801) is a multi­ movement ' A1!'8,.8$%2),.'&,'-5'(!2!#(81')2'2&)$$').'/(,8!22:'4'1#"!')+!.&)7!+'#'Z8,.&(,$'0(,%/[').'&1!'Allegro a false recapitulation. sonata that has three unexpected formal events: two occurring in the Presto (movement one) and one in Molto'#.+'1#"!'%2!+')&'&,'8,-/#(!'&,'&1!'&1)(+'=,(-#$'I.,-#$5:'A1)2'Z8,.&(,$'0(,%/[',88%(2'>1!.'&1!' the Allegro Molto (movement three). These formal anomalies, discovered through the creation of form Formal Anomaly 2­The second unexpected occurrence is also found in the Presto3'9%&'+%().0'&1!'8,+#:'' .!>'&1!-!3'@3').'&1!'+!"!$,/-!.&'#//!#(2:''A1)2')2'8,.2)+!(!+'2%81'9!8#%2!'&1!'+!"!$,/-!.&')2'!N/!8&!+' diagrams, present potentially challenging moments of interpretation for performers. U!!&1,"!.'&#?!2'-,&)")8')+!#2'*(,-'&1!'7(2&'&1!-!'*,(',.$5',.!'-!#2%(!'O-:'DDET'#.+'8,.&).%!2'>)&1' &,'1#"!'#'.!>'&1!-!').'#'^,.#&#JG,.+,'*,(-:''_1!.'&1!'@'&1!-!'(!&%(.2'#0#).').'&1!'(!8#/)&%$#&),.3' The question this research project addresses is whether or not the three areas of formal anomaly thematic material from the false reprise that occurred in the development (223­243). This is unusual it is unexpected. Some performers, such as Mutter and Zukerman, chose to play the occurrence in the allow performers more freedom in personal interpretation than normal formative events. In order to 9!8#%2!'&1!'%2!',*'&1!'&1!-#&)8'-#&!()#$'*(,-'&1!'+!"!$,/-!.&')2'.,&'&5/)8#$$5'2!!.').'&1!'(!8#/)&%$#&),.:'' (!8#/)&%$#&),.'+)**!(!.&$5'&1#.'>1!.'&1!5'7(2&'+)+').'&1!'+!"!$,/-!.&:''A1)2'+)28,"!(5'21,>2'&1#&'+%().0' !"#$%#&!'(!$#&)"!'*(!!+,-',*').&!(/(!&#&),.'+%().0'&1!2!'#(!#23'4'#.#$56!+'7"!'81#-9!('(!8,(+).02:' A1!'-,(!'8,--,.'/(#8&)8!'>,%$+'1#"!'9!!.'&,').8$%+!'-#&!()#$'*(,-'&1!'!N/,2)&),.: unexpected formal events, performers do in fact choose to vary from what the composer wrote giving I created in­score analysis of each performance in which every detail was recorded. As part of my them freedom in their interpretation. Formal Anomaly 3­The third area is found in the third movement, the Allegro Molto. During the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anomaly. While the analysis of the data is still ongoing, my initial discovery does show that in the third movement, Allegro Molto3'2,-!'/!(*,(-!(2'+,'"#(5'*(,-'&1!',()0).#$'28,(!'>)&1'+5.#-)82'>1!.'&1!';@<' Step 2J@(!#&!').J28,(!'#.#$52!2',*'>1#&'!#81',*'&1!'7"!'81,2!.'/!(*,(-#.8!2'+,'+%().0'&1!'*,(-#$' theme from the Development returns unexpectedly in the Recapitulation. #.,-#$5:''W5'28,(!'#.#$52!2'!2/!8)#$$5'*,8%2',.'&1!'%2!',*'(%9#&,'#.+'+5.#-)82:''4'8,$$#&!+'-5'7.+).02' ).' $!2'&,'#$$,>'*,('!#2!',*'8,-/#()2,.:''A1)2'2&!/'#$2,').8$%+!2')+!.&)*5).0'&1!'/!(*,(-#.8!'#2'!)&1!(' Bibliography Methodology @$#22)8#$',('G,-#.&)8').&!(/(!&#&),.2: Beethoven and History ' A1)2'(!2!#(81'/(,B!8&'9!0#.'>)&1'&1!'81,)8!',*').8$%+).0'C/:'DE').'-5'F%.),('G!8)&#$'H(,0(#-:''I2' Nettl, Paul. Beethoven Encyclopedia. `!>'a,(?b'H1)$,2,/1)8#$'M)9(#(53'PKcR: a Violin Performance major, part of my training includes researching other performances to in turn make ^81-)+&Jde(03'F,2!/13'#.+'V#.2'^81-)+&:3'!+2:'Ludwig van Beethoven. `!>'a,(?b'H(#!0!('H%9$)21!(23' -5',>.'/!(*,(-#.8!'2&(,.0!(:'A1!'7.+).02',*'&1)2'(!2!#(81'/(,B!8&'>)$$'0)"!'-!'8,.8(!&!'!")+!.8!'&1#&' PKfQ: will allow my own performance to grow. Excerpt from Allegro Molto; Mutter Sonata Form Step 3J@,-/#(!'&1!'+#&#'&,'+!&!(-).!')*'&1!'&1(!!'#(!#2',*'*,(-#$'#.,-#$5'+,').'*#8&'#$$,>'*,('*(!!+,-' X#(853'_#((!.3'#.+'F#-!2'V!/,?,2?):''Elements of Sonata Theory. New York: Oxford University Press, Step 1J'=,(-#$$5'#.#$56!'&1!'2,.#&#:'=,(-'+)#0(#-2'21,>'8(%8)#$'!$!-!.&2'2%81'#2'/()-#(5'#.+' in personal interpretation. 2006. 2!8,.+#(5'&1!-!23'&,.#$'#(!#23'#.+'#$$,>2'%2'&,'2!!'1,>'!#81'2/!8)78'-,"!-!.&'8,-/#(!2'>)&1'2&#.+#(+' Test Study 3 Newman, William S. The Sonata in the Classical Era.'`!>'a,(?b'_:_:'`,(&,.'g'@,-/#.53'4.8:3'PKYE: *,(-'8$#22)78#&),.:''A1)2'2&!/')$$%-).#&!+'&1!'&1(!!'#(!#2',*'*,(-#$'#.,-#$5: Allegro Molto3'%2!',*'&1!'@'&1!-!'*(,-'&1!'X!"!$,/-!.&'+%().0'&1!'G!8#/)&%$#&),.3'-:'DRYJEQP Performance Practices O!2/!8)#$$5'*,8%2).0',.'DRY'>)&1'&1!'@'&1!-!'(!&%(.).0T Kroll, Mark, and Lewis Lockwood, eds. The Beethoven Violin Sonatas: History, Criticism, Performance. Exposition Development Performer Initial Tempo During Formal Use of Rubato* Use of Dynamics Performance h(9#.#b'h.)"!(2)&5',*'4$$).,)2'H(!223'DQQS: Am || a transition B codetta A" C RT Anomaly Other than spe- Style a “Folk a M!"53'F#.!&'W:';A1!'H,>!(',*'&1!'H!(*,(-!(b'4.&!(/(!&).0'U!!&1,"!.:<'The Journal of Musicology: A ci!cally noted Dance” Grumiaux/Haskil 70 70 Yes, 274 Exaggerated pp/ Classical Quarterly Review of Music History, Criticism, Analysis, and Performance Practice PY'ODQQPTb'EPJcc: m. 1-20 M.20-24 M.25-42 m.43-53 m.54-74 m.74-94 m.95-113 m.114-177 m.178-203 cresc and dim. i v# V i i i VI V ^&,>!$$3'G,9).3'!+:'Performing Beethoven.'@#-9()+0!b'h.)"!(2)&5'H(!223'PKKS: Perlman/ 84 84 Yes, accl. in Tar- No Classical Ashkenazy entella section, ^6)0!&)3'F,2!/1: The Ten Violin Sonatas.'h(9#.#b'I-!()8#.'^&().0'A!#81!(2'I22,8)#&),.3'PKRc: Recapitulation last two measures Score A “Tarantella” T* “Folk Dance”* RT A" Codetta Zukerman/ 78 78 Yes, just before No Classical m.204-223 m.224-247 m.247-267 m.268-293 m.284-303 m.304-323 m.324-332 Neikrug the C theme re- Beethoven, Ludwig van. Sonatas for Piano and Violin, Volume 1:''W%.)81b'd:'V!.$!'i!($#03'' PKfS: i i m.276 C m.294 on V i i || turns Sound Recordings from Dev. re- from RT in Mutter/Orkis 80 80 Yes, 268-275 pp for the C Romantic turns Development stretches tempo theme, huge cresc. Grumiaux, Arthur. Beethoven The Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:'j/)8:'MH:'PKcRJ' PKcf: signi$cantly, as to A theme Mutter, Anne­Sophie. Beethoven The Complete Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:'^81,&&:'@X:'' well as phrase T­ transition endings PKKY: RT­ Retransition Stern/Istomin 84 84 Yes, 268 and Exaggerated subi- Romantic Stern, Isaac. Beethoven The Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:''^,.5'@$#22)8#$:''@X:'' PKKR: phrase endings to pp in 268 ______Perlman, Itzhak. Beethoven: The Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:''X!88#:''@X:'PKYY: LG%9#&,'O4&#$)#.'*,('Z(,99!+[T')2'+!7.!+'#2'&1!'2/!!+).0'%/'#.+'2%92!\%!.&'2$,>).0'+,>.',*'&1!'&!-/,:''G%9#&,')2'%2!+'&,'!.1#.8!'&1!' 'A1!'-%2)8'2!&&$!2',.'&1!';"<').'-:EK Zukerman, Pinchas. Beethoven Sonatas for Piano and Violin'95'M%+>)0'"#.'U!!&1,"!.:'UW@'@$#22)82:'' # !N/(!22),.').'&1!'-%2)8'95'/1(#2).0'8!(&#).'/#22#0!2'#2'+!&!(-).!+'95'&1!'/!(*,(-!(:''A1!(!'#(!'&>,'>#52').'>1)81'(%9#&,')2'%2!+]'&1!'7(2&')2' LM)2&!.!('!N/!8&2'&1)2'/#22#0!'&,'9!'*,$$,>!+'95'I: >1!.'&1!'-#).'9!#&'(!-#).2'&1!'2#-!'9%&'$)&&$!'81#.0!2'#(!'-#+!'&,'9!#&'2%9+)")2),.2'#.+'&1!'2!8,.+')2'>1!.'&1!'&!-/,'81#.0!2'$,.0!('&1#.'#' @X:'PKKD: few notes, usually resulting in a ritardando that was not written in the score.