Cello Sonata No. 2 (Beethoven)

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First movement (cello: John Michel)
Second movement (cello: John Michel)
Arpeggio passage from the finale of Sonata No. 2 (here in the version for piano and double bass, performed by Beethoven and Domenico Dragonetti in 1799).

The Cello Sonata No. 2 in G minor op.5.2 is a sonata for cello and piano by Ludwig van Beethoven .

Emergence

The composition was created in Berlin in 1796. Beethoven felt inspired to compose the cello sonata No. 2 in G minor op.5.2 as well as the cello sonata No. 1 after an encounter with the cellist Jean-Louis Duport at the Prussian court of King Friedrich Wilhelm II in Berlin.

To the music

The cello sonata No. 2 in G minor, Op. 5.2, which was part of Beethoven's first creative period, is, like its sister work , the first work of its kind in which the cello takes on an equal role alongside the piano. It follows the same concept, which may have been borrowed from Mozart's C major violin sonata KV 303, but nevertheless shows clear differences to the cello sonata No. 1.

1st movement: Adagio sostenuto ed espressivo - Allegro molto più tosto presto

In contrast to Beethoven's first cello sonata, the introduction to the G minor sonata takes up a much more important role, and this time each instrument presents its own themes. For almost the entire movement, the piano part is characterized by rolling triplets , while the cello part is characterized by long melodies with extended legato parts . Main and secondary topics are developed in detail; in the middle of the implementation a new topic is presented.

The transitions already have the character of an implementation ; the implementation itself consequently processes the material of the transition.

This movement has the same formal plan as Beethoven 's E flat major piano quartet WoO 36, No. 1 and Mozart's violin sonata KV 379 .

2nd movement: Rondo: Allegro

The finale, conceived as a G major rondo in the style of a counter dance, contrasts with the first movement . The beginning of the subdominant and its character are reminiscent of the finale of Beethoven's Piano Concerto No. 4, G major, op.58 .

effect

Both cello sonatas dedicated to King Friedrich Wilhelm II of Prussia were printed in February 1797 and published by Artaria- Verlag. Jean-Louis Duport is delighted when he received a copy of the two cello sonatas op. 5 from Beethoven.

As part of an encounter between Beethoven and the double bass player Domenico Dragonetti in Vienna, a performance of the G minor sonata by both musicians is known, whereby, according to Samuel Appleby , Beethoven was enthusiastic about Dragonetti's playing abilities.

literature

supporting documents

  • Booklet for the double CD Beethoven - Complete Cello Sonatas 1–5. Philips (Universal), 2004.
  • Harenberg cultural guide chamber music. 3rd, completely revised edition. Meyers Lexikonverlag, Mannheim 2008, ISBN 978-3-411-07093-0 .
  • Jürgen Heidrich: violoncello sonatas. In: Sven Hiemke (Ed.): Beethoven-Handbuch. Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG et al., Kassel et al. 2009, ISBN 978-3-7618-2020-9 , pp. 476-482.
  • Lewis Lockwood : Beethoven. His music - his life. Metzler et al., Weimar et al. 2009, ISBN 978-3-476-02231-8 , pp. 74 ff.

further reading

Web links