Beethoven’s Violin Sonata Op. 23:
Freedom of Interpretation
in Passages of Formal Anomaly
Arielle E. Cady, BMUS Violin Performance
Advisors: Ms. T. Thompson, Ms. C. Trynchuk
Abstract
Findings
Formal Anomaly 1­A1!'7(2&',*'&1!2!'%.!N/!8&!+',88%((!.8!2')2'*,%.+').'&1!'Presto movement. In &1!'+!"!$,/-!.&3'&1!(!')2'#'/(,/!('(!&(#.2)&),.').'/(!/#(#&),.'*,('&1!'(!&%(.',*'&1!'7(2&'&1!-!'*(,-'&1!'
L. van Beethoven’s Violin and Piano Sonata Op. 23 in A minor (1800­1801) is a multi­ movement sonata that has three unexpected formal events: two occurring in the Presto (movement one) and one in !N/,2)&),.'O-!#2%(!2'PDQJPRST:''U!!&1,"!.'(!&%(.2'&,'&1!'8,((!8&'?!5'9%&'%2!2'&1!'>(,.0'&1!-!3'8(!#&).0'
a false recapitulation.
'
A1!'8,.8$%2),.'&,'-5'(!2!#(81')2'2&)$$').'/(,8!22:'4'1#"!')+!.&)7!+'#'Z8,.&(,$'0(,%/[').'&1!'Allegro Molto'#.+'1#"!'%2!+')&'&,'8,-/#(!'&,'&1!'&1)(+'=,(-#$'I.,-#$5:'A1)2'Z8,.&(,$'0(,%/[',88%(2'>1!.'&1!'
the Allegro Molto (movement three). These formal anomalies, discovered through the creation of form Formal Anomaly 2­The second unexpected occurrence is also found in the Presto3'9%&'+%().0'&1!'8,+#:''
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diagrams, present potentially challenging moments of interpretation for performers. U!!&1,"!.'&#?!2'-,&)")8')+!#2'*(,-'&1!'7(2&'&1!-!'*,(',.$5',.!'-!#2%(!'O-:'DDET'#.+'8,.&).%!2'>)&1'
&,'1#"!'#'.!>'&1!-!').'#'^,.#&#JG,.+,'*,(-:''_1!.'&1!'@'&1!-!'(!&%(.2'#0#).').'&1!'(!8#/)&%$#&),.3'
thematic material from the false reprise that occurred in the development (223­243). This is unusual it is unexpected. Some performers, such as Mutter and Zukerman, chose to play the occurrence in the allow performers more freedom in personal interpretation than normal formative events. In order to 9!8#%2!'&1!'%2!',*'&1!'&1!-#&)8'-#&!()#$'*(,-'&1!'+!"!$,/-!.&')2'.,&'&5/)8#$$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 The question this research project addresses is whether or not the three areas of formal anomaly I created in­score analysis of each performance in which every detail was recorded. As part of my #.#$52)23'4',(0#.)6!+'&1!'7"!'(!8,(+).02').&,'!)&1!('&1!';8$#22)8#$<',(';(,-#.&)8<'/!(*,(-#.8!'&(#+)&),.23'
9#2!+',.'&1!'%2!',*'(%9#&,'#.+'+5.#-)82:'=,('!#2!',*'8,-/#()2,.'-5'7.+).02'>!(!'/%&').&,'#'&#9$!'
21,>).0'&!-/,'-#(?).023'&1!'%2!',*'(%9#&,3'#.+'+5.#-)82'+%().0'!#81',*'&1!'&1(!!'#(!#2',*'*,(-#$'
anomaly. While the analysis of the data is still ongoing, my initial discovery does show that in the third Formal Anomaly 3­The third area is found in the third movement, the Allegro Molto. During the (!8#/)&%$#&),.'O-:'DQEJDEDT3'U!!&1,"!.'%.!N/!8&!+$5').8$%+!2'&1!'@'&1!-!'*(,-'&1!'+!"!$,/-!.&'
2!8&),.:''V!'&1!.'*,$$,>2'&1!'@'&1!-!'>)&1'&1!'I1'&1!-!:''A1)2')2'%.%2%#$'9!8#%2!').'2,.#&#J(,.+,'*,(-'
&1!'I'&1!-!').'&1!'(!8#/)&%$#&),.')2'%2%#$$5'*,$$,>!+'95'&1!'U'&1!-!3'.,&'&1!'@'&1!-!:
movement, Allegro Molto3'2,-!'/!(*,(-!(2'+,'"#(5'*(,-'&1!',()0).#$'28,(!'>)&1'+5.#-)82'>1!.'&1!';@<'
Step 2J@(!#&!').J28,(!'#.#$52!2',*'>1#&'!#81',*'&1!'7"!'81,2!.'/!(*,(-#.8!2'+,'+%().0'&1!'*,(-#$'
theme from the Development returns unexpectedly in the Recapitulation. #.,-#$5:''W5'28,(!'#.#$52!2'!2/!8)#$$5'*,8%2',.'&1!'%2!',*'(%9#&,'#.+'+5.#-)82:''4'8,$$#&!+'-5'7.+).02'
).'&#9$!2'&,'#$$,>'*,('!#2!',*'8,-/#()2,.:''A1)2'2&!/'#$2,').8$%+!2')+!.&)*5).0'&1!'/!(*,(-#.8!'#2'!)&1!('
Methodology
Bibliography
@$#22)8#$',('G,-#.&)8').&!(/(!&#&),.2:
'
them freedom in their interpretation.
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&'>)$$'0)"!'-!'8,.8(!&!'!")+!.8!'&1#&'
PKfQ:
will allow my own performance to grow.
Sonata Form
Excerpt from Allegro Molto; Mutter
Step 3J@,-/#(!'&1!'+#&#'&,'+!&!(-).!')*'&1!'&1(!!'#(!#2',*'*,(-#$'#.,-#$5'+,').'*#8&'#$$,>'*,('*(!!+,-'
X#(853'_#((!.3'#.+'F#-!2'V!/,?,2?):''Elements of Sonata Theory. New York: Oxford University Press, Step 1J'=,(-#$$5'#.#$56!'&1!'2,.#&#:'=,(-'+)#0(#-2'21,>'8(%8)#$'!$!-!.&2'2%81'#2'/()-#(5'#.+'
in personal interpretation.
2!8,.+#(5'&1!-!23'&,.#$'#(!#23'#.+'#$$,>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&!/')$$%-).#&!+'&1!'&1(!!'#(!#2',*'*,(-#$'#.,-#$5:
Allegro Molto3'%2!',*'&1!'@'&1!-!'*(,-'&1!'X!"!$,/-!.&'+%().0'&1!'G!8#/)&%$#&),.3'-:'DRYJEQP
O!2/!8)#$$5'*,8%2).0',.'DRY'>)&1'&1!'@'&1!-!'(!&%(.).0T
Performance Practices
Exposition
Am || a
transition
B
codetta
A`
a
m. 1-20
i
M.25-42
v1
m.43-53
V
m.54-74
i
M.20-24
Recapitulation
A
“Tarantella”
m.204-223
m.224-247
i
i
T*
m.247-267
“Folk Dance”*
m.268-293
m.276 C
from Dev. returns
“Folk
Dance”
m.74-94
i
Development
C
RT
a
m.95-113
i
RT
m.284-303
m.294 on V
from RT in
Development
m.114-177 m.178-203
VI
V
A`
m.304-323
i
Codetta
m.324-332
i
||
2006.
Kroll, Mark, and Lewis Lockwood, eds. The Beethoven Violin Sonatas: History, Criticism, Performance. Performer
Initial Tempo
During Formal
Anomaly
Use of Rubato*
Grumiaux/Haskil 70
70
Yes, 274
Perlman/
Ashkenazy
84
84
Zukerman/
Neikrug
78
78
Mutter/Orkis
80
80
Yes, accl. in Tarentella section,
last two measures
Yes, just before
the C theme returns
Yes, 268-275
stretches tempo
significantly, as
well as phrase
endings
Yes, 268 and
phrase endings
T­ transition
RT­ Retransition
________________________
1'A1!'-%2)8'2!&&$!2',.'&1!';"<').'-:EK
LM)2&!.!('!N/!8&2'&1)2'/#22#0!'&,'9!'*,$$,>!+'95'I:
Stern/Istomin
84
84
Use of Dynamics
Other than specifically noted
Exaggerated pp/
cresc and dim.
No
Performance
Style
No
Classical
Classical
Classical
pp for the C
Romantic
theme, huge cresc.
to A theme
h(9#.#b'h.)"!(2)&5',*'4$$).,)2'H(!223'DQQS:
M!"53'F#.!&'W:';A1!'H,>!(',*'&1!'H!(*,(-!(b'4.&!(/(!&).0'U!!&1,"!.:<'The Journal of Musicology: A Quarterly Review of Music History, Criticism, Analysis, and Performance Practice PY'ODQQPTb'EPJcc:
^&,>!$$3'G,9).3'!+:'Performing Beethoven.'@#-9()+0!b'h.)"!(2)&5'H(!223'PKKS:
^6)0!&)3'F,2!/1: The Ten Violin Sonatas.'h(9#.#b'I-!()8#.'^&().0'A!#81!(2'I22,8)#&),.3'PKRc:
Score
Beethoven, Ludwig van. Sonatas for Piano and Violin, Volume 1:''W%.)81b'd:'V!.$!'i!($#03'' PKfS:
Sound Recordings
Grumiaux, Arthur. Beethoven The Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:'j/)8:'MH:'PKcRJ' PKcf:
Mutter, Anne­Sophie. Beethoven The Complete Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:'^81,&&:'@X:''
PKKY:
Exaggerated subi- Romantic
to pp in 268
LG%9#&,'O4&#$)#.'*,('Z(,99!+[T')2'+!7.!+'#2'&1!'2/!!+).0'%/'#.+'2%92!\%!.&'2$,>).0'+,>.',*'&1!'&!-/,:''G%9#&,')2'%2!+'&,'!.1#.8!'&1!'
!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'
>1!.'&1!'-#).'9!#&'(!-#).2'&1!'2#-!'9%&'$)&&$!'81#.0!2'#(!'-#+!'&,'9!#&'2%9+)")2),.2'#.+'&1!'2!8,.+')2'>1!.'&1!'&!-/,'81#.0!2'$,.0!('&1#.'#'
few notes, usually resulting in a ritardando that was not written in the score.
Stern, Isaac. Beethoven The Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:''^,.5'@$#22)8#$:''@X:'' PKKR:
Perlman, Itzhak. Beethoven: The Violin Sonatas'95'M%+>)0'"#.'U!!&1,"!.:''X!88#:''@X:'PKYY:
Zukerman, Pinchas. Beethoven Sonatas for Piano and Violin'95'M%+>)0'"#.'U!!&1,"!.:'UW@'@$#22)82:''
@X:'PKKD: