Cello Sonata No. 3 (Beethoven)

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Cello Sonata
No. 3
by Ludwig van Beethoven
1804–05 Beethoven portrait by J. W. Mähler
Opus69
PeriodClassical
Composed1807 (1807)–08
DedicationIgnaz von Gleichenstein
Published1809 (1809)
MovementsThree
Premiere
Date5 March 1809 (1809-03-05)
LocationVienna
Performers

The Cello Sonata No. 3 in A major, Op. 69, is the third of five cello sonatas by Ludwig van Beethoven. He composed it in 1807–08, during his productive middle period. It was first performed in 1809 by cellist Nikolaus Kraft and pianist Dorothea von Ertmann, a student of Beethoven. Published by Breitkopf & Härtel the same year, it was dedicated to Freiherr Ignaz von Gleichenstein, Beethoven's friend and an amateur cellist. The sonata was successful with audiences from the beginning.

An early print of the composition titled it "Sonata / per il / Clavicembalo con Violoncello / composta / dal Sig=r / Luigi van Beethoven".[1] Beethoven's two early sonatas were, as usual at the time, virtuoso concert pieces for the piano, with the string instrument playing a supporting role. The third sonata has been described as the first cello sonata to give the two instruments equal importance. A model for later compositions in the genre, it has been performed and recorded often, including versions with period instruments.

History

Over the course of his life, Beethoven composed five cello sonatas, two of them early as his Op. 5. These two sonatas, composed when Beethoven was age 25, were highly virtuoso concert pieces showing off the pianist, with a cello part of less weight. Beethoven performed them with cellist Jean-Pierre Duport in Berlin in 1796, and dedicated them to Frederick William II of Prussia who was an amateur cellist himself.[2]

Beethoven composed his third cello sonata in

autograph manuscript, while the finished composition sounds like the result of spontaneous inspiration. He completed the composition in 1808.[6]
: 162 

Beethoven dedicated the sonata to Freiherr Ignaz von Gleichenstein,[3][7] his friend and an amateur cellist, who also assisted the composer in financial matters.[8] The previous year he had arranged an annuity for Beethoven from a group of sponsors which included Archduke Rudolf of Austria, a pupil of Beethoven.[4] The composer had planned to dedicate his Fourth Piano Concerto to Gleichenstein, but felt that he had to honour the Archduke with the dedication instead, because he had shown particular interest in the Concerto. Beethoven explained to Gleichenstein his regret but announced: "... another work is appearing in which you will be given what is due to your – and our friendship".[6]: 162 

The sonata was first performed on 5 March 1809 as part of a benefit concert for the cellist

rubato playing would increase interest and expressiveness.[6]
: 162 

Beethoven Archive the same year. These editions relied on the earlier prints, the autograph manuscript even if regarded as still a work in progress, as well as the correspondence of Beethoven and his first publisher regarding errors.[10]

The sonata is formally the most expansive of Beethoven's cello sonatas, but also the most melodic one, and was successful with audiences from the beginning.[3] A performance takes about 25 minutes. Violinist Mark Kaplan noted: "In general, the writing in op. 69 is thinner than in the early cello sonatas ... greater compositional technique allowed Beethoven the possibility of using fewer notes with confidence."[11] Cellist Steven Isserlis described the work as the first cello sonata in history to give the two instruments equal importance.[2][9] It has remained a model in the genre, for works by Mendelssohn, Brahms, Debussy and Shostakovich.[6]: 162 

Structure and music

Cello Sonata in A major, Op. 69
Live performance by John Michel (cello) & Lisa Bergman (piano)
1st movement: "Allegro ma non tanto"
2nd movement: "Scherzo. Allegro molto" (in A minor)
3rd movement: "Adagio cantabile – Allegro vivace"
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The sonata is structured in three movements, with an 18-bar slow introduction to the third movement:

  1. Allegro ma non tanto
  2. Scherzo. Allegro molto (in A minor)
  3. Adagio cantabile – Allegro vivace

Beethoven noted on the autograph manuscript "Inter lacrymas et luctus" (Amid tears and sorrows).[8][3] However, the work's character has been described as "positive in attitude", and "radiating serenity, humour and joy",[2] similar in mood to some works by Franz Schubert.[12] The sonata is a classical work with measured proportions and elements of symmetry.[2] Throughout the composition, the two instruments are treated as equal partners, not as solo and accompaniment as in the early cello sonatas.[2][12]

Allegro ma non tanto

The first movement is in alla breve time and marked Allegro ma non tanto (fast but not too much).[6]: 163  It is written sonata form, and opens with an expansive melody introduced by the cello alone.[6]: 163 [8]

\relative c { \set Staff.midiInstrument = #"cello" \key a \major \time 2/2 \clef bass a2\p ( e'2)_\markup { \italic "dolce" } \mark "Allegro, ma non tanto." \set Score.repeatCommands = #'(start-repeat) fis2.( cis4 e d cis d8 b) a2( gis4) e( a fis cis dis) e1( }

Beethoven composed an opening by the string instrument alone also as a feature in violin sonatas.

triplets of the piano.[8]

One of the motifs is similar to the first motif in Bach's aria "Es ist vollbracht" (All is fulfilled) from his St John Passion, introduced there by the viol. It is unclear if the similarity is intended, but would match the inscription "inter lacrymas".[6]: 163  The movement has moments of stillness and introspection both before the recapitulation and before the "final flourish".[6]: 163 

Allegro molto

As in some of Beethoven's piano sonatas, there is no slow movement. The second movement is a scherzo in the tonic minor, A minor, with a contrasting trio in A major; the scherzo is played three times, alternating with the trio played twice.[6]: 163  The scherzo makes prominent use of off-beat accents,[8] in "rhythmic sharpness and thematic brevity".[4] The trio's character was described by a reviewer as "gruff humour".[12]

Adagio cantabile – Allegro vivace

The finale begins with a slow introduction in 2
4 time, marked Adagio cantabile (slow and singing), in the

Waldstein Sonata.[4] Here, it "creates a wholly individual atmosphere, one that is broadly lyrical and tinged with a sort of dignified sorrow", as Mangum noted.[4] The short section has been described as sublime and "emotionally charged".[12]

The finale, in alla breve time and marked Allegro vivace (fast and lively) is again in sonata form. The cello plays both the first subject and a contrasting second subject. The first subject dominates the development.[8] The finale ends with an expressive coda.[8] The movement has been described as contrasting episodes of "bravura" and others of "gentle repose", ending in a "joyous conclusion".[12]

Cellist Jan Vogler summarised that the sonata "is an aristocratic, temperamental piece, full of musical expression and imagination. Its form is perfect, and it shows Beethoven's great taste."[9]

Recordings

The sonata has been recorded often, especially in sets of all cello sonatas by Beethoven, or all music by him for cello and piano which includes also several sets of

forte-piano instead of a modern concert grand, to ensure the balance of sound Beethoven had in mind. They used a new critical edition by the musicologist Jonathan Del Mar.[2] Jacqueline du Pré also made an earlier, critically well-received version with Stephen Kovacevich.[15]

References

  1. ^ a b "Ludwig van Beethoven, Sonate für Klavier und Violoncello (A-Dur) op. 69, Stimmen, Artaria, 2060" (in German). Beethoven House. 2020. Retrieved 9 December 2020.
  2. ^ a b c d e f Isserlis, Steven (12 January 2007). "How I fell in love with Ludwig". The Guardian. Retrieved 25 August 2015.
  3. ^
    SWR
    . Retrieved 5 December 2020.
  4. ^ a b c d e f g h Mangum, John. "Sonata for Cello and Piano No. 3 in A, Op. 69". Los Angeles Philharmonic. Archived from the original on 31 January 2018. Retrieved 17 October 2014.
  5. National Public Radio
    . Retrieved 5 December 2020.
  6. ^
    ISBN 978-1-84-383716-9
    .
  7. ^ a b Matthew Rye (1996). "Cello Sonata in A major, Op 69". Hyperion Records. Retrieved 17 October 2014.
  8. ^
    Naxos Records. Archived from the original
    on 28 July 2018. Retrieved 5 December 2020.
  9. ^ a b c Vogler, Jan (15 August 2018). "Masterclass: Jan Vogler on Beethoven Cello Sonata op.69". The Strad. Retrieved 9 December 2020.
  10. Henle Verlag
    . pp. 5, 75–107.
  11. Cambridge Companions to Music
    . Cambridge University Press. p. 140.
  12. ^ a b c d e f g Buttall, Philip R (February 2015). "Ludwig van Beethoven (1770–1827) / Cello Sonatas". musicweb-international.com. Retrieved 6 December 2020.
  13. ^ Haywood, Tony (April 2002). "Great Cellist – Casals / Ludwig van Beethoven (1770–1827) / Cello Sonatas". musicweb-international.com. Retrieved 9 December 2020.
  14. ^ Aron, Guy (September 2011). "Ludwig van Beethoven (1770–1827) / Cello Sonata No. 2 in G minor, Op. 5 no. 2 (1796) / Cello Sonata No. 3 in A major, Op. 69 (1808)". musicweb-international.com. Retrieved 9 December 2020.
  15. ^ Chissell, Joan. "Beethoven Cello Sonatas". Gramophone. Retrieved 19 December 2020.

Further reading

External links
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