Beethoven’s Violin Sonata Op. 23: Freedom of Interpretation

in Passages of Formal Anomaly

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

Abstract

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

the Allegro Molto (movement three). These formal anomalies, discovered through the creation of form

diagrams, present potentially challenging moments of interpretation for performers.

The question this research project addresses is whether or not the three areas of formal anomaly

allow performers more freedom in personal interpretation than normal formative events. In order to

!"#$%#&!'(!$#&)"!'*(!!+,-',*').&!(/(!&#&),.'+%().0'&1!2!'#(!#23'4'#.#$56!+'7"!'81#-9!('(!8,(+).02:'

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

movement, Allegro Molto3'2,-!'/!(*,(-!(2'+,'"#(5'*(,-'&1!',()0).#$'28,(!'>)&1'+5.#-)82'>1!.'&1!';@<'

theme from the Development returns unexpectedly in the Recapitulation.

Methodology

' A1)2'(!2!#(81'/(,B!8&'9!0#.'>)&1'&1!'81,)8!',*').8$%+).0'C/:'DE').'-5'F%.),('G!8)&#$'H(,0(#-:''I2'

a Violin Performance major, part of my training includes researching other performances to in turn make

-5',>.'/!(*,(-#.8!'2&(,.0!(:'A1!'7.+).02',*'&1)2'(!2!#(81'/(,B!8&'>)$$'0)"!'-!'8,.8(!&!'!")+!.8!'&1#&'

will allow my own performance to grow.

Step 1J'=,(-#$$5'#.#$56!'&1!'2,.#&#:'=,(-'+)#0(#-2'21,>'8(%8)#$'!$!-!.&2'2%81'#2'/()-#(5'#.+'

2!8,.+#(5'&1!-!23'&,.#$'#(!#23'#.+'#$$,>2'%2'&,'2!!'1,>'!#81'2/!8)78'-,"!-!.&'8,-/#(!2'>)&1'2&#.+#(+'

*,(-'8$#22)78#&),.:''A1)2'2&!/')$$%-).#&!+'&1!'&1(!!'#(!#2',*'*,(-#$'#.,-#$5:

Exposition DevelopmentAm || a transition B codetta A" C RT

a “Folk Dance”

a

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.178-203i v# V i i i VI V

RecapitulationA “Tarantella” T* “Folk Dance”* RT A" Codettam.204-223 m.224-247 m.247-267 m.268-293 m.284-303 m.304-323 m.324-332i i m.276 C

from Dev. re-turns

m.294 on Vfrom RT in Development

i i ||

T­ transition

RT­ Retransition

________________________

#'A1!'-%2)8'2!&&$!2',.'&1!';"<').'-:EK

LM)2&!.!('!N/!8&2'&1)2'/#22#0!'&,'9!'*,$$,>!+'95'I:

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!'!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.

Formal Anomaly 2­The second unexpected occurrence is also found in the Presto3'9%&'+%().0'&1!'8,+#:''U!!&1,"!.'&#?!2'-,&)")8')+!#2'*(,-'&1!'7(2&'&1!-!'*,(',.$5',.!'-!#2%(!'O-:'DDET'#.+'8,.&).%!2'>)&1'thematic material from the false reprise that occurred in the development (223­243). This is unusual

9!8#%2!'&1!'%2!',*'&1!'&1!-#&)8'-#&!()#$'*(,-'&1!'+!"!$,/-!.&')2'.,&'&5/)8#$$5'2!!.').'&1!'(!8#/)&%$#&),.:''A1!'-,(!'8,--,.'/(#8&)8!'>,%$+'1#"!'9!!.'&,').8$%+!'-#&!()#$'*(,-'&1!'!N/,2)&),.:

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!.'*,$$,>2'&1!'@'&1!-!'>)&1'&1!'I#'&1!-!:''A1)2')2'%.%2%#$'9!8#%2!').'2,.#&#J(,.+,'*,(-'&1!'I'&1!-!').'&1!'(!8#/)&%$#&),.')2'%2%#$$5'*,$$,>!+'95'&1!'U'&1!-!3'.,&'&1!'@'&1!-!:

Step 2J@(!#&!').J28,(!'#.#$52!2',*'>1#&'!#81',*'&1!'7"!'81,2!.'/!(*,(-#.8!2'+,'+%().0'&1!'*,(-#$'#.,-#$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!('

@$#22)8#$',('G,-#.&)8').&!(/(!&#&),.2:

Excerpt from Allegro Molto; Mutter

Step 3J@,-/#(!'&1!'+#&#'&,'+!&!(-).!')*'&1!'&1(!!'#(!#2',*'*,(-#$'#.,-#$5'+,').'*#8&'#$$,>'*,('*(!!+,-'

in personal interpretation.

Test Study 3

Allegro Molto3'%2!',*'&1!'@'&1!-!'*(,-'&1!'X!"!$,/-!.&'+%().0'&1!'G!8#/)&%$#&),.3'-:'DRYJEQPO!2/!8)#$$5'*,8%2).0',.'DRY'>)&1'&1!'@'&1!-!'(!&%(.).0T

Performer Initial Tempo During Formal Anomaly

Use of Rubato* Use of Dynamics Other than spe-ci!cally noted

Performance Style

Grumiaux/Haskil 70 70 Yes, 274 Exaggerated pp/ cresc and dim.

Classical

Perlman/Ashkenazy

84 84 Yes, accl. in Tar-entella section, last two measures

No Classical

Zukerman/Neikrug

78 78 Yes, just before the C theme re-turns

No Classical

Mutter/Orkis 80 80 Yes, 268-275 stretches tempo signi$cantly, as well as phrase endings

pp for the C theme, huge cresc. to A theme

Romantic

Stern/Istomin 84 84 Yes, 268 and phrase endings

Exaggerated subi-to pp in 268

Romantic

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.

Findings

' 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!'

.!>'&1!-!3'@3').'&1!'+!"!$,/-!.&'#//!#(2:''A1)2')2'8,.2)+!(!+'2%81'9!8#%2!'&1!'+!"!$,/-!.&')2'!N/!8&!+'

&,'1#"!'#'.!>'&1!-!').'#'^,.#&#JG,.+,'*,(-:''_1!.'&1!'@'&1!-!'(!&%(.2'#0#).').'&1!'(!8#/)&%$#&),.3'

it is unexpected. Some performers, such as Mutter and Zukerman, chose to play the occurrence in the

(!8#/)&%$#&),.'+)**!(!.&$5'&1#.'>1!.'&1!5'7(2&'+)+').'&1!'+!"!$,/-!.&:''A1)2'+)28,"!(5'21,>2'&1#&'+%().0'

unexpected formal events, performers do in fact choose to vary from what the composer wrote giving

them freedom in their interpretation.

Bibliography

Beethoven and History

Nettl, Paul. Beethoven Encyclopedia. `!>'a,(?b'H1)$,2,/1)8#$'M)9(#(53'PKcR:

^81-)+&Jde(03'F,2!/13'#.+'V#.2'^81-)+&:3'!+2:'Ludwig van Beethoven. `!>'a,(?b'H(#!0!('H%9$)21!(23'

PKfQ:

Sonata Form

X#(853'_#((!.3'#.+'F#-!2'V!/,?,2?):''Elements of Sonata Theory. New York: Oxford University Press,

2006.

Newman, William S. The Sonata in the Classical Era.'`!>'a,(?b'_:_:'`,(&,.'g'@,-/#.53'4.8:3'PKYE:

Performance Practices

Kroll, Mark, and Lewis Lockwood, eds. The Beethoven Violin Sonatas: History, Criticism, Performance.

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:

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: