Talk:Violin Sonata No. 4 (Beethoven)

message: This could use some goddamned references.  — Preceding unsigned comment added by 149.61.114.17 (talk) 04:26, 15 April 2013 (UTC)

message: This uncited analysis appears to be original research by the author of the article. It has been parked here until a final decision can be made on it.
===Presto===
The first movement, Presto, is in sonata form, and uses small fragments as opposed to two longer themes. The exposition modulates to E minor, before returning to A minor prior to heading into the development. In the development, the themes are passed through all three parts - Violin and both hands of the piano. In Bar 136, a new theme is introduced, similar to previous themes but different. This is a technique that Beethoven later used in the first movement on Symphony No. 5. This theme leads directly into the recapitulation, but returns in the coda. The recapitulation is highly condensed, with the first bars of the second subject entering in C major before abruptly sinking back to the minor. The exposition, as well as the development and recapitulation, are repeated.
===Andante scherzoso, più allegretto===
This movement contains many distinct themes that follow roughly in Sonata Form. It includes a fugal theme, showcasing Beethoven's ability to write fugally (which is later showcased in his Große Fuge). This movement should have a light edge to it, scherzoso meaning "jokingly".
===Allegro molto===
This final movement, in Rondo, with a thematic outline of ABACADABCDA. Each theme has many fantastic elements. The "A" theme in a minor features Beethoven's scalar writing in the piano, which is initially accompanied by the violin. The "B" theme begins with a 4-bar modulatory link starting in C Major, before rapidly moving through a cycle of diminished 7th chords, which outline all three possible diminished chords in an arpeggiated manner. This section briefly settles into E minor, and concludes back in a minor. In theme "C", Beethoven moves into the parallel key of A Major, in a chordal theme of imitation between instruments at half-bar intervals, in which the two instruments are eerily out of sync. Theme "D" is a long and luxurious F major episode that closely resembles the theme from the Finale of Mozart's Jupiter Symphony. All three of the intermediate sections are briefly touched upon at the end, before the final repeat of theme "A" in which Beethoven places the theme in the left hand of the piano (now in octaves), whilst placing an inversion in the violin part.
Graham1973 (talk) 09:41, 11 August 2017 (UTC)
thread_title: Original Research

message: This final movement, in Rondo, with a thematic outline of ABACADABCDA. Each theme has many fantastic elements. The "A" theme in a minor features Beethoven's scalar writing in the piano, which is initially accompanied by the violin. The "B" theme begins with a 4-bar modulatory link starting in C Major, before rapidly moving through a cycle of diminished 7th chords, which outline all three possible diminished chords in an arpeggiated manner. This section briefly settles into E minor, and concludes back in a minor. In theme "C", Beethoven moves into the parallel key of A Major, in a chordal theme of imitation between instruments at half-bar intervals, in which the two instruments are eerily out of sync. Theme "D" is a long and luxurious F major episode that closely resembles the theme from the Finale of Mozart's Jupiter Symphony. All three of the intermediate sections are briefly touched upon at the end, before the final repeat of theme "A" in which Beethoven places the theme in the left hand of the piano (now in octaves), whilst placing an inversion in the violin part.
Graham1973 (talk) 09:41, 11 August 2017 (UTC)
thread_title: Allegro molto