Beethoven - Sonata for Violin and Piano, No 2 in A major, Op 12, No 2 скачать в хорошем качестве

Beethoven - Sonata for Violin and Piano, No 2 in A major, Op 12, No 2

Beethoven - Sonata for Violin and Piano, No 2 in A major, Op 12, No 2 I Allegro vivace II Andante, più tosto allegretto III Allegro piacevole Mr Leung Kin-fung, Violin Dr Cheng Wai, Piano In Beethoven’s day sonatas for violin and piano, along with those for piano alone, were important genres of music publication with a market for domestic music-making. With the keyboard taking centre stage, they were composed and published for sales and performed by amateurs for pleasure. Beethoven’s Op 12, his first publication of sonatas for violin and piano, was not well received by critics initially, possibly because he was unwilling to adapt his music to the contemporary trends of such a market. A reviewer for the musical periodical Allgemeine musikalische Zeitung complained that they were very “unusual” sonatas, “without joy”, “learned, learned and always learned, and nothing natural, no song!” But their success of having further editions issued outside Vienna in places such as Paris and London proved that the public thought otherwise. The first movement of the Second Sonata has a playful beginning that can serve as an illustration of how the violin traditionally accompanied the piano in such a duo setting in Beethoven’s time - something he would overturn in his forthcoming sonatas. The A minor middle movement and the rondo finale are described by the musicologist Marion Scott (1877-1953) as “conceived in an idyllic vein - one pathetic, the other graceful.” 在貝多芬的年代，小提琴及鋼琴奏鳴曲和獨奏鋼琴奏鳴曲這兩種以鋼琴為中心的作品，都是音樂界的重要流派，作曲家以本國人(奧地利)為知音對像，給業餘人士演奏自娛而創作、出版與銷售。貝多芬首套出版的小提琴及鋼琴奏鳴曲，作品十二，起初得不到樂評人好評，很可能因為貝多芬不願意遷就當時的市場潮流創作。《音樂廣訊報》的一位評論人曾抱怨這套奏鳴曲非常「奇怪」、「欠缺歡樂」、「學究、學究、總是學究，毫不自然，沒有歌調。」不過，這套作品後來於維也納以外的地方如巴黎、倫敦出版，並取得成功，顯然大眾另有一套想法。 第二奏鳴曲的第一樂章有一個調皮的開端，它展示了在貝多芬的時代，小提琴在這類二重奏中為鋼琴伴奏的傳統，如何在貝多芬往後的奏鳴曲被推翻。音樂理論家瑪麗恩‧史葛特 (1877-1953) 如此形容A小調的中間樂章及迴旋曲終樂章：「均具備田園詩意，一個悲傷，一個優美。」