Beethoven’s Violin Sonata Op. 23: Freedom of Interpretation in Passages of Formal Anomaly Arielle E. Cady, BMUS Violin Performance Advisors: Ms. T. ompson, Ms. C. Trynchuk Abstract L. van Beethoven’s Violin and Piano Sonata Op. 23 in A minor (1800-1801) 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 in-score 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 >!(! /%& ).&, # 	$! 21,>).0 &!-/, -#(?).023 &1! %2! ,* (%9#&,3 #.+ +5.#-)82 +%().0 !#81 ,* &1! &1(!! #(!#2 ,* *,(-#$ 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 ,* *,(-#$ #.,-#$5: Exposition Development Am || a transition B codetta A C RT a “Folk Dance” a m. 1-20 M.20-24 M.25-42 m.43-53 m.54-74 m.74-94 m.95-113 m.114-177 m.178-203 i v V i i i VI V Recapitulation A “Tarantella” T* “Folk Dance”* RT A Codetta m.204-223 m.224-247 m.247-267 m.268-293 m.284-303 m.304-323 m.324-332 i i m.276 C from Dev. re- turns m.294 on V from RT in Development i i || T- transition RT- Retransition ________________________ A1! -%2)8 2!&&$!2 ,. &1! ;"< ). -:EK LM)2&!.!( !N/!8&2 &1)2 /#22#0! &, 9! *,$$,>!+ 95 I: Formal Anomaly 1-A1! 7(2& ,* &1!2! %.!N/!8&!+ ,88%((!.8!2 )2 *,%.+ ). &1! Presto movement. In &1! +!"!$,/-!.&3 &1!(! )2 # /(,/!( (!&(#.2)&),. ). /(!/#(#&),. *,( &1! (!&%(. ,* &1! 7(2& &1!-! *(,- &1! !N/,2)&),. O-!#2%(!2 PDQJPRST: U!!&1,"!. (!&%(.2 &, &1! 8,((!8& ?!5 9%& %2!2 &1! >(,.0 &1!-!3 8(!#&).0 a false recapitulation. Formal Anomaly 2-The second unexpected occurrence is also found in the Presto3 9%& +%().0 &1! 8,+#: U!!&1,"!. &#?!2 -,&)")8 )+!#2 *(,- &1! 7(2& &1!-! *,( ,.$5 ,.! -!#2%(! O-: DDET #.+ 8,.&).%!2 >)&1 thematic material from the false reprise that occurred in the development (223-243). This is unusual 9!8#%2! &1! %2! ,* &1! &1!-#&)8 -#&!()#$ *(,- &1! +!"!$,/-!.& )2 .,& &5/)8#$$5 2!!. ). &1! (!8#/)&%$#&),.: A1! -,(! 8,--,. /(#8&)8! >,%$+ 1#"! 9!!. &, ).8$%+! -#&!()#$ *(,- &1! !N/,2)&),.: Formal Anomaly 3-The 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,$$#&!+ -5 7.+).02 ). 	$!2 &, #$$,> *,( !#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& #$$,> *,( *(!!+,- in personal interpretation. Test Study 3 Allegro Molto3 %2! ,* &1! @ &1!-! *(,- &1! X!"!$,/-!.& +%().0 &1! G!8#/)&%$#&),.3 -: DRYJEQP O!2/!8)#$$5 *,8%2).0 ,. DRY >)&1 &1! @ &1!-! (!&%(.).0T Performer Initial Tempo During Formal Anomaly Use of Rubato* Use of Dynamics Other than spe- cically 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 signicantly, 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, Anne-Sophie. 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: