In Beethoven’s sixth sonata for violin and piano, Beethoven has become very much his own man, striking out with a distinctly formed individuality almost free of the ties that previously bound him to his predecesors.
We find this to be apparent immediately in the first movement’s main idea, which is an organic entity rather than a theme. In truth, this main matter is more utilitarian than it is compelling, but the secondary theme’s songfulness more than compensates for its predecessor’s shortcomings. Both themes are brought to fruition in a development section whose distinctiveness is the mark of Beethoven’s inventive strength.
The Adagio second movement has a main theme in D major that turns quite magically to B minor. The heart of the movement, however, is in a wonderful contrasting section whose modulations remind one of just how important an influence Beethoven was on Schubert.
The flights of the final movement’s six variations on an unassuming little tune illustrate well the advancements Beethoven had made in the important realm of theme and variations. Not only in the matter of musical inventiveness but also in the element of ensemble unity does one find Beethoven well into his second compositional period, when his strengths were coming together to make him an amazing creative artist.
Here is violinist Anne-Sophie Mutter to play this sonata for you:
