Opus 96 Sonata in G major for piano and violin
I) Allegro moderato – II) Adagio espressivo – III) Scherzo – Allegro – IV) Poco allegretto.
Opus 96 – Sonata in G major for piano and violin, Op. 96, dedicated to Archduke Rudolph of Austria, autumn–December 1812, published in Vienna by Steiner (with separate piano and violin parts) in July 1816. GA 101 (series 12/10) – B. 96 – KH. 96 – L. III, p. 267 – N. 96 – T. 162.
The original manuscript is preserved in the Pierpont Morgan Library, New York. No sketches for the first movement are known; those for the later movements are found at the end of the Petter sketchbook—already referred to several times here—and are described by Nottebohm.
Beethoven wrote this work for the French violinist Pierre Rode, who was its first performer, with Archduke Rudolph at the piano, in a concert at Prince Lobkowitz’s residence on December 29, 1812. The sonata differs in expressive character from the preceding ones (especially from the Kreutzer Sonata of 1802–1803) and has sometimes been regarded as a Pastoral Sonata—Vincent d’Indy even offered his own interpretation in this sense.
This impression seems particularly (if not exclusively) appropriate to the first movement (Allegro moderato), whose idyllic character—tinged with moments of gentle melancholy and cheerful serenity—is revealed through a delicate interplay of diverse thematic elements, all linked by clear analogies in form and meaning. The Adagio shows an originality that its initially poised and linear construction might not at first suggest.
The theme, in its expressive “regularity,” is not in itself unusual; yet from the gravity of its opening statement, the development expands into a freer domain, both melodically and harmonically, with a broad lyricism and a refined instrumental support. Imagination and melancholy hover over it, and certain touches of softness or ornamental grace occasionally enrich its melodic line. It is a brief movement, not far removed in mood from the first, yet providing a balanced contrast with the following two: The third, Scherzo, dances with rustic liveliness in its main section and coda (which recalls the opening idea), while the Trio offers a flowing, “urban” sweetness—though it too ends with a burst of animation. The fourth, Finale, takes as its theme a humorous melody from Hiller’s operetta Der lustige Schuster (The Merry Cobbler, 1728–1804), and unfolds a series of variations filled with vigorous rhythmic character of a popular flavor. Toward the end, a florid expressive Adagio (though not truly pathetic) seems to reveal a hint of musical caricature.
According to Schering, the inspiration for this sonata lies in Goethe’s comic drama Der Triumph der Empfindsamkeit (The Triumph of Sensibility).
First movement (Allegro moderato) – Act III: The four maidens lead the prince into the woods to the sound of gentle music. Murmuring waterfalls, birdsong, moonlight.
Second movement (Adagio espressivo): Continuation of the scene. The prince sings, then falls asleep; the music dissolves comically.
Third movement (Scherzo – Allegro): Continuation of the scene. A courtyard. Feria and the four maidens. A lively dance for all five with castanets and cymbals; Feria dances alone as well.
Fourth movement – Act V: The women play games inside the house.
Some guards enter, calling to one another, and soon join in. The girls at first remain apart, then befriend them, bringing wine and fruit. They dance and joke; the guards, overcome by sleep, withdraw. The women, now triumphant, light torches and re-enter. Pantomime and dance express the curiosity and irritation of the four maidens. (Continuation, Act VI): To festive music, the director, guards, and their entourage enter, followed by the maidens, who line up on both sides to begin the final ballet. Development of this finale.
[By Biamonti Giovanni – Catalogo cronologico e tematico delle opere di Beethoven comprese quelle inedite e gli abbozzi non utilizzati, Torino, ILTE 1968]
Official title: Opus 96 Sonate (G-dur) für Klavier und Violine Widmung: Erzherzog Rudolph von Österreich NGA V/2 AGA 101= Serie 12/10
Composition and publication: The sonata was first performed in Vienna on 29 December 1812 and was probably composed in the preceding weeks specifically for that occasion. Beethoven likely revised it before publication in 1815. The original Viennese edition in separate parts was issued by Steiner & Comp. in July 1816, while the London first edition followed in October or November through Birchall. The work’s creation was clearly linked to the planned concert and to the wishes and technical abilities of the violinist Jacques Pierre Joseph Rode (1774–1830). As Beethoven wrote to Archduke Rudolph a few days before the event: “Tomorrow at the very earliest hour the copyist will be able to begin on the last movement, since I myself, while working on several other pieces, did not hasten its completion merely for punctuality’s sake, all the less as I had to write it with greater consideration for Rode’s style of playing; we in our finales are fond of more brilliant passages, but this does not please R., and — it rather constrained me somewhat —” (BGA 606, dated shortly before 29 December 1812). These difficulties with the finale are also reflected in the interrupted sketches of that movement that survive today.
It appears that Beethoven had several copies of this sonata made: for Archduke Rudolph, for Franz Oliva, probably for Joseph von Varena, and finally for the publishers Birchall in London and Steiner in Vienna. If the sonata was indeed revised again in 1815, then the first three copies—now lost—likely contained an earlier version than that used for the public performance.
Original Viennese edition: Opus 96 belongs, together with Opp. 91–93, 95, and 97, to a group of works whose publication Beethoven negotiated with Sigmund Anton Steiner in April 1815 (see Op. 91). By mid-May 1815 he requested that Steiner return the engraver’s copy: “I need, for comparison, the written parts of the Overture in C [Op. 115] and of the Sonata with violin in G for a few days” (BGA 805). A few days later (20 May) he sent them back to the publisher. The edition appeared around 11 July 1816.
Original London edition: At Beethoven’s request of 1 June 1815, Johann Peter Salomon contacted the English publisher Robert Birchall (BGA 809, 844; see Op. 91). The delivery of the fair copy for engraving was delayed until 3 February 1816, and Beethoven had initially planned publication for May that year (BGA 879, 895). He probably re-read the London proofs, comparing them with Steiner’s plates, since in January he asked the Viennese publisher: “I also beg you for the score of the Trio for piano together with the two written-out parts for violin and cello [Op. 97], and for the score of the Violin Sonata in G major. — I need both works for only one evening and can return them to you early the following morning” (BGA 884).
In the following months there were delays in London caused by further requests from Beethoven (ten ducats for postage and copies) and missing documentation (dedication, opus number, certificate of ownership, and tax). Publication was first postponed to 15 June (BGA 923), but the edition was not registered at Stationers’ Hall until 29 October 1816. According to Alan Tyson, the Viennese and London editions are both accurately engraved and differ only slightly. Some textual differences may stem from corrections Beethoven made to Steiner’s proofs after sending the engraving models to Birchall, which therefore did not affect the English edition.
Dedication: For Archduke Rudolph, see Opus 58. The engraved copy sent to Birchall bore no dedication, which prompted Ferdinand Ries to inquire from London on 19 March 1816: “Is neither the Trio [Op. 97] nor the Sonata to be dedicated to anyone? At least you should smuggle a friend into immortality through a dedication, if it can bring you no other benefit” (BGA 917). In a letter of 8 May 1816, Beethoven replied to this suggestion—hinting that Ries was proposing himself—by saying: “As for the dedications, another time — […] meanwhile, my dear pupil Ries should sit down and dedicate something solid to me, whereupon the master will respond and repay in kind” (BGA 933). Shortly after, Beethoven wrote to Charles Neate seeking a more profitable dedication: “Perhaps you find some lover of music to whom the Trio and the Sonata with the violin, which Mr. Ries has sold to Mr. Birchall, or the Symphony arranged for harpsichord, might be dedicated, and from whom one might expect a present” (BGA 937, 18 May 1816). These English efforts came to nothing. On 11 July 1816 Beethoven sent Archduke Rudolph a copy of the newly issued Viennese edition with the words: “I may surely hope from your Grace that you will not attach any ulterior motive to the dedication I have here appended (merely for the sake of surprise); the work was written for Your Imperial Highness, or rather owes its existence to you — and should the world (the musical one) not be allowed to know this?” (BGA 947).
First performance: 29 December 1812 – Archduke Rudolph and Jacques Pierre Joseph Rode at Prince Lobkowitz’s palace in Vienna. According to correspondence between Beethoven and Rudolph, the concert was probably repeated on 7 January 1813 (BGA 606, 614, 615). On 25 March 1814, at the Graz Theatre, an “Akademie und Deklamatorium zum Vortheil der Armen” took place, in which two Italian virtuosi named Scataneri and Seramondi performed a “Grand Sonata for Piano-Forte and Violin by Mr Beethoven.” This was likely the still-unpublished Violin Sonata Op. 96, which Beethoven had sent in manuscript to Joseph von Varena (BGA 708).
The sketches will be featured in an article specially created for the Beethovenian Music Research Center, www.lvbeethoven.org
