베토벤 「피아노와 바이올린을 위한 소나타 Op. 96 G 장조」에 관한 연구 분석

Abstract

Abstract

A research and analysis on Beethoven's Sonata for Piano and Violin Op. 96, G Major Shin, so hui Department of Collaborative Piano Major Graduate School of Sungshin Women's University

This paper is a research analysis on Ludwig van Beethoven’s (1770-1827) <Sonata for Piano and Violin No. 10 in G Major, Op. 96>(1812). Beethoven established the framework of traditional Classic music by Haydn and Mozart and on that basis developed the individual’s subjective music and free form along with the Classic sonata structure and became a pioneer composer in progressing into Romantic music. While Beethoven wrote ten violin sonatas between 1797 and 1812, his final sonata <Sonata for Piano and Violin No. 10 in G Major, Op. 96> was composed in 1812, nine years later than the nine other <Sonata for Piano and Violin>s written in 1803. Composed during the times when Beethoven wrote letters back and forth with French violinist Jacques Pierre Joseph Rode (1774-1830) and met with his supporter Johann Joseph Rainer Rudolph (1788-1831), Op. 96 is a four movement structure along with <Sonata for Piano and Violin Op. 24 No. 5, F Major> and <Sonata for Piano and Violin Op. 30 No. 2 C Minor>. Looking into each movement, the first movement is a G Major sonata form enlarging its scale through the Coda. The second movement is an E♭ Major in A-B-A-Coda aria form directly connecting to the third movement in attacca lo Scherzo. The third movement is a G Minor Scherzo with a A-B-A’-Coda in a three part form, and the fourth movement is unlike other final movements of sonatas which are generally sonata or sonata Rondo form but without the Theme and Variation infinitive, the theme and variation in G Major consists of the theme, eight variations and a Coda through the double bar.