for piano with violin accompaniment (2014)

Beethoven Op.30/2, Bars 107112

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Beethoven Op.30/2, Bars 107112

for piano with violin accompaniment
(a prelude to Beethoven's Violin Sonata in C minor, Op.30 No.2)
2014
Philip Venables
Duration c.6 minutes

Beethoven Op.30/2, Bars 107112 was commissioned by Krysia Osostowicz and Daniel Tong
for the Beethoven Plus project, to be performed in a UK tour of all the Beethoven Violin
Sonatas with a new companion piece to each.
When Krysia asked me to write this piece, I asked her why she had paired me with the
seventh sonata, and her reply was something like it's dramatic and you're dramatic.
Delighted with this accurate description, I set to work. In most of the response pieces I've
written (including Beethoven, Schubert, Dowland, Mozart and Bach), I try to tease out a
quality of the gesture and form of the original, without actually emulating it. I also don't
want to attempt to compete with it, but rather simply lay the ground for it.
In this instance, I remembered back to my teenage years being bored with practising actual
Beethoven piano sonatas and instead getting carried away improvising big chords and
cadences and fancying myself as something of a Liszt or Rachmaninov. This ostentatious
gesture is still very much part of my musical taste, and it is certainly a feature of
Beethoven, including this Sonata,. So I thought I'd try '19th-century piano drama on
steroids'. We all like a bit of drama, and I think this is the perfect cadence into the master
of musical drama, Beethoven.
PV

Performance notes
This piece should always be performed immediately and seamlessly before the Beethoven
sonata Op.30/2, as indicated in the score.
Ideally the pianist should perform from memory, as if extemporising.
The violinist should not appear on stage immediately before this piece starts (i.e. it should
be played at the beginning of the concert, or immediately after an interval)
Accidentals apply to a whole bar, although some reminders are given.
Other performance notes are given in the score.

Beethoven Op. 30/2, bars 107112

Piano

h=c. 60 (approx = h of 1st movement of Beethoven Op. 30/2)

Grandiose, hyper-romantic, molto rubato

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Instructions to Pianist:
This piece should be played from memory
Pedal very liberally
Notes marked * to be played one octave lower than marked when playing on a Bsendorfer with low F

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Copyright University of York Music Press Ltd, 2014

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Beethoven tempo-ish.
Cadenza (develop as you wish)

Violinist is off stage, muffled

con sord.

Violin

b b
b

n b

& c b b b
n

*
?c w
w
w
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Piano

ff with gritty passion, into the string

After a few bars of violin cadenza, the the Page-turner

comes on and arranges Beethoven sheet music on piano
and then takes their seat. If there is a door to the stage,
allow this to open and close as normal to allow the swell
of sound from the off-stage violin.

? c w*
w
w
w

(catch with Ped.)

If there is no page-turner, the pianist takes sheet music

from side of piano and opens/arranges.
Pianist re-starts with upbeat to Letter N whenever he/she
wishes, as soon as the music is arranged.

<>

p hold pedal to next entry

The violinist stops playing as soon as the pianist has

re-started, and walks on stage, no matter where he/she is
in the cadenza. The repeat is for emergencies only.

slower

a tempo

b
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b b 68 58 b b b
&
b b
0

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sim. mp

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slower

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58

a tempo

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c b
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(LH pizz.) (arco)

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(hold Ped. right

to the barline,
no break)

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Violinist, now on stage, tunes if

needed (using the held D major
chord of the piano), and removes
mute. When ready, the pianist
begins the Beethoven.

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(c. q=q)
Allegro con brio

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etc.

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Photo: Bryan Watson

ISMN M-57036-593-7

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