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Violinsonate Nr. 5 F-Dur op. 24
Katalogzettel
| Titel | Violinsonate Nr. 5 F-Dur op. 24 |
| Titelzusatz |
Violin Sonata No. 5, Spring Sonata 3rd movement and beginning of the 4th movement |
| Spieldauer | 00:03:04 |
| Urheber/innen |
Beethoven, Ludwig van [Komponist/in]
[GND]
|
| Mitwirkende |
Zeiler, Robert [Violine]
[GND
]
Seidler-Winkler, Bruno [Klavier] [GND ] Schallplatte "Grammophon" [Label] Deutsche Grammophon A. G. [Produzent] |
| Datum |
1926 [Vermutliches Datum] |
| Ort |
Wien, Palais Pallavicini [Ortsbezug]
|
| Schlagworte | Musik ; E-Musik ; Instrumentalmusik - Sonate, Sonatine ; Instrumente - Violine ; Instrumente - Klavier ; Publizierte und vervielfältigte Aufnahme |
| Örtliche Einordnung |
Wien
|
|
19. Jahrhundert
|
|
| Typ | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Nummern |
65765 [Bestellnummer] B 29019 [Katalognummer] 911 av [Matrizennummer] |
| Sprache |
Englisch |
| Signatur | Österreichische Mediathek, 2-47162_b_b01_k02 |
| Medienart | Mp3-Audiodatei |
Palais Pallavicini. Bild: CC BY-SA 3.0 AT. Österreichische Mediathek 2020.
Information
Inhalt
The Sonata for Piano and Violin op. 24 was written at the same time as the Sonata op. 23. Both works are dedicated to the music enthusiast Count Moritz Johann Christian von Fries, a patron of Beethoven whose Pallavicini Palace also housed an extensive art collection. The sonata’s apocryphal alternative title of the “Spring Sonata” captures the work’s cheerful, carefree mood. This audio sample includes the third movement and, after a short pause, the beginning of the final movement. The Scherzo reveals Beethoven’s sense of humour, as he uses the score to caricature the way the instruments interact with one another. The violin and piano start the extract together, but the violin almost immediately falls a crochet behind, and continues to drag its metaphorical feet. The two instruments never quite manage to come together, not even for the ending.
This recording was produced by Bruno Seidler-Winkler (1880–1960), an early pioneer of recording technology and music on radio. Seidler-Winkler was fascinated by the potential of recordings from very early on, and made his first records on Edison phonographic cylinders. He went on to develop the musikalisches Sendespiel, or “musical broadcast” – a format specifically designed for performing opera on radio. He also featured on countless records and radio broadcasts as a pianist and a conductor. Here he is accompanying Vienna-born violinist Robert Zeiler (who lived from 1879 to sometime after 1936). Zeiler was concertmaster in the orchestra of the Vienna Konzertverein, and assumed the same position in the Berliner Staatskapelle from 1906 onwards. Both musicians were persecuted by the Nazis.
(Constanze Köhn)
This recording was produced by Bruno Seidler-Winkler (1880–1960), an early pioneer of recording technology and music on radio. Seidler-Winkler was fascinated by the potential of recordings from very early on, and made his first records on Edison phonographic cylinders. He went on to develop the musikalisches Sendespiel, or “musical broadcast” – a format specifically designed for performing opera on radio. He also featured on countless records and radio broadcasts as a pianist and a conductor. Here he is accompanying Vienna-born violinist Robert Zeiler (who lived from 1879 to sometime after 1936). Zeiler was concertmaster in the orchestra of the Vienna Konzertverein, and assumed the same position in the Berliner Staatskapelle from 1906 onwards. Both musicians were persecuted by the Nazis.
(Constanze Köhn)
