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Three Sonatas for Violin and Piano op. 43 - Sonate agreable B-flat major op. 43. Johann Baptist Vanhal. Violin Solo sheet music. Piano Accompaniment sheet music.

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Три сонати для скрипки і фортепіано ор. 43 - Соната AGREABLE Сі-бемоль мажор ор. 43. Йоганн Баптист Ванхана. Скрипка соло ноти. Акомпанемент фортепіано ноти.

Оригінал

Three Sonatas for Violin and Piano op. 43 - Sonate agreable B-flat major op. 43. 2 composed by Johann Baptist Vanhal. 1739-1813. For violin and piano. Set of parts. Published by Doblinger Music Publishers. DB.DM-001472. The music is truly agreable, with the material presented as a gracious dialogue between the piano and the violin. In all three of the Sonatas op. 43, Vanhal's harmonic choices and melodic shapes are more like Schubert's than like Beethoven's. The first movement is in conventional sonata form with a substantial development section. A unifying rhythmic motive is present in every theme, the harmonic structure is enlivened and surprising. The second movement is introduced by a gentle, recurring Classical binary melody, followed by a dramatic section with sharp juxtapositions of dolce and forte and an unexpected burst of pianistic activity. In the third movement, a playful rondo-like theme is immediately interrupted by a gruff and humorous chromatic line. These two ideas contend with one another like opposing characters in an opera buffa. The pianist is allowed to revel in rapid passages in triplets while the violin carries a dramatic melody sweeping across all four strings.

Переклад

Три сонати для скрипки і фортепіано ор. 43 - Соната AGREABLE Сі-бемоль мажор ор. 43. 2 composed by Johann Baptist Vanhal. 1739-1813. Для скрипки і фортепіано. Набір деталей. Опубліковано Doblinger музичних видавців. DB.DM-001472. The music is truly agreable, with the material presented as a gracious dialogue between the piano and the violin. In all three of the Sonatas op. 43, Vanhal's harmonic choices and melodic shapes are more like Schubert's than like Beethoven's. The first movement is in conventional sonata form with a substantial development section. A unifying rhythmic motive is present in every theme, the harmonic structure is enlivened and surprising. The second movement is introduced by a gentle, recurring Classical binary melody, followed by a dramatic section with sharp juxtapositions of dolce and forte and an unexpected burst of pianistic activity. In the third movement, a playful rondo-like theme is immediately interrupted by a gruff and humorous chromatic line. These two ideas contend with one another like opposing characters in an opera buffa. The pianist is allowed to revel in rapid passages in triplets while the violin carries a dramatic melody sweeping across all four strings.