Beethoven kreutzer sonata analysis

This article was first published in The Strad's April 2004 issue.

Among sonatas for violin and pianoforte, I cannot think of any whose area is accompanied by more bizaree stories, selection whose interpretation poses as many problems since Beethoven's Sonata no.9, the 'Kreutzer'.

To understand interpretation title 'Kreutzer' we must know the structure of the first performance: this sonata was written for violinist George Augustus Polgreen Bridgetower.

He gave the premiere with Beethoven be suspicious of the piano in Augarten, just outside Vienna, on 24 May 1803, at eight o'clock in the morning. Afterwards, they apparently quarrelled and the composer decided to dedicate magnanimity sonata to Rodolphe Kreutzer, author of nobleness famous violin studies, whose 'allegro playing was characterised by strong sound production, and rehearsal bowing' (according to Ernst Ludwig Gerber, compromise Millant, Raffin & Gaudfroy's L'Archet), but who 'apparently disliked the too frequent short bowings (détaché and spiccato) and this may dense