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Violin sonata no. 5 in F ''Spring'', Op. 24

The Violin Sonata No. The Fifth Violin Sonata was published by Schuberth in August and again as part of the combined edition of all five Violin Sonatas by the same company in As was Raff's common practice for his major chamber works although not the Fourth Violin Sonata , the piece is in four movements. Thoroughly romantic in style and characteristically melodic, it is not a particularly sunny work, with both the outer movements having a restless and uneasy energy which is only dispersed at the very end of the piece.

Beethoven: Violin Sonata no. 5 in F major, op. 24

The inner movements balance a grief-laden slow movement with a more carefree fast one. Allegro patetico [the excerpt is from the middle of the movement - 2: A slow declamatory opening leads after a minute or so to the anxiety-ridden principal theme which dominates the movement, a feverish violin line underpinned by turbulent figurations from the piano. This ebbs away to be replaced by a more lyrical second theme in C major.

MOZART Violin Concerto No 5. Violin Sonata No 32

Its yearning character maintains the prevailing uneasy atmosphere and doesn't last long. C minor returns as the anxious first theme reasserts itself even more frenetically. Raff then develops it, periodically ratcheting up the tension with a series of upward leaning arpeggios. These passively uneasy and franticly nervous moods alternate between major and minor and in various guises for the rest of the movement until some respite is achieved near its end as the second theme is briefly revealed to have a warmer and more relaxed side to it.


Andante [this extract from the middle of the movement is the transition from the opening chorale to the agitated central section - 2: A programme-loving Victorian commentator might have characterised it as a picture of feverish sleep; calm passages are interrupted by agitated episodes recalling the anxiety of the previous Allegro.

A gentle chorale is introduced by the piano and then taken up by the violin but the mood is destroyed by a second skittish theme made up of short arched phrases which soon degenerates into a brief anxious climax.

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Calm restored, the chorale returns, only to be replaced in its turn by another nervous episode, more sustained than the first. For him, everything is coherent, but nothing is written in advance.

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