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The first movement begins passionately, with the theme first played by the violin and amenable like so many of Schumann's themes to canonic treatment; Schumann once remarked on this fact himself. This theme serves to introduce a compact, driven sonata form pushed ahead by economical use of rhythms (new themes often are based on some of the same ...
Florence Beatrice Smith was born to Florence (Gulliver) and James H. Smith on April 9, 1887, in Little Rock, Arkansas, [4] one of three children in a mixed-race family. Her father was the only African-American dentist in the city, and her mother was a music teacher who guided Florence's early musical training. [5]
The first movement is characterized by a series of light, pulsing chords that reappear periodically throughout the movement, with slight variations with each recurrence. The solo violin enters early in the movement playing fairly rapid arpeggios that gradually extend to encompass the full range of the instrument.
The movement ends with the coda, dominated by first violin semiquavers and pizzicati, which, also without theme development, contains a virtuoso 25-bar violin cadenza and, at 59 bars, is the longest coda in Beethoven's first ten quartets. The first movement is the only movement in this quartet that is in sonata form.
The first movement, marked Andantino and commencing in 6/8 meter, opens with a lyrical violin melody to be played sognando (dreamily) and pianissimo (very softly) over viola tremolos. The solo violin is joined in dialogue by the flutes, clarinets, and oboes. [ 12 ]
David worked closely with Mendelssohn, providing technical advice during the preparation of the latter's Violin Concerto in E minor. He was also the soloist in the premiere of the work in 1845, and, with Clara Schumann, played the official premiere of Schumann's first violin sonata in Leipzig in March 1852.
The origin of the violin family is obscure. [1] [2] Some say that the bow was introduced to Europe from the Byzantine Empire and the Islamic world, [3] [4] [5] while others say the bow was not introduced from the Middle East but the other way around, and that the bow may have originated from more frequent contact between Northern and Western Europe.
The third movement is generally considered to be the most typical of Bartók's mature style, including early evidence of his interest in Hungarian folk music. The piece was premiered on 19 March 1910 in Budapest by the Waldbauer-Kerpely Quartet, two days after Bartók played the piano with them in a concert dedicated to the music of Zoltán ...