Faure - Violin sonata N.1 Op. 13


Faure - Violin sonata N.1 Op. 13. You can download the PDF sheet music Faure - Violin sonata N.1 Op. 13 on this page.
In the First Violin Sonata, the melodic flow predominates over any 'Germanic' working-out of themes. One highlight of the sonata is the lively scherzo. With its sparkling pizzicato effects and capering semiquaver runs, falling over themselves and yet reaching the same cadences over and over again, it presents a perfect example of the specifically French ideal of wit and brilliance. No wonder that Saint-Saëns, the prophet of 'ars gallica', was so enthusiastic about the work! In the First Violin Sonata echoes of Fauré's predecessors can be heard. Many phrases show traces of Schumann's idiom. The preservation of Classical sonata form and the gradual transformation and development of thematic ideas in the first movement recall the solid craftsmanship of a Johannes Brahms. Nevertheless, that German late-Romantic might well have shaken his head over many of the bold harmonic transitions made by the younger Frenchman.

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PDF format sheet music

 

Instrument part: 12 pages. 1279 K

 

Piano part: 43 pages. 4882 K

 

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The contrast between the first and second subjects of Classical sonata form, already weakened in the First Sonata in favour of a continuous, singing melodic line, are further smoothed out. Even the Classical division of sonata form into exposition, development and recapitulation is here abandoned in favour of an almost strophic alternation between two song themes. The thematic figures are not broken into fragments, but neither do they return unchanged; instead, the second theme is drawn ever more powerfully into the mood of the first, taking over the murmuring semiquaver accompaniment towards the end of the movement. A particularly lovely touch of inspiration opens the slow movement. Faure took it from the fragment of his single, uncompleted attempt at a symphony — fortunately, for otherwise this melancholy theme, with its echoes of earlier times and ecclesiastical modes, would have been lost when the early drafts of the symphony were destroyed. The theme recurs several times in the course of the movement, each time differently divided between the two instruments and each time with different lines appearing in counterpoint. The main theme of the Finale, whose skipping rhythm plays across the bar-lines, forms a true counterpart to the final theme of the First Violin Sonata: light, elegant and even capricious.
 
 
     
 
 
 
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