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Franck - Violin sonata A-dur

Franck - Violin sonata A-dur. You can download the PDF sheet music Franck - Violin sonata A-dur on this page. César Franck's violin Sonata in A major, was composed with difficulty and great effort during the summer of 1886. It gives an impression of freedom. It is cyclic in form and its four movements are full of rigour, tension and lyricism. The whole of Franck is there in this work, with his dreams, his delicacy, his profound visions, his innate sense of structural organisation; with all his passion for the most rigorous architecture combined with the most astonishing freedom. It was first performed on 16 December 1886 in Brussels, by Ysaye with a triumphant success.

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PDF format sheet music


Instrument part: 11 pages. 510 K


Piano part: 46 pages. 1750 K


Instrument part - First page Piano part - First page
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They start from a simple nucleus - major or minor third - and are contrasted two by two: the first and third movements are apparently free in structure, but in fact follow a most implacable logic, while the second and fourth, which are rigorously structured, paradoxically seem extremely free in form. In the first movement, Allegro ben moderato, there are two contrasting motifs: a long, gentle cantilena lasting 27 bars (unheard of!) for the violin; the rhythmic element for the piano. Here, there is no "development" in the traditional sense, but a long reverie: we are more in the realms of poetry than of reason. There are fresh surprises in the second movement: first of all, the indication Allegro; then the arrangement of the themes: the first one, on the piano then on the violin, is tumultuous and wild with freedom, sensuality and explosiveness; the second one, for the violin - and in the relative key - is more unrestrainedly lyrical; finally, a brief - almost purifying - motif appears, which recurs in the last two movements. Thus, little by little, the pyramid is built up.

In the Recitativo-fantasía, Franck once more finds the confidential, elegiac tone of the beginning of the work and returns to a secret romanticism: fantasieren = to improvise. By successive stages, and despite an essentially rhapsodic style, the earlier motifs dispose themselves with absolute rigour, become stronger and set each other off in an atmosphere of warmth and
intimacy. We can but remain silent, as the composer pursues his quest for inner life and hidden beauty and the work gradually dies away ("morendo"), until it is on the border between music and silence. After these outpourings from the soul, the Allegropoco niosso provides a meaningful contrast. It is symmetrical to the second movement, as the previous one was to the first, and is built on the most solid of foundations: a canon alVottavo, which recapitulates most of the motifs we have already heard, before ending in the key of A major, emphasized by both the piano and the violin.
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