June 24, 2012 – Proper 7

Adagio in Eb - Ludwig van Beethoven
Sonatina in c minor - Ludwig van Beethoven
Sonata No. 4 in a minor: "Presto"
                                  - Ludwig van Beethoven
Hymns: #429 OLD 113^TH, #564 ST. DUNSTAN’S,       
              #608 MELITA, #LEVAS200 STAND BY ME

This week’s music is written by Ludwig van Beethoven(1770-1827). The three pieces are being played by the rather unusual combination of mandolin and piano. Two of the three pieces are actually written for mandolin while the third is for violin and has been adapted for mandolin. This works well because the mandolin and violin both have four strings (the mandolin has eight which are in four courses) and are tuned the same [GDAE].

In today’s society we tend to think of the mandolin as a bluegrass instrument but it has its origins in classical music. The mandolin is the soprano member of the lute family. It has eight strings tuned in four courses. A course is a set of strings that are tuned to the same pitch. These early mandolins were most commonly found in Italy and had rounded, or “bowl” backs. Vivaldi and Beethoven both wrote solo compositions for the instrument. Mozart, Mahler, and Stravinsky (among others) wrote parts for mandolin in their operas and symphonies.

The two pieces for mandolin and “piano” are both short parlor pieces. During Beethoven’s lifetime the mandolin was a popular instrument for playing at home. The accompaniment was more likely to have been harpsichord or fortepiano even though the piano was taking over in the concert hall it was several years before it became a common instrument in people’s homes. These two little pieces showcase the delicate qualities of the mandolin as well as Beethoven’s ability to write an accessible light melody that has a simple sophistication to it. The sonatina in c minor (played at communion) was later developed into the opus 14 piano pieces.

The postlude is the first movement of the Fourth Violin Sonata in a minor. The movement is in sonata form with the scalar theme passed from mandolin to right hand and then left hand of the piano. The movement in 6/8 time has a great deal of rhythmic excitement with syncopation. The writing is well suited to the mandolin despite being written for violin, the passagework fits well under the hands and sound is still exciting and energetic.