Beethoven's piano and violin sonata no. 10, opus. 96: Beethoven's emotional condition as reflected in a style analysis of the work

The intention of this treatise is to explore meaning (emotional and intellectual) in Beethoven's Violin Sonata No.10. Implications within the historical context, relation to other Beethoven works of the period, and analytical scrutiny will be explored in order to determine the psychological and emotional impact. These findings should serve as a guide to technical issues and interpretations. The mood of Beethoven's Sonata Op.96 is one of sublime elation, not passion. This is significant given that we know how Beethoven's emotions are reflected in his music in general. As one scholar wrote, instead of urgent dramatic expostulation, here the mood is one of gentle lyricism, with but glimpses of the profound depths of experiences and conquest of pain that had made possible the achievement of this serenity. In 1817, the Leipzig Allgemeine Musikalische Zeitung published a review of the first edition of the Op.96, stating that it almost seems as if this great master has reverted, in his most recent works, more to the melodic and cheerful. This more relaxed stylistic character marked the transition to his late works of 1817. The Op.96 represents a turning point in Beethoven's oeuvre. None of his earlier violin sonatas, not even the String Quartet in F minor, Op.95 ("Serioso"), shows that abstract, philosophical quality which from now on characterizes all of Beethoven's output in his last period. These very telling but somewhat vague and general characterizations of the sonata's style and mood lead us to investigate those technical features of the work that illustrate them. The initial gesture itself sets the mood for the whole work. The following is a projected chapter outline: 1) Beethoven's life and development in his middle period; 2) Structure and design; 3) Melodic contour/direction and structural use of dynamics; 4) Harmonic tonal conflicts; 5) Contrapuntal techniques within the classical style; and 7) Principles in Contemporary works (e.g. Symphony Nos. 7 and 8). In conclusion, these findings will be generalized in connection with some of Beethoven's other sonatas of the period.