Sensitively constructed transitions connect the four movements of the Sonata in G minor, a mature work written in the autumn of 1843. Characteristic of this work, as with numerous other compositions by Fanny Mendelssohn-Hensel, is above all the harmonic boldness both in the overall structure of the movements and in their modulations.
ln the first movement, Allegro molto agitato, the conventional harmonic structure of the sonata movement is revolutionised and totally upset: harmonic contrast between the
themes is totally absent, the second theme not appearing in the dominant, but also in the tonic. Within this passionate and dramatic movement, governed in every way by an inner restlessness, there is obviously no scope for the usual tonal detente, not even in the recapitulation. The tonic, to which the sonata eventually returns at the very end, after a lengthy digression, is being questioned here. The second theme pushes forward, its sudden radiant G major solely bringing release and elucidation in the end.
In the second movement, a scherzo in B minor, which remaining almost throughout in the dynamic area of piano and pianissimo, the passionate urge of the first movement comes to a complete standstill. Above the long sustained notes, a slightly wistful song, capriciously swirling around an F sharp, resounds in an enraptured atmosphere. In the middle section (trio), the tenderness and lightness of the first section is greatly intensified (una corda). In the tremolo of the middle parts, the colouring of the portentous bass tremolo of the first movement is reinterpreted as an iridescently high tone-colour, above which there arises a heartfelt, extended and peaceful melody in the high soprano register. (The tremolo pervades the different movements of the sonata in varied forms.) In the last third of the repeated A-section, we notice an intensification and increase of tension (semiquaver movement, crescendo up to F), that finally, in a shortened recapitulation of the B-section in which elements of the main section and the trio sometimes overlap, finds its pacification and is expanded into the coda.
A definite prose-like character governs the third movement, Adagio (D major), the three formal sections of which are extremely different in terms of weightiness and length. The first part with its long, sustained cantilena above a swaying, barcarole-like accompaniment in 9/8-time, reminds us of several of the composer's Pianoforte Songs. Just as with the work of Felix Mendelssohn, song-like themes - typical of the genre of 'Songs without Words' - also
occur in other instrumental works by Fanny Mendelssohn-Hensel. As a contrast to the first part, the middle section assimilates and freely develops motifs from the first part. A coda that takes up motifs from the middle section, joins the recapitulation of the A-section, extremely abbreviated but with a distinctive intensification (bass tremolo, ff).
In the final movement - Finale. Presto -Allegro moderato e con espressione (G major) - two sets of themes, very different in character, are juxtaposed. The first of these, a cheerful and melodious idea in G major, once more in the style of the 'Songs without Words', is relieved by a restless, forward-moving group of themes, in E minor, above a feverish semiquaver motion; the melodic material is derived from the principal motif of the first theme of the first movement. In the central part of the movement, the thematic material of the first group is modulated, before both groups of themes reappear in succession. this time in D major and D minor. The important final coda again takes up motirs of the first thematic group and ends in a powerful final climax with a resounding G major chord, heard twenty times in all, in the low register.
(Naxos Music Library)
Please take note that the audio AND sheet music ARE NOT mine. Feel free to change the video quality to a minimum of 480p for the best watching experience.
Performer: Liana Serbescu (CPO, 1993)
Sheet music: imslp.org/wiki/Piano_Sonata_in_G_minor_(Hensel%2C_Fanny) (Furore Edition, 1991)