Though absurdly over-estimated, perhaps on account of Tolstoy's stupid novel, this still remains one of the great masterpieces in music. Commissioned by a Mulatto violinist named Bridgetower, and written, as the original title-page says, "in a specially brilliant style," it was first given at 8 o'clock on a May morning in 1803 in the Augarten at Vienna, with Beethoven at the piano and Bridgetower with the violin. The Sonata opens with a majestic introduction, ending on a dominant pause. Tradition has it that Bridgetower improvised a cadenza here and that Beethoven approved. Amongst the whirl and excitement of the bold and vigorous opening _Presto_, the hymn-like second subject stands out with a marvellous way. Nothing is lost of the tenderness of the _Andante_ in the brilliant variations which follow it, and this is all the more wonderful because this piece is the most virtuoso-like of all Beethoven's chamber-music. Tenderness with Beethoven is no maudlin sentiment, but the gentle sympathy of a strong man. The Tarantelle-like _Finale_ originally belonged to the Sonata of Opus 30, No. 1, A major, but, as Beethoven had been dilatory in his commission, the time having arrived and no _Finale_, he took the _Finale_ from the earlier Sonata and wrote a new one for it later on. 10th SONATA, Opus 96, in G. _Allegro moderato--Adagio espressivo--Scherzo allegro--Poco Allegretto._ This was written in 1810 and dedicated to Beethoven's firm friend and patron, the Archduke Rudolph. Although not really characteristic of the master's latest style, which does not commence until Opus 106, yet it is the most intimate of all the violin sonatas. It stands amongst the very great works and is indeed in some ways superior to the C minor. The _Adagio_, calm and sublime, is one of the most beautiful things in music. The scoring is like that of a string quartet. The ending dies away and creeps almost imperceptibly into the _Scherzo_ through an unexpected C sharp. Full of life and bubbling over with fun, it has a jolly _trio_ and a _coda_ of its own. The _Finale_ touches every mood from gay to sad, from lively to severe. The lovely _Adagio_ makes a re-appearance in it, but the gay mood wins, for with a freakish little _Presto_ the Sonata is brought to a triumphant close. THE STRING QUARTETS THE STRING QUARTETS 1st QUARTET, Opus 18, No. 1, in F. Dedicated to Prince Lobkovitz. _Allegro con brio--Adagio affettuoso ed appassionato--Scherzo--Allegro._