Beethoven’s ten piano-violin sonatas are about the development of the instrumental conversation between equal partners. While the three sonatas op. 12 are still dominated by the piano, a multi-layered, networked dialogue already takes place in the three works op. In the “Kreutzer Sonata” op. 47, Beethoven then demands a combative confrontation between piano and violin, truly a double concerto of virtuoso symphonic confrontation.
Frank Peter Zimmermann and Martin Helmchen achieved all of this at the matinee in the Prinzregententheater, as excited as they are relaxed, as gripping in terms of music as it is in the appearance. All concentration, all action was directed exclusively to the realization of the music event. The G major Sonata op. 30.3 was a light-footed, quick reaction and brilliantly virtuoso, without forcing or local effects. Sforzati or syncope were not alleviated, but ignited with full effect. The Kreutzer Sonata really became a “concert”, according to Beethoven’s wish. Zimmermann formulated the dreaded slow introduction in a large format and thus opened wide perspectives into the frenzied Presto opening movement, in which both musicians consistently and passionately did not give in to the other and thus achieved a higher level of togetherness. It goes without saying with these artists that Zimmermann’s tone always shone even in the highest excitement, that Helmchen never fell into false thunder.
With this border-breaking piece, Beethoven had actually finished with violin sonatas. But ten years later, in 1812, at the gateway to his visionary late work, he wrote a kind of addendum, the G major Sonata Op. 96, a marvel of light airiness, filled with an improvisational spirit, with lyrical cantability and weird wit, with perky surprise coups and serene landscape. Zimmermann / Helmchen enjoyed this pleasure in the freedom of parling as well as the grateful audience. As an encore, the Adagio from op. 30, 1, a dream of intimacy.