The Sonata trilogy that Brahms, written in full maturity, has become the reference in this so particular form of
dialogue called ‘romantic sonata’, each of the three having its own sentimental mood. The first, using the theme
from the ‘Regenlied’, has obviously for model Beethoven's last sonata for violin and piano, Op.96. The second let
break a warmer intimism, a sort of tribute written ‘in the wait of a girlfriend’, the young soprano Hermine Spies.
The third is written with a much stronger ink: this concertante sonata has a vehemence and a surprising greatness
which, this time, exceed the beethovenian model, the Kreutzer Sonata.
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