Fauré - Violin Sonata No. 2 in E minor, Op.108

Gabriel Fauré (1845 - 1924)
Violin Sonata No. 2 in E minor, Op.108 (1916)
Analysis below ↓
MVT I
EXPOSITION
00:00 - Theme 1, E minor
00:33 - Transition theme 1
00:46 - Transition theme 2
01:35 - Theme 2, G major. The rising two note motif from T1is in the left hand of the piano
DEVELOPMENT
02:09 - Beginning of the development section. T1 treated sequentially
02:43 - Transition theme 1
03:16 - Transition theme 2
03:59 - T2, E major
04:45 - T1
04:55 - Sequence using T1, T2, and transition theme 1
05:33 - Retransition
RECAPITULATION
05:45 - T1 played canonically
06:29 - Transition theme 1 in the piano and Transition theme 2 in the violin
06:55 - T1 treated sequentially
07:24 - T2 played canonically
CODA
08:05 - Beginning of the coda. T1 played canonically
08:40 - Transition theme 2 played canonically
08:55 - T2
09:18 - T1
MVT II
09:45 - Theme 1
11:34 - Theme 2
12:34 - Development
14:01 - Recapitulation
16:14 - Coda
MVT III
EXPOSITION
18:24 - Theme 1
19:14 - Theme 2
19:42 - Theme 3
20:16 - Codetta
DEVELOPMENT
20:27 - Beginning of the development section.
20:33 - Fragments of T1 in augmentation
21:05 - T2
21:39 - Fragments of T1
21:51 - T3 in the piano played alongside the downward leap of an octave motif from T2 in the violin. The roles are reversed at 22:03
22:20 - T2
RECAPITULATION
22:34 - T1
22:50 - T2
23:32 - Fragments of T1 in the piano played alongside the downward leap of an octave motif from T2 in diminution in the violin
CODA
23:41 - T2 from mvt 1
24:03 - Fragments of T1 played in imitation between both instruments
24:15 - T2
24:18 - Fragments of T1 in the piano played alongside more fragments of T1 in the violin but in augmentation
24:30 - T2 in the violin. Still fragments of T1 in the piano
Augustin Dumay, violin
Jean-Philippe Collard, piano

[@Aaron-dj2vi]

00:00 - I. Allegro non troppo
09:45 - II. Andante
18:24 - III. Allegro non troppo

[@Lizabeth2789]

6:10
10:58
12:34 13:19
16:00

[@chonchanoksophonpanich9241]

Amazing! The best analysis I’ve ever seen❤️

[@piapla8415]

It’s a good analysis, but is there an argument that the last movement is in Rondo Form rather than Sonata Form (despite using the thematic material from mvt 1)?

[@samaritan29]

This is brilliant...! any plans for the piano quinets or cello sonatas?

[@Aaron-dj2vi]

I'll definitely upload the cello sonatas, not sure about the quintets yet