Sonata No. 3 in E-flat Major, Op. 12, 1st movement

Sonata No. 3 in E-flat Major, Op. 12, 1st movement

Sonata No. 3 in E-flat Major, Op. 12, 1st movement

Ludwig van Beethoven

Boris Garlitsky's masterclass

Produced by the Saline royale Academy French Music sheet annotated by  Boris Garlitsky  is available 43 min Violin

In this violin lesson, Boris Garlitsky and Pauline Van der Rest address tempo and various nuances in Beethoven's Sonata No. 3 in E-flat Major, Op. 12.

Produced by the Saline royale Academy

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The masterclass

About this masterclass

In this session, Professor Boris Garlitsky and student Pauline Van der Rest embark on a Beethoven journey with the Sonata No. 3 in C Major, Op. 12, 1st movement for violin and piano. 

Professor Garlitsky explains that the piece is full of colors, is very tonic and that great cooperation is expected between the piano and violin. It is paramount that Pauline, his student, pays attention to the many nuances of the sonata, especially the piano parts.  

When the violin is alone, the violinist is freer. Sometimes, the piano is the star, and the violin is the bass, the backbone of the piece. Pauline Van der Rest is told to be careful when the tempo is fast because it is easy to be late. She also must extend the cord in the air in many passages and pull on her bow to give the piece its character. In the meantime, like many student violinists, Professor Garlitsky tells her to not play at the heel of the bow too much. Beethoven’s piece also calls for vulnerability, something that can be achieved by ‘vibrating without vibratos’, as he explains it. 

Finally, the student is told that it is especially important to take pleasure in playing the difficult parts. 

What we learn in this masterclass 

  1. Pay attention to the many nuances of the piece.

  2. Enjoy playing the more complex parts of the piece.

  3. Extend your cords in the air for smoother playing.

  4. Keep up with the tonic tempo.

  5. Cooperation and listening to the piano are key in this piece.

Sonata No. 3 in E-flat Major, Op. 12, by Ludwig van Beethoven

Inspired by the genius of Wolfgang Amadeus Mozart and dedicated to Antonio Salieri, Beethoven's Sonata No. 3 in E-flat major moves away from some of his typical works. The sonata has three movements: Allegro con spirito, Adagio con molta espressione, and Rondo: Allegro molto; and is very melodic, with rhythm sections that add a certain drama to the music. In this particular oeuvre, a strong cooperation between the piano and violin section is demonstrated. 



  • Composer: van Beethoven
  • Piece:Sonata No. 3 in E-flat Major, Op. 12, 1st movement
  • Professor: Boris Garlitsky
  • Student:Pauline Van der Rest
  • Instruments: Violin
  • Date:28 October 2020
  • Producer: Produced by the Saline royale Academy
  • Duration:43 min
  • Spoken language:French
Boris Garlitsky

Boris Garlitsky

This is style. This is the heart. You can always give a bit more!

Boris Garlitsky

Sheet music

Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this violin masterclass. Please note that this piece has been annotated in accordance to Boris Garlitsky’s feedback and comments.

Sheet music sonata no. 3 in e-flat major, op. 12, 1st movement

Boris Garlitsky

Boris Garlitsky

In 1982 he was the winner of the Premio Paganini in Italy.

Born in Russia, Boris Garlitsky received his first music lessons from his father, the author of the standard textbook for young violinists, “Step by Step”. He studied at the Moscow Conservatory, and debuted as a soloist after winning the Italian Paganini Competition in 1982. Since then, he has played, among others, with the London Philharmonic Orchestra, the Vienna Radio Orchestra, the Chamber Orchestra of Philadelphia, as well as the Milan based Giuseppe Verdi Orchestra and the British Orchestra of the Age of Enlightenment.

Garlitsky is an active participant in several international music festivals. He regularly participates in the Pablo Casals Festival in France, mostly Mozart in New York, the London Proms, the Schleswig-Holstein Music Festival and Gidon Kremer’s Chamber Music Festival at Lockenhaus in Austria. What’s more, Garlitsky performs for the BBC, Radio France, as well as a number of radio stations in Italy, Russia, and the United States. He has recorded for RCA, Naxos, Chandos and Polymnie. Furthermore, Garlitsky is devoted to chamber music and is a member of the Hermitage String Trio, praised highly in critical reviews.

Presently, Garlitsky is a dedicated educator. He holds a chair at the Folkwang Universität der Künste, Essen (Germany), and offers masterclasses on a yearly basis at the most renowned music institutions, including the Curtis Institute in Philadelphia, the Peabody Conservatory in Baltimore, Hanns Eisler Musikhochschule in Berlin, and Kronberg Academy.

van Beethoven

Ludwig van Beethoven

Born in Bonn, Germany in 1770, Ludwig van Beethoven is one of the most mainstream references of Classicism — a pianist, composer, and an unequivocal genius. Descending from a long line of musicians, Beethoven studied music from an early age, beginning with the piano, clarinet, and the organ. At the ripe age of 11-years-old, Beethoven received his first job as a court organist, replacing his own teacher for a period of time. A veritable young prodigy, Beethoven was publicly compared to Wolfgang Amadeus Mozart, and a few years later, the young musician traveled to Vienna to briefly study under the tutelage of Mozart himself. In his late 20s, Beethoven noticed difficulties with his hearing and by his mid 40s, he was completely deaf and unable to vocally communicate. Despite this misfortune, he remarkably continued to compose music. Beethoven’s Symphony No. 9 was written after he had entirely lost his hearing. 
 While his early musical career heavily reflected the Viennese Classical tradition inherited by the likes of Mozart and Haydn, Beethoven achieved a unique revolutionary identity by the end of his career. Deceased in 1827, his wake was a public event that gathered around 10,000 people. Despite his passing, Beethoven’s legacy lives on. His works anticipated many of the features that would characterize music in the romantic era and even that of the 20th century.

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