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Author: Grafiati

Published: 10 March 2023

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1

Husa, Karel. Sonata a tre: For violin, B flat clarinet, piano. [New York]: Associated Music Publishers, 1987.

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2

Sonata a tre, 1867-1871: Verdi, Wagner e Bologna, 1813-2013. Lucca: Libreria musicale italiana, 2013.

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3

The piano sonatas of Carl Loewe. New York: P. Lang, 1996.

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4

The early keyboard sonata in Italy and beyond. Turnhout: Brepols, 2016.

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5

1958-, Sly Gordon Cameron, ed. Keys to the drama: Nine perspectives on sonata forms. Burlington, VT: Ashgate, 2009.

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6

1944-, Woodsworth John, ed. The outcast's sonata. New York: Legas, 1995.

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7

Strindberg, August. The ghost sonata. Schulenburg, TX: I.E. Clark, 1991.

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8

Banks, Iain M. The hydrogen sonata. New York: Orbit, 2012.

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9

The murder sonata. Bath, England: Chivers Press, 1991.

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10

Beagle, Peter S. The unicorn sonata. Atlanta: Turner Pub., 1996.

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11

Leo, Tolstoy. The Kreutzer sonata. New York: Modern Library, 2003.

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12

McCrite, K. D. The unfinished sonata. United States]: Annie's Attic, 2012.

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13

Robert, Sheppard. The flashlight sonata. Exeter, England: Stride, 1993.

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14

Allison, Jennifer. The Ghost Sonata. New York: Penguin USA, Inc., 2009.

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15

Bojonegoro, Wina. The souls: Moonlight sonata. Jakarta: Genta Pustaka, 2011.

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16

The shoe-horn sonata. Sydney: Currency Press, 1996.

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17

Bojonegoro, Wina. The souls: Moonlight sonata. Jakarta: Genta Pustaka, 2011.

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18

Montefiore, Santa. The forget-me-not sonata. London: BCA, 2003.

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19

Gilda Joyce: The ghost sonata. New York: Dutton Children's Books, 2007.

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20

The forget-me-not sonata. Bath: Chivers Press, 2003.

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21

Koliner, I. L. Sonaṭat epel: The apple sonata. Tel-Aviv: Geṿanim, 2013.

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22

Heim, Norman M. The clarinet sonata in outline. Hyattsville, Md. (7402 Wells Blvd., Hyattsville 20783): Norcat Music Press, 1995.

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23

The Italian 'trio' sonata: From its origins until Corelli. Oxford: Clarendon Press, 1992.

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24

Brehy, Petrus Hercules. Instrumental Works from the Library of the Royal Conservatories, Brussels. Edited by Lewis Reece Baratz. A-R Editions, 2021. http://dx.doi.org/10.31022/b215.

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Brussels native Petrus Hercules Brehy (1673–1737) composed twelve sonatas for two violins, viola, basso viola, and continuo around 1715–22, and two sonatas for five instruments and continuo approximately ten years later, all during his tenure as zangmeester of the Collegiate Church of SS. Michael and Gudula. Since 1929 the autograph manuscripts have been conserved at the Library of the Royal Conservatories of Music, Brussels. Unlike Brehy's earlier symphonias, these were not published during his lifetime and were written to be played by a mix of professional musicians, able clerics, and older choirboys. Six of the twelve sonatas for four instruments and continuo reflect the earlier polyphonic ensemble sonata da chiesa of the late seventeenth century, four feature the violin in more flamboyant soloistic passagework, and two contain elements of both idioms. The two sonates à 5 are consistent with the late Baroque international style. All the sonatas in this volume reflect the somewhat conservative religious style of a Habsburg Empire territory capital during the early eighteenth century.

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25

Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart: A Descriptive Analysis. Creative Media Partners, LLC, 2022.

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26

Sapp, Allen. Piano Sonatas I–IV. Edited by Alan Green. A-R Editions, 2021. http://dx.doi.org/10.31022/a090.

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This volume presents a critical edition of Allen Sapp's four earliest piano sonatas, the first written at just age nineteen while he was a student of Walter Piston at Harvard in 1941. Piano Sonatas II, III, and IV were completed while Sapp was on sabbatical from Harvard and living in Rome in 1957. The three Roman piano sonatas are remarkable in that they were composed using serial procedures, yet they were intentionally written to have strong tonal centers (especially the third sonata). Irving Fine, who gave the premiere performance of Piano Sonata I, composed an ossia of a passage in the second movement, which is included in the edition.

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27

Montefiore, Santa. Sonota De No Me Olvides / The Forget-Me-Not Sonata. Umbriel, 2006.

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28

Marks, F. Helena. The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas. Library Reprints, 2001.

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29

Shedlock, John South. The Pianoforte Sonata: The Pianoforte Sonata. BiblioBazaar, 2007.

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30

The Sonatas of Henry Purcell. University of Rochester Press, 2018.

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31

Sly, Gordon. Keys to the Drama: Nine Perspectives on Sonata Forms. Taylor & Francis Group, 2016.

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32

Schiff, David. Turning Points (1945–1948). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0006.

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Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice. Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers. Carter’s music at this time, however, was moving in new directions. The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style. Their idioms also reflect Carter’s realignment with ultra-modernism in his renewed friendship with Varèse and involvement with the publication and performance of Ives’ works. The appearance of metrical modulation in the Cello Sonata, an innovative approach to rhythmic organization, also sprang from Rudolf Kolisch’s study of tempo in Beethoven’s music.

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33

The Sonata. Cambridge University Press, 2011.

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34

Stauffer, George B. Miscellaneous Organ Trios from Bach’s Leipzig Workshop. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0003.

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This chapter examines various independent trio movements that Johann Sebastian Bach either composed or transcribed, probably prior to the composition of the Six Sonatas for organ. The Six Trio Sonatas for Organ, BWV 525–530, were assembled for the use of Bach’s oldest son, ilhelm Friedemann, to give final polish to his organ technique. This chapter first describes the Six Trio Sonatas before discussing Bach’s miscellaneous free organ trios in more detail. It then considers Bach’s Leipzig workshop and suggests that the miscellaneous organ trios and Six Sonata variants represent a unified repertory arising from a single period of activity in Leipzig: 1725 to 1730 or so. Aside from serving as preparatory exercises for the Six Sonatas, the organ trios were used as display pieces for demonstrating the chamber music registers of the progressive Central German organ, as well as a teaching material for students like Johann Tobias Krebs and Gottfried August Homilius.

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35

The Ghost Sonata. Broadway Play Pub, 2015.

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36

The Gustav Sonata. Chatto & Windus, 2017.

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37

The Kreutzer Sonata. Ottawa: eBooksLib, 2005.

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38

Banks, Iain M. The Hydrogen Sonata. AudioGO, 2013.

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39

Leo, Tolstoy. The Kreutzer Sonata. Book on Demand Ltd., 2018.

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40

Leo, Tolstoy. The Kreutzer Sonata. Karbon Kitaplar, 2019.

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41

The Hydrogen Sonata. Orion Books, 2012.

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42

Leo, Tolstoy. The Kreutzer Sonata. Blackstone Audio, Inc., 2012.

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43

Leo, Tolstoy. The Kreutzer Sonata. Waking Lion Press, 2006.

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44

Leo, Tolstoy. The Kreutzer Sonata. Stonewell Press, 2013.

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45

The Hydrogen Sonata. New York, USA: Orbit Books, 2012.

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46

Leo, Tolstoy. The Kreutzer Sonata. Classic Books Library, 2007.

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47

Leo, Tolstoy, and Jim Roberts. Kreutzer Sonata, The. Naxos AudioBooks on Brilliance Audio, 2016.

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48

The Gustav Sonata. W. W. Norton & Company, 2016.

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49

Keyes, Stephanie. The Spellbinder's Sonata. Stephanie Keyes, 2018.

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50

Leo, Tolstoy. The Kreutzer Sonata. Penguin (Non-Classics), 2007.

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