Dissertations / Theses on the topic 'Sonata a tre'
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Stoltzfus, Andreas M. "Was There a Trumpet Sonata Before the Trumpet Sonata? an Investigation of Girolamo Fantini’s Trumpet Sonatas with Respect to Other Stile Moderno Solo Instrumental Sonatas." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804954/.
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In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.
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Yang, Eun-Kyoung. "The Piano Sonatas of Carl Vine: A Guideline to Performance and Style Analysis." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1048801477.
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Thesis (D.M.A.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains ix, 97 p.: ill., music. Includes abstract and vita. Advisor: Caroline Hong, School of Music. Includes bibliographical references (p. 96-97).
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Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.
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Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.
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Seidel, John A. (John Allen). "The Trombone Sonatas of Richard A. Monaco." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330825/.
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This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety.
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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.
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Solomons, John. "The six piano sonatas of James Sellars aspects of form, rhythm, texture and style /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/solomons%5Fjohn/index.htm.
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Ćojbašić, Ivana. "Content and Musical Language in the Piano Sonata of Sofia Gubaidulina, and Three Recitals with Works by Bach, Beethoven, Mozart, Chopin, Schumann, Debussy, and Rachmaninov." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935565/.
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Sofia Gubaidulina is one of the leading composers in the contemporary music world. Her compositional interests have been stimulated by the exploration of and improvisation with rare folk and ritual instruments, and by a deep-rooted belief in the mystical properties of music. Gubaidulina is the author of orchestral and choral works, compositions for solo instruments, chamber music, as well as electronics music. Gubaidulina's Piano Sonata sums up the composer's thinking within her piano music, and at the same time projects the development of her spiritual vision within other genres that are to come. The analytical approach in this paper is based on the correlation between each of the elements of the musical material (form, rhythm, sound, etc.) and its contextual meaning in terms of musical dramaturgy. Set-theory is applied to the analysis of motivic components of the work. The traditional form is just the basis for the original intonational structure within a modern musical idiom. Varieties of rhythmic patterns, as well as an unconventional sound production, make this work breath with an impetuous power. The examination of the Sonata's musical language and content should give some insight not only into Guabaidulina's piano music, but also into a consequent development of her compositional thinking.
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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.
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Although Robert Schumann’s late style has been the subject of several probing studies in
recent years, few scholars have concentrated their attention on the chamber works composed in
the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first
movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the
same rhetorical and structural elements. Throughout both movements, however, Schumann uses
an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to
recast the internal workings of these outwardly conventional sonata forms. As he uses these
techniques to undermine important structural moments of each movement, Schumann
significantly changes the overall plot of the eighteenth-century sonata form, while also
demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.School of Music
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Magarotto, Matteo. "The Interaction of Sonata Form and Schemata Derived from Galant Practice in the First Movements of Mozart's Keyboard Sonatas." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470754875.
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Adduci, Kathryn James. "An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/adduci%5Fkathryn/index.htm.
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Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.
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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.
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O'Hagan, Peter. "Pierre Boulez : "Sonate, Que Me Veux-Tu?" : an investigation of the manuscript sources in relation to the Third Sonata. Volume one." Thesis, University of Surrey, 1997. http://epubs.surrey.ac.uk/2331/.
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Rosenbaum, George G. (George Gene). "Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278956/.
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These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).
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Kang, Kyounglae Gina. "A STUDY OF THE THIRD PIANO SONATA OF CARL VINE (2007): THE MUSICAL CHARACTERISTICS OF THE THIRD SONATA COMPARED THROUGH THE FIRST SONATA AND SECOND SONATA AND PRACTICAL PERFORMANCE GUIDANCE." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338245430.
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Maciel, Ruy Homem de Mello. "A forma sonata em descontinuidades e bifurcações." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-10112010-140659/.
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Este trabalho propõe um novo modelo de análise musical, em complementação à análise harmônica tradicional, com o estabelecimento de dois atratores - a partir da dilatação da estabilidade harmônica a partir do séc. XVIII e da resolução da dicotomia temática, condições fundamentais para a existência do modelo Sonata - definidos como catástrofe elementar com um fator de controle e dois atratores a partir da Teoria das Catástrofes de René Thom e da simultânea identificação de conflitos formais na análise estrutural, estética e harmônica da Forma Sonata, determinando seu ponto de catástrofe e definindo a mudança total em seu formato, que passa a comunicar uma nova estrutura formal diante da ultrapassagem da curva da descontinuidade.This project proposes a new model of musical analysis, complementary to the traditional harmonic analysis. The establishment of two attractors issued from the expansion of the 18th centurys harmonic stability and from the thematic resolution of the thematic dichotomy, basic conditions for the Sonata Forms existence is its starting point, which defines an elementary catastrophe with one control factor from the René Thoms Catastrophe Theory. The simultaneous identification of formal conflicts in the structural, aesthetics and harmonic analysis of the Sonata Form is a further condition to determine its degenerate critical point and to define the total change in its format, which is to communicate a new formal structure after passing through its pitchfork bifurcation.
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Proctor, Jordan. "The solo piano sonatas of Cipriani Potter (1792-1871): An analysis, reappraisal, and historical performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2411.
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The solo piano sonatas (Op. 1, 3, and 4) of once eminent English pianist/composer Cipriani Potter (1792-1871) are a collection of works that have for the most part fallen into obscurity. Potter produced three such sonatas in his lifetime, each at approximately the same time during his educational trip to Vienna between 1817 and 1818. Potter was much celebrated in his own time as a virtuoso pianist, teacher, and eventual principal at the Royal Academy of Music, and as an editor of the works of Mozart and Beethoven amongst others. This study examines Potter’s sonatas in light of both modern and eighteenth- and nineteenth-century methods of analysis, as well as in the light of his two greatest influences: Joseph Wölfl (1773-1812) and Ludwig van Beethoven (1770-1827). The study comprises an analysis, reception history, critical reappraisal, and historical performance. It applies three analytical frameworks: the stylistic taxonomy (sublime, beautiful, and ornamental) of contemporaneous commentator and teacher of Potter, William Crotch (1775-1847); late-eighteenth and nineteenth-century key characteristics (largely drawn from Rita Steblin’s History of Key Characteristics); and the analytical approach of James Hepokoski and Warren Darcy’s Elements of Sonata Theory. The analysis, alongside historical performance concerns, informs and influences the interpretive decisions in a complete public recital of Potter’s sonatas using a replica fortepiano after Conrad Graf (ca. 1819). The analysis also informs a critical reappraisal of the significance of Potter’s works, which (as shown through a reception history) have not been fully appreciated. The aim of this project is to produce an effective analytical method for application to the remainder of Potter’s piano output and serve as a stepping-stone for further research into Potter’s music.
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Paz, Martha Costa Guterres. "Avalovara: leituras musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/33668.
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Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007).This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).
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Dearden, Jennifer Lorien. "The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3982.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded May 31, 2004, Apr. 18, 2005, Oct. 24, 2005, and June 11, 2007. Includes bibliographical references (p. 73-74).
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Seah, Stefanie Huei-Ling. "Alexander Scriabin's style and musical gestures in the late piano sonatas : Sonata No.8 as a template towards a paradigm for interpretation and performance." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6959/.
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Alexander Scriabin's piano sonatas are largely regarded as the most significant works in the genre since Beethoven. They outline the development of his compositional style from the youthful Chopinesque works, to his mature, idiosyncratic post-tonal offerings. According to his close friend, biographer, and critic Leonid Sabaneyev, despite Scriabin's philosophy suffering “from too many manifest faults”, his late music is “incomprehensible and incomplete” when “severed from his philosophy”. Consequently, this treatise focuses on Scriabin's unique compositional voice through an examination of his idiosyncratic musical gestures, and the points of their interaction/intersection with his eclectic philosophizing. Recognizing the absence of a substantial interpretive system that reconciles Scriabin's music with his philosophical outlook in the available Scriabin-scholarship, this dissertation investigates the impact of his mystical beliefs upon his compositional style. This is largely achieved through the identification and scrutiny of symbolic gestures in his idiosyncratic pianistic style. Part 1 constitutes the examination of Scriabin's symbolic gestures that routinely feature in his late works: unity, summons, light, flight, occult, resonance, sensuality, eroticism, ecstasy, and transformation/dissipation. Part 2 discusses Sonata no.8, which stands to benefit the most from a gestural reading, due to the near absence of the composer's customary vivid French annotations. A brief discussion regarding issues of interpretation and performance of that sonata and Scriabin's late keyboard works completes this dissertation. The investigative method outlined above, in synergy with the composer's complex beliefsystem, develops a new gestural framework for perceiving and interpreting Scriabin's work; one that blurs the conventional distinctions between musicologist and performer, enabling informed conceptualizations and gestalt performances of these ‘symbolist' works. Sonata No.8 is used as a matrix upon which this theoretical approach is applied. Through relative comparisons and references to the other late sonatas, the Eighth is proffered as an interpretive model upon which analogous interpretations may be based.
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Ribeiro, Erika Maria. "Aspectos interpretativos da Sonata op. 110 de Beethoven." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-25102010-170619/.
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Especialmente a partir do século XX, o interesse em entender como de fato se executava a música do período clássico cresceu consideravelmente. Isso porque, intérpretes e estudiosos em geral, ao se darem conta do distanciamento histórico entre executante e compositor, assim como da multiplicidade dos procedimentos instrumentais que agregaram tradições das mais diversas, sentiram necessidade de uma área de estudo que fosse destinada a essa reflexão. Portanto, este trabalho pretende, em primeiro lugar, realizar um breve estudo de alguns dos principais aspectos que fundamentam a interpretação das obras do período clássico, dentro do campo das práticas interpretativas, tais como: articulação, fraseado, dinâmica, tempo, ritmo, uso do pedal, etc. Serão abordados também conhecimentos sobre Beethoven, seus manuscritos, e as primeiras edições de suas sonatas, assim como informações sobre os instrumentos de época. Em seguida, todos esses critérios serão aplicados à interpretação da Sonata op. 110 de Beethoven. Acreditamos que este procedimento nos possibilitará a construção de uma interpretação criteriosa, convincente, que seja respaldada historicamente e, ao mesmo tempo, atual.Particularly since the twentieth century, the concern in understanding how the repertoire of the classical period was truly performed grew extensively. This happened because interpreters and scholars in general, while realize the distance between performer and composer as well as the large amount of instrumental procedures that caused multiple traditions, felt need of an area of study designed for this kind of reflection. Therefore, this volume aims, in first place, conduct a brief study of some key issues that underlie the understanding of works from the classic period, within the field of the performance practices like: articulation, phrasing, dynamics, choice of tempo, rhythm, use the pedals, etc. Will be addressed also knowledge about Beethoven, manuscripts and first editions of his piano sonatas, as well as some information about the instruments of that time. Then, these criteria will be applied to the interpretation of Beethovens Sonata op. 110. We believe that this procedure will allow the construction of a careful, credible, historically founded and, at the same time, actual performance.
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Larsen, Juliane Cristina. "A forma sonata em três obras inaugurais: diálogos da nova música de Berg, Schoenberg e Santoro com a tradição." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-10112010-161239/.
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Este trabalho irá discutir o emprego da forma sonata na música atonal da primeira metade do século XX a partir das análises das seguintes sonatas para piano: Opus No. 1 de Alban Berg, Opus 33a de Arnold Schoenberg e a Sonata 1942 de Cláudio Santoro. Em comum estas obras apresentam seu plano estrutural de forma sonata resultante de procedimentos composicionais desligados do sistema de funcionalidades do tonalismo. O objetivo será verificar como a forma sonata pode ser estruturada a partir de técnicas dodecafônicas, qual a relevância do uso desta forma clássica para a técnica empregada e através de quais procedimentos construtivos esta forma se faz possível dentro de uma linguagem atonal, já que se origina da realização da harmonia tonal tradicional. A pesquisa fundamenta-se em ferramentas analíticas e em corpo teórico desenvolvido na área musicológica nas últimas décadas, principalmente. Como conclusão irá apresentar os elementos composicionais e conceituais que conectam as obras entre si e com a tradição clássica da forma sonata, além de apontar para a ocorrência de técnicas composicionais importantes para o desenvolvimento da música a partir da primeira metade do século XX.This thesis studies the use of Sonata form in the atonal music of the first half of the XXth Century, based in the analysis of the following Piano Sonatas: Alban Bergs Opus 1, Arnold Schoenbergs Op.33a e Claudio Santoros Sonata 1942. These works share procedures of developing structural plans similar to Sonata forms that use compositional procedures disconnected from the functions of the tonal system. Our main purpose will be to verify how a Sonata may be structured after dodecaphonic techniques. Other goals is to evaluate the relevance of the use of a classical form for the method of the dodecaphonic technique, and what are the developing procedures that allow this form to be employed in the atonal language, since it originated in close connection with the traditional tonal harmony. The research is based in analytical techniques and in the body of knowledge developed by recent musicological analysis. As a conclusion it presents the compositional and conceptual elements that connect the three works and also each of them with the classical tradition of the Sonata form. Besides that it points also to the use of compositional techniques important for the development of the musical language after the first half of the XXth Century.
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Perevertailenko, Dmytro Olexandrovich. "The Unpublished Works for Clarinet by Alexander Grechaninov: Preparing a Performance Edition of the Sonata No. 1 for Clarinet and Piano, Op. 161." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9052/.
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Alexander Grechaninov was one of the most important composers of the late Russian Romantic School. By the second half of the twentieth century he remained one of the few living composers who continued the traditions of the great Russian Romantic masters, such as Tchaikovsky and Rimsky-Korsakov. He is primarily known for his liturgical works, which are truly masterpieces of this genre. Because many of his instrumental works remain unpublished, particularly the chamber works, they continue to be undeservedly ignored in the concert hall. Grechaninov's unpublished works for clarinet include Septet for Clarinet, Bassoon and String Quintet, Op. 172a, Serenade for Clarinet and String Orchestra (without opus number), and Sonata No. 1 for Clarinet and Piano, Op. 161. This project not only brings to light Grechaninov's unpublished clarinet works, but also emphasizes the importance of his published clarinet pieces which have to date been forgotten, especially in the United States. The writer prepares a performance edition of the Sonata No. 1, Op.161 from Grechaninov's original autograph manuscript which is held in the New York Public Library's Toscanini Archives. After a brief introduction, the document describes Grechaninov's biography, including his historical and societal background, compositional growth throughout his career, and outside influences to which he would have been exposed (Chapter 2). Chapter 3 discusses in details Grechaninov's compositional output and distinct features of his style. Chapters 4 and 5 discuss the published and unpublished works for clarinet by Grechaninov. Chapter 6 provides a detailed structural and tonal analysis of the Sonata No. 1, Op. 161 and discusses the process of editing. Included in the appendices are: performance edition of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and clarinet part); photocopy of the original autograph manuscript of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and viola part); photocopy of the original autograph manuscript of the Septet for Clarinet, Bassoon and String Quintet, Op. 172a; and photocopy of the original autograph manuscript of the Serenade for Clarinet and String Orchestra, without opus number.
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Hung, Yu-Hsien Judy. "The Violin Sonata of Amy Beach /." [Baton Rouge, La. : Louisiana State University, 2005. http://etd.lsu.edu/docs/available/etd-04142005-224115/.
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Wang, Yuchi Sophie. "Edward MacDowell: A Poetic Voice as Seen in the “Eroica” and “Keltic” Sonatas." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396533402.
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Oliveira, Rafael Cesário. "A sonata para violoncelo e piano de Almeida Prado: análise técnico/intepretativo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-101808/.
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A Sonata para Violoncelo e Piano de Almeida Prado merece ocupar um papel de destaque na produção recente para o Violoncelo. Esse trabalho servirá como ponto de apoio para violoncelistas interessados na performance da Sonata, bem como à instrumentistas de cordas que buscam melhor compreender as peculiaridades da interpretação das peças deste compositor. O procedimento metodológico constou de quatro etapas. Em primeiro lugar foi realizado um levantamento bibliográfico explorando os autores que discorreram sobre a vida e obra de Almeida Prado. Em um segundo momento, foram coletados dados através de entrevistas e aulas com o compositor e entrevistas com Sonia Rubinsky, pianista responsável pela estreia e encomenda da obra. Na terceira etapa, a peça foi apresentada em diferentes ocasiões, incluindo um recital com a pianista Rubinksy. Estas experiências, juntamente com os dados coletados, resultaram na edição da parte de Violoncelo e gravação em vídeo. Por fim, foi realizada uma análise técnico/interpretativa da obra, utilizando-se dos dados coletados nas entrevistas, pesquisa bibliográfica e recitais.The Sonata for Cello and Piano de Almeida Prado deserves to occupy a prominent position in the recent production for Cello. This work will serve as support for cellists interested in the performance of the Sonata, as well as string instrumentalists seeking to better understand the peculiarities of interpretation of this composer\'s works. The methodological procedure consisted of four stages. First off a review of the literature was conducted exploring the authors who wrote about the life and work of Almeida Prado. Secondly, data was collected through interviews and lessons with the composer, as well as interviews with Sonia Rubinsky, pianist responsible for the premiere and commission of the sonata. In the third stage, the piece was presented on several occasions, including a recital with pianist Rubinksy. These experiences, together with the collected data, resulted in the edition of the Cello part and a video recording. Finally, a technical/interpretive analysis of the work was carried out, utilizing the data collected during the interviews, bibliographic research and recitals.
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Navia, Gabriel Henrique Bianco. "The Medial Caesura in Schubert's Sonata Forms: Formal and Rhetorical Complications." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613235.
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Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.
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NUNES, Emanuel de Carvalho. "Edição crítica da sonata para violão de Guerra-Peixe a partir das fontes primárias." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2700.
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Previous issue date: 2011-03-31This research investigates the Sonata for Guitar by the Brazilian composer Cesar Guerra- Peixe; it aims a critical edition, as the result of a comparison among the primary sources. The work presents an introduction in which the reasons that led us to the research are shown, followed by general aspects from the guitar works by Guerra-Peixe, in search for analogous compositional characteristics. Then, the elements that set the theoretical bases for this work are presented, in which point we discuss the directions of our questions related to musical edition, analytical parameters, as well as the interpretation of the sonata. In the next chapter, the differences between the printed sources and the manuscripts are pointed, where the reasons for those choices are discussed and the results for achieving our critical edition are delimited. Finally, some technical-interpretative possibilities for the sonata are presented, targeting the increase of information related to the performance.
O presente trabalho tem por objetivo a realização de uma edição crítica da sonata para violão de César Guerra-Peixe, a partir da comparação entre as fontes primárias. O trabalho consta de uma introdução onde serão apresentados os motivos que nos levaram à pesquisa, seguida de aspectos gerais da obra para violão de Guerra Peixe buscando traços composicionais análogos. São apresentados a seguir os elementos para a fundamentação teórica de nosso trabalho, onde discutimos sobre direcionamentos às nossas indagações referentes à edição musical, à parâmetros analíticos, bem como às questões interpretativas da sonata. No capítulo seguinte são apontadas as diferenças entre as fontes impressas e os manuscritos, discutindo-se as prováveis razões dessas escolhas e delimitando os resultados para chegar à nossa edição crítica. Apresentamos então algumas possibilidades técnico-interpretativas na sonata visando ampliar as informações referentes à performance.
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Covarrubias, Ahedo Virginia. "Three Main Chamber Music Works for Strings and Piano by the Mexican Composer Manuel M. Ponce." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/95.
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This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.
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Tercero, David R. "Ernesto García de León: A Study of Sonata No. I, Op. 13, Las Campanas (The Bells)." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9732/.
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The purpose of this document is to further the current research and encourage interest in the music of the Mexican composer Ernesto García de León. This paper will advance the current research with an in-depth analysis of the first movement of Sonata No. I, Op.13, Las Campanas (The Bells) for solo guitar. The analysis will focus on the pervasive presence of the melodic and harmonic intervals of perfect fourths, perfect fifths, and tritones as constructive devises throughout the sonata. This will provide interested performers a technical understanding of the composition. In addition to the compositional aspects, the analysis will be extended to consider the programmatic elements described by García de León. Select alternative fingerings will also be given to provide the interpreter options for difficult passages.
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Vaicekonis, Dainius. ""The forest for the trees" : the Beethoven Piano sonatas as integrated cycles /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11275.
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Susanni, Paolo. "The musical language and formal structure of Bartók's Sonata for piano (1926)." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023562.
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Sanna, Alberto. "Arcangelo Corelli and the poetics of the sonata." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543610.
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Do, Ye In. "Charles Ives' Piano Sonata No. 2, "Concord, Mass., 1840-1860": Comparing the 1947 and the 2012 Editions." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627668113898801.
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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.
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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.
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Kang, Min-Jung. "The trio sonata in Restoration England (1660-1714)." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/2384/.
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After the Restoration, English musical life underwent a considerable change. Although a great deal of early seventeenth-century music, such as fantasia suites, remained in circulation both inside and outside the court, a new instrumental genre from Italy gained immense popularity. The Italian trio sonata eventually came to occupy a prominent position in English musical life and, when at the turn of the century the prints of Corelli's music arrived, it almost swept away any kind of English instrumental music. However, when and how the sonata was introduced into England is still not fully understood. The main aim of this dissertation is to understand how the sonata was introduced and received in England and to understand its influence on English sonata composers during the latter part of the seventeenth century. Thus, this dissertation first considers the background to the introduction of trio sonatas and the seventeenthcentury English music collections containing them in an attempt to assess their currency and dissemination in English musical circles. The remainder of this dissertation primarily deals with English trio sonatas written either abroad or in England. Musical examples are given to illustrate their musical style and to demonstrate how they are influenced by the Italian sonata. Physical evidence of manuscripts is cited to offer a chronology of English trio sonatas. The last part of the study focuses on Corelli's music and his influence on English music, which continued throughout the eighteenth century, in order to understand the importance of its contribution to music-making in England.
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Schindler, Angela N. "Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano and François Devienne's Six Sonatas for Oboe and Basso Continuo." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5435/.
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Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.
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Kan, Ling-Yu. "The Significance of Dmitri Shostakovich's Piano Sonata Op.12." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3657.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).
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Chang, Young-Shim. "Italian Influences in the Corellisirende Sonaten of Telemann." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277885/.
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George Philipp Telemann is often thought of an experimenter with many nationalistic styles during the course of his career. His Corellian Sonatas demonstrate this facet of his work in their employment of Corelli's manner, and the cultivation of the Italian style. Telemann's Corellian sonatas are stylistically close to those of Corelli, and they do not appear to vary widely from the church and chamber sonatas of Corelli; Telemann fused the two sonata types in that dance elements are found in the church sonatas and the abstract elements of the church sonatas are inserted into the chamber sonatas. In addition to the amalgamation of internal elements, Telemann also experimented with the external features, such as the alternation of tempo and the four movement stereotype.
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Arjona, Alfredo. "Learning From the Autograph: a New Critical Approach to Performing Liszt’s Sonata in B Minor." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804866/.
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The Sonata in B minor occupies a hallowed position in Liszt’s oeuvre, according to scholarly assessment. Despite the plethora of literature on this consummate work, the vast majority of writings on the sonata have focused almost exclusively on formal innovation, thematic transformation, and programmatic speculation, and there is a dearth of interpretative analysis of the sonata based on its fascinating autograph manuscript, even though it has been publicly accessible and widely available in facsimile for some four decades now. In view of the fact that the autograph manuscript has never been examined for the express purpose of improving performance of the sonata, this dissertation proposes to approach this problem with the direct examination of the autograph and its numerous additions and deletions, and the analysis of the many interpretive implications stemming from the surprising insights offered by the autograph itself, which is on deposit at the Pierpont Morgan Library in New York City. The goal of the dissertation is to make readily accessible a comprehensive performance-oriented study of this summit of pianism, offering solutions to the many discrepancies among its various published editions, from the first Breitkopf & Härtel in 1854 to the most recent Peters Urtext in 2011, and including photographic reproductions of the unpublished material obscured behind and beneath the collettes (idiosyncratic terminology for additional pieces of paper pasted over the manuscript) together with the author’s engraved transcriptions thereof. In sum, the dissertation provides guidance and solutions for the various forms of virtuosic and interpretive problems that earn the sonata its reputation for being one of the most difficult works in the repertoire to understand and perform.
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Meyer, Felix. ""The art of speaking extravagantly" : eine vergleichende Studie der "Concord sonata" und der "Essays before a sonata" von Charles Ives /." Bern : P. Haupt, 1991. http://catalogue.bnf.fr/ark:/12148/cb35559384t.
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Richards, Fiona. "Meanings in the music of John Ireland." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366014.
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Tamura, Atsushi. "The revision of Rachmaninoff's second piano sonata, Op. 36." Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485470.
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This project focuses on Sergei Rachmaninoff's Piano Sonata no. 2 and the revisions it underwent over a period of some 70 years. Rachmaninoff's works are central to the piano literature; the second sonata is particularly popular because of its dramatic musical content. There is, however, another reason for interest in the piece: Rachmaninoff composed it in. 1913 but, 18 years later, dissatisfied with his early compositional style, he overhauled it extensively. It was not the only work for piano revised by the composer (some early, shorter pieces were also re-worked), and, needless to say, many other composers are well known for revising their music, but what makes the second sonata distinctive is the role in its evolution played by the composer's closest friend, the famous pianist Vladimir Horowitz. He frequently performed Rachmaninoff's works, including the second sonata. Nevertheless, he disagreed sJfongly with the 1931 revision, so much so that he appealed directly to the composer, requesting permission to combine the two versions to make a third. Rachmaninoff apparently gave his consent shortly before he died. Subsequently, Horowitz performed the sonata regularly in his own version, but its identity did not become any more fixed, for Horowitz's spontaneous performance style resulted in constant changes to the musical text. The core of this project is an examination of this constant change as demonstrated in the materials Horowitz used in the ongoing preparation of his version (preserved in the Irving S. Gilmore Music Library of Yale University) and in the various recordings he made. By approaching the revision of the second sonata (a familiar subject in Rachmaninoff studies) from the perspective of a uniquely privileged interpreter, the aim is to shed light on how the sonata changed in live musical situations, and thus on the relationship between its performance and (re-) composition.
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Black, Brian. "Schubert's apprenticeship in sonata form, the early string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29892.pdf.
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Black, Brian 1953. "Schubert's apprenticeship in sonata form : the early string quartets." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41985.
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Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.
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TSAI, I.-HSUAN. "THE APPROACH TO SONATA FORM IN SCHUBERT'S PIANO TRIOS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085690770.
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Volcansek, Frederick Wallace. "The Essercizii musici, a study of the late baroque sonata." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.
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McCarthy, Peter Joseph. "The sonatas of Darius Milhaud /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371220263.
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Silva, Ederson Jose Urias Fernandes da. "Três sonatas contemporâneas brasileiras para piano: estudo analítico-interpretativo das sonatas de Marlos Nobre, João Guilherme Ripper e Roberto Victório." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-16022011-114551/.
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A presente dissertação tem o objetivo de demonstrar o uso da forma sonata por compositores brasileiros vivos. Inicialmente, será feita uma breve revisão bibliográfica do histórico de transformações pelo qual a forma sonata e também dos principais acontecimentos musicais do século XX no Brasil. Em seguida, serão analisadas sonatas de três compositores brasileiros (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) e também peças de estrutura semelhante às delas (a Sonata em Si Menor de Liszt, a Sonata de Alban Berg e a peça Vattan de Roberto Victorio). Finalmente, serão dadas sugestões de estudo das obras escolhidas.The main objective of this dissertation is to demonstrate the use of Sonata Form on contemporary Brazilian music. For the sake of contextualization, there is initially a description of the historical process of transformations of the sonata form and also of the main facts of the Brazilian Music during 20th century. Next there is an analysis of piano sonatas by three brazilian composers (Marlos Nobre, João Guilherme Ripper e Roberto Victorio) and also the pieces with inspired them (Liszt\'s B Minor Sonata, Alban Berg\'s Sonata Op. 1 and Roberto Victorio\'s Vattan). Finaly there are study suggestions of the three chosen sonatas.
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Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.
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Vieira, Daniel Angelo B. "A fuga da sonata para piano de Camargo Guarnieri : uma análise retórico-estrutural." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12889.
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Este trabalho analisa retoricamente a fuga do terceiro movimento da Sonata para piano de Camargo Guarnieri. Para tal, utilizei uma combinação de autores dentre eles Harrison (1990), Lester (2001) e Hindemith (1970). Neste trabalho considero a natureza retórica da fuga como sugerido por Harrison (1990). A determinação de um status gera um conflito interno para a fuga funcionando como plano para a sua estrutura, a resolução desse plano conflitante é demonstrada como argumentos retóricos, todos oriundos do status. Também, como reflexo desse status, a representação de um simbolismo numerológico e divisão de seção áurea é denotado, tendo partido de uma ação especulativa. A fuga, dessa maneira mostra-se num relacionamento de unidade temática com relação à sonata como um todo, demonstrando maestria e domínio técnico por parte do compositor.The purpose of this study is to present a rhetorical analysis of the third movement of Camargo Guarnieri’s Sonata for piano, with the use of three authors as the theoretical framework: Harrison (1990), Lester (2001) and Hindemith (1970). Determining the status of a work generates an internal conflict in this fugue and acts as a plan for its overall structure. The resolution of this conflict is demonstrated by rhetorical arguments, all drawn from its status. As a reflection of this status, I have pointed out a representation of numerical symbolism and the golden section as speculative, though interesting aspects. The Sonata for piano thus shows the composer’s understanding of thematical unity in the piece as a whole, as well as a wealth of technical knowledge.