Journal articles on the topic 'Sonata a tre'
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1
Schicker, Wolfgang. "Mischdrucke aus 'Sinfonie/Sonate e Concerti'." Die Musikforschung 65, no. 1 (September 22, 2021): 25–41. http://dx.doi.org/10.52412/mf.2012.h1.142.
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Der Aufsatz beschäftigt sich mit einer Sonderform des Notendrucks zwischen 1692 und 1729: mit Mischdrucken, in denen zwei verschiedene Gattungen zusammen veröffentlicht wurden, nämlich mehrfach besetzte Konzerte (Concerti a quattro) und einfach besetzte Sonaten (Sinfonie/Sonate a tre). Giuseppe Torelli kann hier mit seinen "Sinfonie a tre e concerti a quattro" op. 5 von 1692 als Initiator einer verlegerischen Randtradition gelten, die sich bemerkenswerterweise gerade über jene Zeit erstreckte, in der eine noch ganz junge Gattung, das norditalienische Instrumentalkonzert, erstmals in gedruckter Form an die Öffentlichkeit trat und ihren eigenen Platz gegenüber den älteren Gattungen der Instrumentalmusik wie etwa der Sonata da chiesa suchte. Der Aufsatz zeigt, dass sich die Sonderform des Mischdrucks als Korrelat dieser gattungsgeschichtlichen Situation interpretieren lässt, die geprägt ist vom Emanzipationsprozess des Instrumentalkonzerts norditalienischer Provenienz gegenüber Sonata und Sinfonia und von der daraus resultierenden Stiftung einer eigenständigen Gattungsidentität.
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Solecka, Joanna. "Sonate per uno o due Cembali con il basso cifrato Bernarda Pasquiniego – błaha rozrywka czy kunsztowna szarada?" Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 27–69. http://dx.doi.org/10.4467/23537094kmmuj.20.017.13203.
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Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini: A Simple Entertainment or an Elaborate Charade? The 14 Sonatas for two harpsichords from Sonate per uno o due Cembali con il basso cifrato by B. Pasquini (British Library of London, position: Ms. Add. 31501, I) are unique examples of double partimento. So far, not many performers have referred to these works; therefore, they deserve much more attention. Employing contrapunctual techniques in their realisation seems highly interesting. The author describes and provides her own poliphonic realisation of selected pieces from this collection: Sonata II ms. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 ms. I and II. This material may be an encouragement for farther studies and performance these works. They are worthy to be a part of the widely known performance of these works.
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Solecka, Joanna. "Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?" Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 25–68. http://dx.doi.org/10.4467/23537094kmmuj.20.042.13915.
Full textAbstract:
The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 mm. I and II. This material may serve as encouragement for further studies and performance of these works. They are worthy of becoming part of staple concert repertoires.
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Swack, Jeanne R. "On the Origins of the Sonate auf Concertenart." Journal of the American Musicological Society 46, no. 3 (1993): 369–414. http://dx.doi.org/10.2307/831926.
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This article traces the development of the Sonate auf Concertenart-a type of sonata that imitates the Vivaldian concerto in at least one of its movements-in Germany in the first half of the eighteenth century. While such sonatas had been considered to be the special property of Johann Sebastian Bach, the article shows that such works of Vivaldi were performed at the Dresden court; that composers from Dresden and its environs especially cultivated the genre at the time that Bach wrote his sonatas; and that such works, as well as Vivaldi's concertos, probably served as Bach's models.
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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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FRĂȚILĂ, Lioara. "Development of the Sonata genre in Frederic Chopin’s creation." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 65–74. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.7.
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"The paper herein highlights those aspects of Chopin’s sonata that demonstrate the strong connection with the classical-type sonata, as well as the fact that the piano poet took inspiration from some German composers’ themes, which he afterwards developed and transformed into genuine chefs-d’oeuvre – Sonata op 4, Sonata op 35, Sonata op 58 and Sonata for cello and piano op. 65. By analyzing piano sonatas composed by Frederic Chopin, one can notice how the composer perceived the sonata form, the compositional procedures resorted to and the level wherefrom the sonata form in Chopin’s conception began to evolve."
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Ergasheva, Yu Yu, and N. T. Mukhsinov. "Characteristics Of The Clinic And The Course Of Sonata Addiction Preceding The Formation Of Complicated Alcoholism." American Journal of Medical Sciences and Pharmaceutical Research 02, no. 12 (December 31, 2020): 92–96. http://dx.doi.org/10.37547/tajmspr/volume02issue12-15.
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The clinical characteristics and the course of alcohol dependence, preceding the formation of a complicated sonata were studied in 60 patients. A study of the clinical characteristics and the course of alcohol dependence preceding the formation of a complicated sonata was carried out in 60 patients. It has been established that in most cases, the introduction to sonatas occurs against the background of an expanded stage of previous alcoholism, characterized by a rapid rate of development and high progression.
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Toma, Iulia, Elena Amaricai, Roxana Ramona Onofrei, and Mihai Popean. "The Impact of Piano Styles on Muscle Force in Pianist Students." Symmetry 14, no. 9 (September 15, 2022): 1927. http://dx.doi.org/10.3390/sym14091927.
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The study of the consequences of different sonata styles (baroque, classical and romantic piano repertoire) on pianists’ upper limbs represents a research topic for both the musical and medical fields. Twenty piano students were examined using a MicroFet2 dynamometer after playing three sonatas (Scarlatti K. 1 Sonata as a representative of the baroque style, Haydn Sonata no. 60 for the classical style and Chopin second Sonata for the romantic style). The phase sequence was randomised for each subject: firstly, continuous interpretation of 10 bars of a sonata was conducted 10 times, with the metronome tempo set by the investigator; secondly, the subject interpreted 10 bars of a different sonata continuously, standardised by tempo, which was carried out 10 times; finally, the continuous interpretation of 10 bars of the remaining third sonata, standardised by tempo, was carried out 10 times. After each performance of the 10 bars, the elbow extensor’s isometric muscle force was measured. Significant differences were found between the elbow extensor’s isometric muscle force assessed after playing Scarlatti’s sonata and Haydn’s sonata (p = 0.005 for left arm, p = 0.03 for right arm), between Scarlatti’s sonata and Chopin’s sonata (p < 0.0001 for both left and right arms) and between Haydn’s sonata and Chopin’s sonata (p = 0.01 for left arm, p < 0.0001 for right arm). In healthy piano students, the dynamometric assessment of elbow extensors’ isometric muscle force after playing three different sonatas (baroque, classical and romantic) showed that the lowest values were recorded after playing the baroque style. Our results showed bilateral symmetry in the elbow extensor’s isometric muscle force for all three piano styles. The testing of arm muscles, besides that of the fingers, should be considered as a regular evaluation for future professional pianists with regard to the prevention of musculoskeletal complaints.
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Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.
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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz.
It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration.
It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out.
Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level.
It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”).
The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”.
In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).
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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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WHEELDON, MARIANNE. "Debussy and La Sonate cyclique." Journal of Musicology 22, no. 4 (2005): 644–79. http://dx.doi.org/10.1525/jm.2005.22.4.644.
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ABSTRACT In 1915, Debussy returned to the genre of chamber music for the first time since the String Quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy's quartet clearly bears the imprint of Céésar Franck's cyclic procedures, his sonatas engage with this tradition more cautiously. Comparing the string quartet with the sonatas elucidates Debussy's uneasy rapprochement with a style he had formerly embraced. Debussy's underplaying of the cyclic tradition was motivated by what the cyclic sonata had come to represent in the intervening years, in particular its appropriation by Franck's student Vincent d'Indy. In his teachings and publications, d'Indy promulgated a nationalistic view of the cyclic sonata, one that declared Franck and the modern French school as the only comprehending heirs of Beethoven. Reluctant to participate in this particular heritage, Debussy diverted attention from the cyclic procedures used in the sonatas by explicitly emphasizing their stylistic affiliation with the French 18th century and by implicitly aligning himself with Franck rather than with d'Indy. In this way Debussy sought to carve out a place for his sonatas within a less contentious tradition.
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Anatolii, Tarabanov. "Performance and existential chronotope of clavier sonatas of the late Baroque and Classicism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 50–75. http://dx.doi.org/10.34064/khnum1-61.03.
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Some spatial-time characteristics of the selected keyboard sonatas by D. Scarlatti, С. P. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi are revealed from the viewpoint of a piano performer. The term “chronotope”, used in the research, is interpreted in two main meanings: as an existence of the piano sonata phenomenon in space-time continuum in the context of listeners’ perception and comprehension, as well as a specific performer’s feeling of time and space in sonatas by the mentioned composers. The purpose of the study is to identify the peculiarities of the performance chronotope of these works that are relevant for the modern pianist in the context of social existence and the demand for the sonata genre in the 21st century, including attempts of its authentic interpretations, on the basis of the analysis and concert performance of selected clavier sonatas of the late Baroque and Classicism epochs. Experimental8 and analytical research methods with elements of comparativistics allow examining the chronotope of the selected keyboard sonatas in the whole creative-scientific process that determines the scientific novelty of the study. Results. Today, the problem of perception of musical classics in terms of preparedness of the listener, their ability to decipher the “sign system” of a musical work is very relevant. There are also not enough listeners of academic music, if taking into account all those people with an access to concerts halls and Internet. Therefore, attention of broad public to academic music is to be aroused. One of the most crucial places in solution of this problem belongs to the sonata genre as an organizing basis opposing contemporary human society multidirectional dissipation. With regard to its perfect structured composition principles, the piano sonata can be of great importance for the reconstructing of architectonic thinking patterns in listener’s minds. In order to fulfill such a difficult task successfully, a lot of new live performances of proficient pianists are needed. This can help the audience gain listening experience and attract probable admirers to their own musical practicing. Some characteristics of the performance chronotope of baroque and classical sonatas, such as interaction and interbalancing of statics and dynamics; organizing function of performance time in music forming; metrorhythmic performance inertia; continuity of the music thought development, necessity of performer’s anticipation, were defined with the help of the experimental-analytical method. Conclusion. The found characteristics of piano sonatas chronotope can be used both on the stage of conceiving a mission of music interpretation and during musical trainings and a concert performance itself.
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Quinn, Iain. "The Genesis of the Victorian Organ Sonata." Nineteenth-Century Music Review 12, no. 1 (June 2015): 53–70. http://dx.doi.org/10.1017/s147940981500004x.
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In the English mid-nineteenth century, organist-composers sought an idealistic course that created an alliance between the unimpeachable musical language of the Classical era and the much celebrated ‘Victorian’ organ. As a result, we witness the birth of a new musical genre with the ‘English organ sonata’ that was to provide a model for organ composition into the twentieth century. However, the works in question were not merely pastiche compositions, despite some bold illusions, but rather pieces based on revered models, restyled for an age that was familiar with transcriptions of orchestral repertoire on the organ. Further, the English organist-composers adhered to both an old model in a continuance of the ‘lesson-sonata’ tradition as well as developing a new one, here styled the ‘portfolio sonata’ whereby the purpose of the sonata would serve multiple ends. In an age of prestige and betterment, the sonatas that emerged were a testament to a profession that was determined to be seen anew.
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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.
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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
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Silva, William Teixeira da, and André Micheletti. "A resolução de appoggiaturas e acciaccaturas na "Sonata para Violoncelo" RV 44, de Antonio Vivaldi." Revista Música 14, no. 1 (May 10, 2014): 273. http://dx.doi.org/10.11606/rm.v14i1.115259.
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A sonata para violoncelo em lá menor RV44, de Antonio Vivaldi, figura dentro do catálogo do compositor fora do cânone habitual de suas seis sonatas, sendo ela, por vezes, conhecida como a “sétima” sonata. Devido ao fato de não ter sido publicada, a sonata não conta em nenhum de seus manuscritos ou primeiras edições com a cifragem da linha de baixo contínuo, deixando abertas várias questões de extrema relevância para a interpretação da obra. Dente essas questões, abordamos aqui as definições de appoggiatura e de acciaccatura, identificando suas ocorrências e discutindo a discrepância de definições referentes à sua realização, principalmente a partir de Leopold Mozart.
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Greenberg, Yoel. "Tinkering with Form: On W. F. Bach's Revisions to Two Keyboard Sonatas." Music Theory and Analysis (MTA) 6, no. 2 (October 30, 2019): 200–223. http://dx.doi.org/10.11116/mta.6.2.2.
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This article examines the way Wilhelm Friedemann Bach's revisions to two keyboard sonatas (Fk 1 and Fk 6) reflect his engagement with the emerging sonata-form aesthetic. I show how the revisions update his older, essentially binary practice by introducing Classical sentence structure in the first themes; a differentiated theme in the dominant before the end of the first half; distinct development and recapitulation sections; and an enhanced tonic-dominant polarity, as well as other features that were to become characteristic of sonata form. Bach's conscious tinkering with his older works thus reflects a contemporary response to the way common practice was tinkering with binary form, gradually transforming it to what eventually became known as Classical sonata form.
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VARVARICHI, Leona, and Alina-Maria NAUNCEF. "Wilhelm Georg Berger’s Music: Elements of compositional style and instrumental techniques necessary for the public performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 97–108. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.11.
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The present paper approaches a part of the vast creation of a musician of certain value, to whom generations of players have a moral duty. The analyses of Wilhelm Berger’s sonatas for viola come to the help of those set on the road of an interpretative effort projected over these opuses. The purpose of this brief research is to investigate several elements of the metamorphosis of the compositional phenomenon in two of Wilhelm Georg Berger’s works: The Sonata for viola and piano op. 3 (1957) and the Sonata for solo viola op. 35 (1968). The particular way of processing the musical material originates from his analytical and philosophical thinking. Berger’s compositional technique preserves the principles of the sonata genre structure in both works, using a totally different musical language in the Sonata Solo, 11 years later. The ethos of the music changes, therefore a series of instrumental techniques corresponding to musical expressions encountered in the text are proposed for a better understanding and performing Berger’s music.
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Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.
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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531, 462, 463; y además, que debido a numerosas revisiones editoriales específicas llevadas a cabo por Clementi para ser interpretadas al piano, presenta cambios significativos en el texto musical respecto a los manuscritos equivalentes. A través del estudio de estas revisiones editoriales, se pretende aportar información sobre la práctica interpretativa de los instrumentos de tecla de finales del siglo XVIII, sobre las características de los pianos ingleses para los que Clementi realizó dicha revisión y sobre el avance del lenguaje idiomático específico del piano en esa época.
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Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (March 1, 2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.
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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the same conceptions: rhapsodic melody with closing cadenza and a fermata. The final return of the Adagio establishes a cyclic unity. The first performance of the sonata in 1910 with string quartets by Kodály and Bartók founded the beginning of modern music in Hungary. Also the Sonatina, originally the 3rd part of Sonata, published in 1922, has a Lento-introduction with rhapsodic-like parts wich begins a process-like evolution of composition. A relationship with the special features of the Sonata for Cello and Piano in the history of the genre includes also works by Debussy (1915) and Hindemith (1919).
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Kemova, Ksenia S. "Sonatas for Piano Four Hands by Muzio Clementi." Observatory of Culture 18, no. 5 (October 29, 2021): 506–19. http://dx.doi.org/10.25281/2072-3156-2021-18-5-506-519.
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The article considers seven sonatas for piano four hands by Muzio Clementi. The relevance of the research is accounted for by the attention paid by performing piano duos to the four-hand repertoire in its diversity. In this connection, there is a necessity of a theoretical analysis of this topic, which has not yet been discussed in music science. The article aims to trace the evolution of Clementi’s sonatas for piano four hands, outline the historical context of their creation, and identify their typical features. The research suggests a two-aspect approach to the analysis of the sonatas: they are looked at from the point of view of the evolution of the composer’s style in the period 1779—1786, as well as in terms of the thematic process, sonata structure and four-hands piano texture.Clementi’s duet sonatas (belonging to the number of early four-hand works, together with the sonatas by W.A. Mozart, J.C. Bach, Ch. Burney) form a line reflecting his life impressions and representing his creative search. The first three sonatas for piano four hands — as an integral part of op. 3 — were written and published in London at the time when Clementi was gaining a reputation of a virtuoso and teacher. The sonata that opens op. 6 appeared in Paris, where Clementi started his European tour; it reflects his interaction with the contemporary music phenomena. Op. 14, which consists of three sonatas for piano four hands, was inspired by young composer’s romantic experience during his stay in Lyon (it is dedicated to Maria-Victoria Imbert-Colomes); the work sums up his achievements in this genre. Researchers list the sonatas of op. 14, which are full-fledged concert works, among Clementi’s best works and rank them on a par with four-hand sonatas by Mozart. In general, the sonatas show a tendency towards the unity of form, common thematic features within a piece, diversity of texture.It is fair to say that the sonatas for piano four hands, as well as the composer’s solo sonatas, became for Clementi a field of experiments in the sphere of piano — an instrument to which he devoted his performing, teaching and, eventually, business activities. The temperament and expression of Clementi’s sonatas, combined with their virtuosity, makes them concert compositions that can sound impressively on the big stage in the modern situation. At the same time, they can also be an excellent training material for performers of different levels.
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Bieńkowska, Irena. "Previously Unknown Sources for Johann Philipp Kirnberger’s Flute Sonatas Found in the Former Rzewuski Music Collection from Podhorce (Pidhirtsi)." Muzyka 66, no. 3 (October 19, 2021): 92–116. http://dx.doi.org/10.36744/m.974.
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The music-related sources kept at Tarnów Municipal Library (Department of Early Prints and Nineteenth-Century Books) include manuscripts (PL-TAb 44, PL-TAb 45) which once belonged to the music collection of Wacław Rzewuski’s court ensemble in Podhorce (Pidhirtsi in Ukrainian). These manuscripts contain anonymously entered sonatas for flute and basso continuo, one of which has been recognised as the Sonata in E flat minor by Johann Philipp Kirnberger, previously only known from a Berlin copy. On the basis of comparative analysis with other extant sources, the Sonata in F sharp major found in the same manuscripts can also be attributed to Kirnberger.
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Salinas, Edgardo. "The Form of Paradox as the Paradox of Form." Journal of Musicology 33, no. 4 (2016): 483–521. http://dx.doi.org/10.1525/jm.2016.33.4.483.
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Written in 1802, Beethoven’s “Tempest” piano sonata is the iconic work of the “wirklich ganz neue Manier” the composer announced right after his traumatic seclusion in Heiligenstadt. Suffused with asymmetries and contradictions, the sonata’s first movement has long attracted the attention of scholars concerned with the epistemic soundness of sonata form theories. Most conspicuously, the absence in the recapitulation of what seems to be on first hearing the main theme generates a formal paradox that challenges the theoretical models devised to analyze sonata forms. This article reinterprets that paradox through the prism of Friedrich Schlegel’s theory of form, formulated in his critique of modern art and literature. In doing so, it recasts Beethoven’s “Tempest” sonata and Schlegel’s theory in the light of what I call the paradox of mediated immediacy. It further suggests a genealogical homology between the novel and sonata form to advance a historicized model of musical form that contemplates the material conditions accompanying the consolidation of print culture around 1800. Situated in this context, the “Tempest” sonata serves as a case study for exploring how Beethoven’s reinvention of the piano sonata reconfigured the interface between form and medium, deploying self-referential strategies that both rendered apparent and resignified the mediations entailed by the compositional practices instituted with the classical style. As a result, Beethoven’s piano sonatas came to operate as technologies of the self that became integral to the fashioning of romantic subjectivities. My reading emphasizes the aural experience induced by the form’s asymmetries, and contends that the absence delivered at its structural crux complicates sonata form practices to afford an experience of immediacy that captures in the medium of piano music the paradoxical condition Schlegel reckoned immanent to the modern self.
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Horbal, Yaroslav. "Sonata for saxophone by P. Craston in the aspect of universals for the instrumental sonata genre in the XX century." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 181–92. http://dx.doi.org/10.33287/222045.
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The purpose of article is consist of opening processe concerning the development trends of the sonata genre for saxophone – a new generation instrument that emerged in the postclassical period, after the heyday of the sonata genre in the works of classical composers. This instrument entered the symphony and wind orchestras much earlier than the number of solo instruments, so sonatas for saxophone appeared only in the twentieth century. The material for the analysis was a sonata for saxophone by P. Craston, created in 1937. The research methodology is to apply an analytical method that provides a basis for a comprehensive analysis of the sonata and to identify traditional and innovative features. The scientific novelty of this work is to identify traditional and innovative features in the content and musical style of this P. Craston’s sonata. It is proved that these features arise in the context of new musical universals of the instrumental sonata genre in the twentieth century. The specifics of their transformation in the musical text and the content of the analyzed work are indicated. The scientific article proves that P. Crаston’s sonata combines the features of the traditional sonata cycle with the musical language and style characteristic of the art of the twentieth century, and is quite complex for ensemble performance. The saxophone part is characterized by increased complexity due to extreme mobility, a large number of virtuoso passages, the use of wide jumps from one register to another, the presence of long musical constructions. It is pointed out that the complexity of the saxophone part is due primarily to the fact that in America the performing school of saxophone playing, in comparison with other countries, occupied a leading position in the 30s. The conclusions indicate that in the twentieth century the sonata genre underwent significant changes that distanced it from the classical invariant, as a result of which the analyzed sonata for saxophone organically synthesized a whole set of different stylistic features.
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Harbinson, William G. "Performer Indeterminacy and Boulez's Third Sonata." Tempo, no. 169 (June 1989): 16–20. http://dx.doi.org/10.1017/s0040298200025110.
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With these words, Pierre Boulez opened the article entitled ‘Sonate, que me veux-tu?’ in 1963. Referring to his Third Piano Sonata – portions of which first appeared in 1955 – Boulez presented his arguments supporting compositions that contain ‘open’ or ‘mobile’ forms. ‘Fluidity of form must integrate fluidity of vocabulary’, Boulez stated.
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Lambert, Sterling. "Beethoven in B♭♭: Op. 130 and the Hammerklavier." Journal of Musicology 25, no. 4 (2008): 434–72. http://dx.doi.org/10.1525/jm.2008.25.4.434.
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Abstract Commentators have sometimes remarked on similarities between contemporaneous piano sonatas and quartets by Beethoven, as if the composer were developing ideas at the keyboard before transferring them to other genres. A particularly close connection can be seen, however, between two works in B♭♭ major that are separated by a greater distance in time: the Piano Sonata in B♭♭, op. 106 (Hammerklavier) and the String Quartet in B♭♭, op. 130. Correspondences between the respective first movements are particularly strong, and they suggest that the sonata may have served as something of model for the quartet. Yet the same elements that contribute to a highly integrated structure in the sonata seem to serve quite different purposes in a quartet characterized by a pointed disintegration of normative procedures. A comparison of the two works shows not only how Beethoven's style underwent significant change in the intervening time, but also how the quartet may serve as a critique of the sonata in an act of deliberate stylistic distancing. This brings into question the well established concept of a unified ““late”” or ““third-period”” style.
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Pittenger, Elise. "Perspectives on Beethoven’s Middle and Late Periods: Developments in his Writing for Cello in the Op. 69 and Op. 102 Sonatas." Revista Música 20, no. 2 (December 20, 2020): 223–38. http://dx.doi.org/10.11606/rm.v20i2.176085.
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This article explores the developments in Beethoven’s writing for the cello in the Op. 69 and Op. 102 sonatas, with the premise that they reflect the overall shift in his style from his Middle to Late Periods. In order to place the cello sonatas in context, the traditional framing of Beethoven’s work into three phases is described and well as the current state of cello writing at the turn of the century. The cello part in the Op. 69 sonata is then discussed, with attention to the role of the cello as compared to the piano and to the interaction between the two instruments. The Op. 102 sonatas are presented, also with attention to the interaction between the instruments. The suggestion is made that these sonatas illustrate Beethoven’s increasingly radical treatment of form, a treatment that results in challenging instrumental writing that, while not as gratifying as that of his Middle Period, nonetheless allows him to attain a new kind of expressivity as well as formal complexity.
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Freeman, Daniel E. "Lodovico Giustini and the Emergence of the Keyboard Sonata in Italy." Anuario Musical, no. 58 (December 30, 2003): 111. http://dx.doi.org/10.3989/anuariomusical.2003.58.72.
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Las doce sonatas para teclado, Op. 1, de Ludovico Giustini (1685-1743), constituyen la música más antigua explícitamente indicada para su interpretación en el pianoforte. Son composiciones atractivas en el estilo clásico temprano, que exhiben una interesante mezcla de influencias de la música italiana de tecla, la sonata italiana para violín y la música francesa para clave. Su inusual formato de danzas, sus excursiones contrapuntísticas, y novedades en cuatro o cinco movimientos, parecen haberse inspirado en las sonatas para violín Op. 1 del toscano Francesco Veracini. Aunque la única fuente de las sonatas es un impreso datado en Florencia, en 1732, está claro que el impreso sólo pudo haber aparecido entre 1734 y 1740. Fue posiblemente difundido a Lisboa, y no a Florencia, como resultado del mecenazgo del Infante Antonio de Portugal y Dom João de Seixas, relevante cortesano en Lisboa durante los últimos años de la década de 1730.
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ZOHN, STEVEN. "THE SONATE AUF CONCERTENART AND CONCEPTIONS OF GENRE IN THE LATE BAROQUE." Eighteenth Century Music 1, no. 2 (September 2004): 205–47. http://dx.doi.org/10.1017/s1478570604000132.
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Much recent writing concerning the early eighteenth-century sonata has focused on a subgenre that appropriates stylistic elements from more fully scored works. Thus several of J. S. Bach’s solo and trio sonatas signify the concerto in certain movements by adopting ritornello form and establishing instrumental roles of ‘soloist’ and ‘orchestra’, only to undermine the integrity of these roles during the course of a movement. These Sonaten auf Concertenart, and a number of similar examples by Bach’s German contemporaries, have been viewed as responses to Vivaldi’s solo concertos and especially his so-called ‘chamber concertos’, which feature similar kinds of role playing. This study, by re-examining the phenomenon of the sonata in concerto style from a number of perspectives, shows that the genre was more widespread and its origins and meanings more complex than previously recognized. Evidence for this revised view takes the form of generic titles on manuscripts and prints; music by German, Italian and French composers spanning much of the eighteenth century, from Molter to Mondonville to Mozart; some three dozen sonatas by Telemann, who exhaustively explored the genre over several decades and was perhaps its originator in Germany; and literary amalgamations of genre indicative of a broader eighteenth-century fascination with mixed types.
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Serhiі, Dikarev. "Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 127–47. http://dx.doi.org/10.34064/khnum2-24.07.
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Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.
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Medvednikova, Tatiana. "THE DRAMATURGY OF THE SONATA CYCLE BY L. VAN BEETHOVEN (on the example Sonata № 3 С-dur оp. 2)." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 84–92. http://dx.doi.org/10.33287/222019.
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The purpose of the article is to analyze and develop stylistic features of L. Beethoven's sonata cycle for a more accurate reproduction of the play's dramaturgy. The following research methods are used in the work the next. There are historical and cultural approach (research and analysis of works dedicated to L. Beethoven's creative heritage); method of comparative style analysis and general system-structural approach (comparing the problem of the era and its development); the traditional method of source studies as a historical discipline (the work is based on existing sources). Scientific novelty is to identify the peculiarities of creativity and specific performance of works by L. van Beethoven, from the point of view of the contemporary performer, characterizing the attitude of the composer to accurate performance, classification of means of expression and their use precisely when performing works on the piano. Conclusions. From the very beginning of the work on the sonatas, the pianist should pay attention to the stylistic features of the performance of Beethoven's sonatas. Taking a leading role in the study of the author's text, stylistics gives the work a unique sound, and the skill and the right approach maximize the performer of the playwright's reproduction of the play. Getting acquainted with Beethoven's sonatas requires a meticulous attitude to the applicative, dash dynamic notes and pedalisations written by the composer himself. The unity and interaction of the means of musical expression, such as: dynamics, fingering, pedaling and strokes, plays a special role in the performance of L. Beethoven's sonata cycle and brings the pianist closer to the most accurate transmission of the composer's creative intent. Condemning the carelessness of the execution of the author's instructions, Beethoven requires not only accurate, but above all expressive of their execution. Thus, the composer draws the artist's attention to their content.
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Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.
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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.
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Venn, Edward. "ADÈS AND SONATA FORMS." Tempo 75, no. 298 (October 2021): 20–40. http://dx.doi.org/10.1017/s0040298221000371.
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AbstractDespite an ever-expanding body of literature on Adès's engagement with the music of the past, his use of traditional formal models has attracted little critical comment. That which does exist privileges the relatively straightforward surface articulation of his musical forms over more nuanced accounts. In the case of Adès's sonata forms, this has had at least two consequences for our understanding of his music: first, that too strong an emphasis on syntactical groupings occludes what is happening discursively in the music; and second, that ‘textbook’ models are not the only formal tradition with which Adès's sonata forms engage. Rather, his sonatas bear traces of a rotational model that recalls the examples of Janáček and Sibelius. This article considers how Adès's sonata forms can be constituted not as neo-classical prefabrications but, a posteriori, as a practice that emerges across his career – from the Chamber Symphony and …but all shall be well to the Piano Quintet and Concerto for Piano and Orchestra – from an interaction between traditional syntactical groupings, thematic procedures and tonal plots.
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Mead, Philip. "TIPPETT'S FOURTH PIANO SONATA." Tempo 71, no. 279 (December 20, 2016): 8–17. http://dx.doi.org/10.1017/s004029821600067x.
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AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctorate there. This was preceded by an afternoon workshop on the piece with lively discussion between composer and pianist. Two days previously, on 8 May 1989, in preparation for the concert, Mead played the work privately to the composer. The information in this article, which is almost entirely drawn from those two meetings, begins with a brief description of working with Tippett. Then, after an overview of all four sonatas it makes general points about the structure and style of the Fourth Sonata. Finally, each movement is discussed in turn using ideas, many of which were initiated by the composer, developed by the pianist.
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Нrebeniuk, Nataliіa. "F. Schubert’s last Piano Sonatas in the aspect of his song-like thinking." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 150–63. http://dx.doi.org/10.34064/khnum2-21.10.
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Background. Close relationships to a song is one of the constants of F. Schubert’s individual thinking. As it embraces all the genre spheres in composer’s heritage, it acquires a universal status, resulting in interchange of author’s findings in chamber-vocal and instrumental works, particularly piano ones. The researchers reveal influence of songs in non-song works by F. Schubert on two main levels: intonationally-thematical and structural. This raised a question about premises, which had created conducive conditions for integration of compositional principles, characteristic for songs and instrumental works by F. Schubert. This question is regarded on the example of three last Piano Sonatas by F. Schubert. Having been written in proximity to composer’s death, they demonstrated unity of composer’s style, achieved by him by integrating his innovations in song and instrumental genres into a unity of the highest degree. Objectives and methodology. The goal of the given article is to study the structure of selected songs by F. Schubert, marked by throughout dramatic development, and to reveal their influence on composer’s last piano sonatas. In order to achieve these goals, compositionally-dramaturgical and comparative methods of analysis were used. Theoretical preconditions. As a reference point for studying of influence of F. Schubert’s songs on his instrumental works, we might consider an article by V. Donadze (1940). In this research author for the first time formulated a view on composer’s song lyricism not only as on central element of his heritage, but also as on a factor, penetrating and uniting all the genres, in which the composer had worked. Thus, concept “song-like symphonism” entered musicological lexicon. The fruitful idea about song-like thinking of F. Schubert found rich development in numerous works of researchers of next generations and keeps its relevance up to nowadays. Results. Even in the one of the very first masterpieces of a song – “Gretchen am Spinnrade” – the author creates unique composition, organized by a circular symbol, borrowed from J. W. Goethe’s text. Using couplet structure as a foundation, F. Schubert creates the structure in a way, creating illusion of constant returning to the same thought, state, temporal dimension. The first parts of every couplet repeat, the second ones – integrate into a discrete, although definitively heading to a culmination, line of development. Thus, double musical time emerges simultaneously cyclical and founded on an attempt to achieve a goal. In the sonata Allegri, regarded in this article, the same phenomenon is revealed in interaction of classical algorithm of composition and functional peculiarities of recapitulations, which are transformed into variants of exposition. As an example of combination of couplet-born repetitions with throughout development we may name song “Morgengruss” from “Die schöne Müllerin”. The same method of stages in the exposition and recapitulation can be found in sonata Allegro of Sonata in C Minor. Polythematic strophic structure with throughout development is regarded on example of “Kriegers Ahnung” (lyricist Ludwig Rellstab) from “Der Schwanengesang”, which is compared to Andante from the before mentioned Sonata. Special attention is drawn to the cases in which cyclical features, characteristic for F. Schubert’s songs, find their way into sonata expositions and recapitulations. In the first movement of Sonata in B-flat Major these chapters of musical structures consist of three quite protracted episodes, which might be identified as first subject, second subject and codetta, respectively. Each of these episodes has its own key, image and logic of compositionally-dramaturgic process, while being marked by exhaustion of saying, which approximates the whole to a song cycle. The logic governing the succession of the episodes is founded not on causation (like in classical sonata expositions and recapitulations), but on the principles of switching from one lyrical state to another. The same patterns of structure are conspicuous in exposition and recapitulation of the first movement of Sonata in C Minor, in which the first section is marked by throughout development, the second one is a theme with two different variations, and the third one, the one recreating the process of rumination, with long pauses and fermatas, interrupting graduality of the movement, is founded on the contrast between playful and lyrical states. The outer movements of Sonata in A Major consist of several episodes. The first subject in ternary form has contrasting middle section; quite uncommon for F. Schubert linking episode dilates so much its function of “transition” is almost lost; enormous second subject eclipses the codetta in every section; it is an unique world, a palette of moods, images, musical events. Conclusions. Innovativity, characteristic for F. Schubert in the field of Romantic song, reveals itself not only in the spheres of images and emotions, musical language, interaction between vocal melody and piano part, but also in the organization of a structure. This allowed to re-evaluate means of organization of compositionally-dramaturgic process in piano sonatas by the composer as in the genre of instrumental music. While in the songs and song cycles these principles of structure were closely connected to extra-musical content, conditioned by it, in instrumental works, specifically, in piano sonatas, they became a feature of the musical content, immanent for music. This particularly helps to explain, why is it possible to use these principles without song-like intonations, usual for them. By the same token, even in this “isolated” variant they remind of their song origin, so songs and song cycles by F. Schubert become a “program” of his piano sonatas and works in another instrumental genres, in a similar fashion to opera, which has become crucial source for development of classical symphony.
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Ioniță, Raluca Dobre. "18. Technical and Interpretive Considerations in the Third Sonata for Violin and Piano, OP. 45 by Edvard Grieg." Review of Artistic Education 19, no. 1 (April 1, 2020): 149–54. http://dx.doi.org/10.2478/rae-2020-0018.
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AbstractConsidered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Grieg retains in his music essential elements of Norwegian folklore, which he uses in his own language. The third Sonata for violin and piano, op. 45 differs from the other two sonatas created previously, both by the dramatic character of the thematic material, as well as by the massive dimensions and the structure of the form that approaches the classical pattern. Starting with this Sonata, Grieg definitely crystallizes his style in the field of chamber music, revealing a mature language of dramatic essence, in which we find rich and inventive rhythmic and melodic structures, plastic harmonies and bold dissonances, picturesque timbre effects that capture the atmosphere and the specific Norwegian color.
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Cavett-Dunsby, Esther. "Mozart's ‘Haydn’ Quartets: Composing Up and Down without Rules." Journal of the Royal Musical Association 113, no. 1 (1988): 57–80. http://dx.doi.org/10.1093/jrma/113.1.57.
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In Classical sonata form, the second group - usually in the dominant or relative major - is normally recapitulated in the tonic. This means that a composer of sonatas must choose whether to transpose the second group in the recapitulation up or down a fourth/fifth or sixth/third. What advice, then, would Mozart have offered if his pupil Thomas Attwood had asked him how to decide whether the second group should come back transposed up or down?
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Fulias, Ioannis. "A peculiarity in Haydn’s early symphonic work: Form and possible sources of the first movement of Symphony Hob. I:21." Studia Musicologica 51, no. 3-4 (September 1, 2010): 419–28. http://dx.doi.org/10.1556/smus.51.2010.3-4.12.
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Among the first forty symphonies that Joseph Haydn wrote up to 1765, Symphony Hob. I:21 has a slow first movement that does not resemble any other, since it is not based on the usual mid-18th-century ternary or binary sonata form; its structure would be better described as a fantasy with allusions of sonata form, and this special structural case should be placed somewhere in the middle of two other notable “capriccios” from the same period: the first movement of Keyboard Trio Hob. XV:35 (a pure sonata form) and the Keyboard Capriccio Hob. XVII:1 (a pure fantasy on a single theme). Yet, the unique form of Hob. I:21 / I does not seem to be absolutely novel in the “pre-classical” repertoire, since some slow movements from Carl Philipp Emanuel Bach’s “Württemberg” Sonatas (Wq. 49 nos. 1, 3 and 6) display several common characteristics with it. Thus, the present paper, focusing on similarities between C. P. E. Bach’s and J. Haydn’s compositions during the 1760s, aims at the broadening of the subject-matter of one’s influence on the other, not only from a chronological point of view but also in terms of an interrelation between different music genres.
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Vartanov, Sergei. "The “from despair to immortality of soul” concept in the interpretation of Beethoven’s Sonata op.111." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 85–104. http://dx.doi.org/10.7256/2453-613x.2020.4.33070.
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The research subject is Beethoven’s view of life of the late period - the topical issue for a performing musician: without understanding of the fundamental changes in his style, it is impossible to adequately interpret the late piano sonatas. The last of them - Sonata op.111 - has been an object of discussion not only among musicians, but also among writers for almost two centuries. The author detects the following types of dialogue in Sonate op.111: a) a dialogue with Beethoven’s previous compositions; b) a dialogue - within the latest period - with Ninth Symphony op.25 and Missa Solemnis op.123; c) a dialogue with the music of predecessors; d) an imaginary dialogue of Beethoven and Goethe (of the period of “Faust” completion); e) a dialogue op.111 with the world culture. The author arrives at the following conclusions: whilst the formation of the concept of interpretation is usually related to the performance activities of romanticists - Paganini and List, the prerequisites of the phenomenon of interpretation can be found already in the works and ideas of Beethoven - he is a precursor of romanticists of the 19th century. Each of his works is individualized, and doesn’t contain patterns or cliches. To play his compositions outside of the concept means to be not able to adequately convey the spirit of Beethoven’s music. With all their strict architectonics, Beethoven’s works appeal to spontaneity of self-expression - a pianist, as an actor, should experience this music “in the here and now”.
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Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.
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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.
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Anatolii, Tarabanov. "Performance Chronotope in the Piano Sonatas by Beethoven (op. 27 No. 2) and Schubert (D. 958)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 55–78. http://dx.doi.org/10.34064/khnum1-62.04.
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The article examines the specifics of the performance chronotope (time-space) of two masterpieces written by outstanding composers-contemporaries, whose lifetime is characterized by a gradual transition from the classical to the romantic style. Its essential characteristics and the significance of their awareness by the pianist-performer in the practice of working at a musical piece are highlighted. The “performance chronotope” is one of the parameters involved in the field of contemporary music-performance interpretation (Nikolaievska, 2020: 144). This publication is related to our previous work, where space-time characteristics of clavier sonatas by D. Scarlatti, С. Ph. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi were revealed from the viewpoint of a piano performer (Tarabanov, 2021). Some parameters of the performance chronotope that have been outlined before – interaction and mutual balance of statics and dynamics, organizing function of performance time in sound musical form, metrorhythmic performance inertia, continuity of space-time and performance prediction (anticipation) – are supplemented by others, such as performance understanding of the form through working at details, and psychological space-time of the performer (as one of the components of the performance chronotope of the work). This is attributable to new interpretative tasks of the pianist in Beethoven’s and Schubert’s Sonatas under consideration. These works have not yet been the subject of analysis from the standpoint of performance chronotope characteristics, which, along with the use of an experimental research method (with the involvement of the author’s experience in concert performance of the considered works10), determined the scientific novelty of the presented study. The results of the study are supposed to be helpful for piano performers in their learning of these works and similar ones. It is especially relevant, because the greatest composer of piano sonatas, Ludwig van Beethoven, is in the spotlight all the time. His so-named “Moonlight” Sonata (op. 27 No. 2) continues to attract new generations of listeners, performers, and researchers (Rosen, 2002; Waltz, 2007; Gordon, 2017, and others). Beethoven’s direct successor, Franz P. Schubert created no less fascinating works in the genre of piano sonata. Among them is the Sonata D. 958 in C minor, where Beethoven’s influence is observed to a great extent. As in the case with concrete musical examples analyzed in the article, the piano performer can realize on practice their own interpretative searches connected with the use of timespace characteristics. In particular, a method of “expanding the performance chronotope” is recommended, which should significantly facilitate the mastering of complicated technical episodes.
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D'Ovidio, Antonella. "Patronage, Sacrality and Power at the Court of Vittoria della Rovere: Antonio Veracini's Op. 1 Trio Sonatas." Journal of the Royal Musical Association 135, no. 2 (2010): 281–314. http://dx.doi.org/10.1080/02690403.2010.506269.
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During the seventeenth century, the Medici family sought to legitimize its power by using art to communicate a political message, referring constantly to a precise code of sacred imagination and religious devotion. This article focuses on Antonio Veracini – a violinist in the service of Vittoria della Rovere – and on his op. 1, which shows a perfect agreement with the aesthetic ambitions of the grand duchess and with her double role of regent and defensor fidei. In the light of recent studies that reconsider the traditional historiographical approach to what has been called the ‘bigotry’ of Cosimo III, Antonio Veracini's sonatas – in comparison with two other coeval collections of trio sonatas dedicated to Grand Prince Ferdinando (by Pietro Sanmartini and Giovan Battista Gigli) – show a full awareness of the expressive potential of the sonata, transforming it into a musical genre capable of conferring not only ‘pleasure’ and ‘delight’ but also symbolic significance within specific cultural contexts.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling I: Sensitivity to overall structure in the sonata form?" Musicae Scientiae 15, no. 3 (July 6, 2011): 365–86. http://dx.doi.org/10.1177/1029864911409508.
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Previous studies have suggested that listeners are not sensitive to the overall tonal structure of musical pieces. This assumption is reexamined in the current study in an active musical puzzle task, with no time constraints, focusing on the presumably most directional musical form – the sonata form. In our first study (reported here, and referred to as “the Mozart study”), participants with varying levels of musical training were presented with disordered sections of Mozart’s piano sonata K. 570/I in B flat major and asked to rearrange the ten sections into a musically logical coherent whole. A second study (to be reported in Musicae Scientiae issue 16[1]) replicated the task in a different group of participants who listened to Haydn’s piano sonata, Hob: XVI-34/I in E minor. In contrast with previous studies, we do not focus on listeners’ ability to recover the original sonatas. Rather, we explore emergent patterns in their responses using new types of analysis. Our results indicate that listeners show: (1) Some sensitivity to the overall structure of A-B-A’ around the non-stable B section; (2) Non- trivial sensitivity to overall “directionality” through a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; (4) Sensitivity to opening and closing gestures, thematic similarity and surface cues and; (5) No sensitivity to global harmonic structure.
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Swinkin, Jeffrey. "About a Key." Journal of Musicology 34, no. 4 (2017): 515–58. http://dx.doi.org/10.1525/jm.2017.34.4.515.
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In the sonata practice of the mid-eighteenth century, composers frequently asserted the minor dominant prior to the major dominant in the second part of the exposition. Beethoven dramatized this technique in two senses: first, he used it after it had largely fallen out of fashion, thus affording it considerable dramatic impact (e.g., Piano Sonatas Ops. 2, no. 2, and no. 3); second, he graduated from using the “wrong” mode to the more radical technique of using the “wrong” key. For instance, for the secondary key of the Piano Sonatas Ops. 31, no. 1, and 53 (“Waldstein”), he substitutes the major mediant for the dominant. These and similar cases result in the deferred arrival of the tonic in the secondary theme of the recapitulation. Consequently, when the tonic belatedly arrives, the listener is more cognizant of it. In this way Beethoven brings the resolution of large-scale tonal dissonance to the fore. I suggest that such a tactic is metamusical—that Beethoven was in a sense writing music about music, about the relationship between a particular piece and the tonal and formal conventions it relies on and also problematizes. After presenting a number of such metamusical instances, this article traces the stages by which Beethoven “progressed” from the mid-eighteenth-century approach to sonata expositions to his more radical one; it then offers a typology of key-problematizing techniques. It concludes by briefly considering the extent to which these procedures can be squared with Schenkerian theory and its ideal of structural hearing.
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Hedges Brown, Julie. "Higher Echoes of the Past in the Finale of Schumann's 1842 Piano Quartet." Journal of the American Musicological Society 57, no. 3 (2004): 511–64. http://dx.doi.org/10.1525/jams.2004.57.3.511.
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Critics have long emphasized the stylistic distanced between Robert Schumann's early piano music and the more traditional works of the early 1840s. This essay clarifies-precisely by questioning-this seeming divide, showing how the finale of the 1842 Piano Quartet in Eb Major, Op. 47, interacts with Schumann's compositional and personal histories in multifarious and previously unexplored ways: (1) by reworking the effect of a lyrical arabesque within a sonata-form movement to a more "redemptive" end (thus deflecting a formal strategy for the first movement of the 1836 Fantasie, Op. 17); (2) by readopting the "parallel forms" of his earlier piano sonatas; and (3) by alluding to the fifth piece of Schumann's 1838 Novelletten, Op. 21, an idea that introduces within both works a play between private and public moments that echoes aspects of Robert and Clara's life as it evolved from their early betrothal to married life in 1842. The article also demonstrates links to the works of two significant predecessors: Schubert's F-Minor Impromptu, Op. 142, and Bb-Major Piano Trio, Op. 99, and Beethoven's "Hammerklavier" Sonata, Op. 106, works evoked by the finale in ways that gauge Schumann's affinity for, yet also distance from, his precursors.
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Kang, Min-Jung. "The Sonata in Restoration England: From Fantasia Suites to Early English Trio Sonatas." Journal of Musicological Research 39, no. 4 (September 10, 2020): 276–300. http://dx.doi.org/10.1080/01411896.2020.1809393.
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O'Loughlin, Niall. "Melodični postopki v glasbi Iva Petrića." Musicological Annual 29, no. 1 (December 1, 1993): 107–19. http://dx.doi.org/10.4312/mz.29.1.107-119.
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Glasba Iva Petrića (r. 1931) je bila vedno melodično usmerjena. Obenem pa je skladatelj vedno kazal in še vedno kaže zanimanje za instrumentalne tehnike in barve ter za prepričljivo formo. Njegova glasba petdesetih let, še posebej Sonate za pihalne instrumente, odseva tradicionalen pristop melodičnega pisanja, medtem ko v Sonatah za klarinet in rog postanejo Hindemithovi vplivi očitni. Precejšnjo melodično fleksibilnost kaže Klarinetni koncert, tako da s Koncentantno glasbo (1961-62) Petrićev stil doseže prehodno fazo, v kateri je nemalo melodičnih metamorfoz. V delih, kot sta Élégie sur le nom de Carlos Salzedo za harfo in Croquis sonores (1963) za komorni ansambel, imamo opraviti s serialnimi prijemi. V slednji skladbi je melodičen zapis fragmentaren, ritmično iregularen in uporablja vseh dvanajst poltonov. Pojavi se t.i. prostorska notacija. Sedem skladb za sedem instrumentov odseva enostavno serialnost, značilnost, ki je skladatelj poslej ni več razvijal. Simfonične mutacije (1964) predstavljajo začetek utrjevanja in pretanjevanja Petrićevih skladateljskih postopkov. Čeprav oblikovno zanimivo, se zdi to delo še posebej značilno zavoljo tematskih preoblikovanj in svobodne asociativnosti podobnih tipov tem kot povezujočega faktorja med posameznimi deli skladbe. Po vrsti komornih del je Petrić v letih 1968-69 ustvaril tri pomembne kompozicije: Integrale v barvah za orkester, Intarzije za ansambel in Quatour 1969 za godalni kvartet. V teh delih so melodične celice in motivi uporabljeni tako za izoblikovanje melodičnih linij kot tudi melodičnih tekstur. Vse te drobne melodične celice so podvržene vrsti iznajdljivih, a obenem slišnih preoblikovanj, pri čemer je opazna sinhronizacija melodičnih glasov. Petrićeva dela sedemdesetih let vključujejo sonatam podobne skladbe za klavir, komorne sestave in orkester s koncertantno tretiranimi solističnimi instrumenti. Tudi tukaj skladatelj manipulira in preoblikuje kratke melodične celice tako v melodične linije kot v spremljevalne teksture, ki jih prevevajo nesinhronizirani ostinati. Uporaba dolgih not in njihove razdelave je značilna za Lirizme za rog in klavir, Meditacije za klavirski trio, violinsko Sonato in še posebej za Quatuor 1979. V orkestralnih delih s solističnimi instrumenti so orkestralni parti veliko bolj razdelani in vodijo do učinkov, ki melodično kot taki niso slišni. Sinhronizacija melodičnih elementov je včasih natančna, kot na primer v Dialogues concertants za čelo, običajno - kot v Trois images za violino (1973) - pa je samo približna, vezana na sistem primarnih in sekundarnih dirigentskih intervencij. Pihalna dela, kot so Episodes lyriques (1973) za oboo in Jeux concertants (1978) za flavto, slonijo na kalejdoskopičnih teksturah, ki se poigravajo z melodičnimi fokusi. Osemdeseta leta kažejo Petrićevo vrnitev v "taktno" regularnost, v delih, kot sta Koncert za trobento in orkester (1986) in Moods and Temperaments (1987), ki pa vsemu navkljub odsevata melodične procese značilne za sedemdeseta leta.
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Guldbrandsen, Erling E. "PIERRE BOULEZ IN INTERVIEW, 1996 (III) MALLARMÉ, MUSICAL FORM AND ARTICULATION." Tempo 65, no. 257 (July 2011): 11–21. http://dx.doi.org/10.1017/s0040298211000234.
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EG: In 1960, in your article ‘Sonate, que me veux-tu’ you introduce the word ‘anonymity’ or anonymat. Here is what you say: ‘The great works of Joyce and Mallarmé are the data for a new age in which texts are becoming – as it were – anonyme – y parlant de lui-même et sans voix d'auteur.’ (Here you are quoting Mallarmé's famous letter to Verlaine.) And you go on: ‘If I had to name the motive underlying the work I have been trying to describe [the Third Sonata], it would be the search for an “anonymity” of this kind.’This search for an ‘anonymity’ of that kind, is it part of your motive for using serial techniques altogether?
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De Souza, Jonathan, Adam Roy, and Andrew Goldman. "Classical Rondos and Sonatas as Stylistic Categories." Music Perception 37, no. 5 (June 2020): 373–91. http://dx.doi.org/10.1525/mp.2020.37.5.373.
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Sonata and rondo movements are often defined in terms of large-scale form, yet in the classical era, rondos were also identified according to their lively, cheerful character. We hypothesized that sonatas and rondos could be categorized based on stylistic features, and that rondos would involve more acoustic cues for happiness (e.g., higher average pitch height and higher average attack rate). In a corpus analysis, we examined paired movement openings from 180 instrumental works, composed between 1770 and 1799. Rondos had significantly higher pitch height and attack rate, as predicted, and there were also significant differences related to dynamics, meter, and cadences. We then conducted an experiment involving participants with at least 5 years of formal music training or less than 6 months of formal music training. Participants listened to 120 15-second audio clips, taken from the beginnings of movements in our corpus. After a training phase, they attempted to categorize the excerpts (2AFC task). D-prime scores were significantly higher than chance levels for both groups, and in post-experiment questionnaires, participants without music training reported that rondos sounded happier than sonatas. Overall, these results suggest that classical formal types have distinct stylistic and affective conventions.
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Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.
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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
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Каприн, Александр Дмитриевич. "Pedagogical Recommendations of Eliso Virsaladze on the Work on the Sonata-Fantasy “After Reading Dante” and the Piano Sonata in B Minor by Franz Liszt." Музыкальная академия, no. 2(778) (June 30, 2022): 218–33. http://dx.doi.org/10.34690/245.
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Э. К. Вирсаладзе - профессор Московской государственной консерватории имени П. И. Чайковского, пианистка с более чем полувековым концертным стажем, ученица выдающихся музыкантов А. Д. Вирсаладзе, Г. Г. Нейгауза, Я. И. Зака, продолжающая их артистические и педагогические традиции. Ее преподавательская деятельность началась в 1967 году, еще во время обучения в аспирантуре Московской консерватории, и продолжается по сей день. В данной статье представлены рекомендации Э. К. Вирсаладзе по работе над произведениями Ф. Листа, имеющие высокую художественную и практическую ценность. Буквально по тактам она разбирает нюансы динамики, штрихов, аппликатуры фортепианных Сонаты-фантазии «По прочтении Данте» и Сонаты h-moll. Статья рекомендуется студентам музыкальных колледжей, училищ и вузов, а также всем интересующимся музыкантам. E. K. VirsaLadze is a Professor at Tchaikovsky Moscow State Conservatory, a pianist with more than half a century of concert experience, a student of outstanding musicians A. D. Virsaladze, G. G. Neuhaus, Ya. I. Zak, continuing their artistic and pedagogicaL traditions. She began her teaching career in 1967, while still studying at the graduate school of Moscow Conservatory, and continues to this day. This article presents the recommendations of E. K. Virsaladze on working on the sonatas of the F. Liszt that have high artistic and practical vaLue. Literally by the measures, she anaLyzes the nuances of dynamics, strokes, fingerings of the Sonata-Fantasy “After Reading Dante” and the Piano Sonata in B minor. The articLe is recommended for students of music colleges, colleges and universities, as well as for all interested musicians.