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The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period ).
Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
The second movement is in E ♭ major and is also in sonata form. Its opening melody is often compared to the later music of Chopin. [2] The exposition starts in the tonic key and ends in the dominant key. The development plays around with the first theme of the exposition, slowly building intensity until both hands play constant sixteenth notes.
James Webster noted the particular A–B–A form of the first movement's first thematic group. [6] Daniel Coren summarised the nature of the recapitulations in the first and third movements. [7] Leo Black noted Schubert's reworking of the opening theme from the sonata's slow movement into his song "Der Unglückliche". [8]
A slower middle movement with song-like melodies follows, before the sonata ends with a rhythmically complex rondo featuring polymeters. Altogether, it presents a considerable difficulty for both players. Creston and Leeson premiered the sonata at the Weill Recital Hall on 15 February 1940, although Leeson had performed it on tour prior to that ...
The third movement is a seven-part sonata rondo (ABACABA), a traditional third-movement form in classical concerti. The piano states the main theme, which is then repeated by the orchestra. The two B sections (subordinate themes) are in G major and C major respectively.
Although various composers in the 17th century had written keyboard pieces which they entitled "Sonata", it was only in the classical era, when the piano displaced the earlier harpsichord and sonata form rose to prominence as a principle of musical composition, that the term "piano sonata" acquired a definite meaning and a characteristic form.
Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." [8] These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space.