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A sonatina (French: “sonatine”, German: “Sonatine") is a small sonata.As a musical term, sonatina has no single strict definition; it is rather a title applied by the composer to a piece that is in basic sonata form, but is shorter and lighter in character, or technically more elementary, than a typical sonata. [1]
In revising a composition, Prokofiev occasionally assigned a new opus number to the revision; thus Symphony No. 4 is two thematically related but discrete works: Symphony No. 4, Op. 47, written in 1929; and Symphony No. 4, Op. 112, a large-scale revision written in 1947. Likewise, depending upon the edition, the original version of Piano Sonata ...
'F-A-E' Sonata; Frédéric Chopin. Piano Sonata No. 2 in B ♭ minor; Piano Sonata No. 3 in B minor; Paul Dukas. Piano Sonata in E-flat minor (1900) George Enescu. Sonata No. 1 for violin and piano in D major, Op. 2 (1897) Sonata No. 2 for violin and piano in F minor, Op. 6 (1899) Edvard Grieg. Three sonatas for Violin and Piano; Franz Liszt
Sonata – Composition for one or more instruments, typically in three or four movements. Flute sonata – Sonata specifically composed for the flute. Sonatina – Short sonata, often simpler in structure and melody, used as a teaching tool or for less formal occasions. Trio sonata – Form of sonata for two melodic instruments and basso continuo.
a 'third subject group' in a different key than the other two, used by Schubert (e.g. in the String Quintet, D. 956), and Bruckner's Symphony No. 4; the first subject recapitulated in the 'wrong' key, often the subdominant, as in Mozart's Piano Sonata No. 16 in C, K. 545 and Schubert's Symphony No. 5;
The symphony has three movements, which are played without pauses in between: . Allegro apassionato; Un poco andante, marziale; Allegro vivace – non troppo; The first movement is in sonata-allegro form, with the exposition presenting the exceptionally economical matter (only five or six melodic elements) that will account for virtually all of the music in the symphony.
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 ...
Stylistically, the Fourth Symphony unites all previous stylistic tendencies in Tippett's work: the counterpoint and gentle lyricism of his first creative period and the angular, spiky modernism of his second period, thus creating a third and final period. Tippett quotes the opening of this Symphony in his Piano Sonata No. 4.