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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.
Beethoven began also to use the submediant major with more frequency in minor-key sonata-form movements, as in the first movements of Symphony No. 9, Piano Sonata No. 32, and String Quartets No. 11 and No. 15. The latter case transposes the second repeat of its exposition by a fifth, starting on the minor dominant (instead of the tonic) and ...
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 ...
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.
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 ...
Exposition Haydn's Sonata in G major, Hob. XVI: G1, I, mm. 1-28 Play ⓘ. [1] In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied.
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.
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.