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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 ).
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.
Crucial to most interpretations of the sonata form is the idea of a tonal center; and, as the Grove Concise Dictionary of Music puts it: "The main form of the group embodying the 'sonata principle', the most important principle of musical structure from the Classical period to the 20th century: that material first stated in a complementary key ...
Sonata form is one of the most influential ideas in the history of Western classical music.Since the establishment of the practice by composers like C.P.E. Bach, Haydn, Mozart, Beethoven, and Schubert and the codification of this practice into teaching and theory, the practice of writing works in sonata form has changed considerably.
Field wrote the piece in classical sonata form; however, he didn't include a cadenza at the end of the first movement due to its relative length, and made the second movement quite short. Field wrote the composition using the more lyric, subdued, slightly melancholy style typical of late Mozart , rather than the joyous " happy-go-lucky mood ...
The stormy final movement (C ♯ minor), in sonata form and common time, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata Opus 27, No. 1 and later on in Opus 101), namely, placement of the most important movement of the sonata last.
The opening Sinfonia is a comparatively rare example (despite his label of "neoclassic composer") of Stravinsky's use of sonata form. [8] His employment of this form, along with the other style elements consciously borrowed from the past, is not out of a reverent desire to perpetuate them, but rather constitutes a defiant and satirical act of mockery. [9]
The beginning of the first movement. Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata, meaning "passionate" in Italian) is among the three famous piano sonatas of his middle period (the others being the Waldstein, Op. 53 and Les Adieux, Op. 81a); it was composed during 1804 and 1805, and perhaps 1806, and Beethoven dedicated it to cellist ...