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Jackson, Barbara Garvey, and Florence Price. "Sonata in E Minor." American Music 6, no. 4 (1988): 484. http://dx.doi.org/10.2307/3051716.
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Dickinson, Nigel. "Bowen: The Piano Sonatas: Piano Sonata no. 1 in B minor op. 6; Piano Sonata no. 2 in C sharp minor op. 9; Piano Sonatas no. 3 in D minor op. 12; Short Sonata in C sharp minor op. 35 no. 1; Piano Sonata no. 5 in F minor op. 72; Piano Sonatas no. 6 in B flat minor op. 160. Danny Driver pf." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 150–51. http://dx.doi.org/10.1017/s1479409811000152.
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Brown, David. "The B Minor Sonata Revisited: Deciphering Liszt." Musical Times 144, no. 1882 (2003): 6. http://dx.doi.org/10.2307/1004702.
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Frățilă, Lioara. "An Analysis of the Piano Sonata in C Minor, Op. 4 by Frédéric Chopin." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 245–72. http://dx.doi.org/10.24193/subbmusica.2021.1.16.
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"The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to the fact that ”Chopin’s compositions have opened a new era in the piano’s history”. Being present in the Parisian salon with Rossini and Liszt, the great Pole achieved an organic interweaving between the tradition of Austro-German and French music. The analysis of the sonata No. 1 in C-minor op. 4 builds the core of the present study and relevantly denotes the connection of its architecture together with the set of conventions belonging to the format of the sonata-genre coming from Beethoven. As we know, the Sonata-pattern designed by Beethoven was expanded throughout the Romantic period as well as the conditions under which the aesthetics of Romanticism found a specific corridor reaching its maximum of expression. In a way of an idiomatic, natural model of transmission, the Chopin’s style of conceiving music played its predominant role. Taking into account in this approach theories belonging to the aesthetics field and some theoretical applications with significance for understanding the levers of construction concerning this sonata, op. 4 (composed when the composer was only eighteen (1828)) and Chopin’s approach of the other stages of emancipation within the genre, I will highlight its rules which emphasize implicitly the dialogue with the ”Sonata-Fantasy” genre, as this construct appears (for instance) in sonata op. 58. Keywords: language, two themes sonata, polyphony, form, evolution "
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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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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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Sholikhah, Jamitul Nihayatus. "Concerto in C Minor for Viola Karya Henri Casadesus dalam Tinjauan Bentuk Musik dan Teknik Permainan." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 2, no. 1 (June 28, 2019): 15. http://dx.doi.org/10.26740/vt.v2n1.p15-27.
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Penelitian ini bertujuan untuk mendeskripsikan bentuk musik dan teknik permainan Concerto in C Minor for Viola Karya Henri Casadesus. Concerto in C Minor for Viola termasuk karya musik klasik, dimainkan dalam format solo viola diiringi strings orchestra. Dasar teori yang digunakan dalam meneliti bentuk musik dan teknik permainan dalam Concerto in C Minor for Viola karya Henri Casadesus yakni analisis bentuk musik Concerto, yang didalamnya menganalisis bentuk musik sonata, analisis bentuk lagu tiga bagian, analisis bentuk musik rondo dan terakhir, menganalisis teknik permainan pada solo viola. Metode penelitian ini menggunakan penelitian deskriptif kualitatif karena tidak menggunakan angka-angka sebagai sumber datanya dan hasil penelitian memfokuskan penjabaran pada bentuk musik dan teknik permainan solo viola. Data dalam penelitian diperoleh dengan cara observasi, wawancara dan dokumentasi. Dan dianalisis dengan cara reduksi data, penyajian data dan penarikan kesimpulan. Adapun untuk menguji keabsahan data menggunakan triangulasi data. Concerto in C Minor for Viola Karya Henri Casadesus dimainkan dalam tangga nada C Minor dan memiliki 3 movement. Movement I Allegro molto ma maestoso memiliki bentuk musik sonata (sonata allegro form) yang terdiri dari bagian eksposisi, development, dan rekapitulasi yang terdiri dari 157 birama. Movement II Adagio molto espressivo memiliki bentuk lagu 3 bagian yaitu ABA’ yang terdiri dari 80 birama. Movement III Allegro molto energico memiliki bentuk musik rondo yaitu ABA’CA’’ yang terdiri dari 175 birama dan terdapat cadenza ad libitum pada bagian A’’. Teknik permainan pada Concerto in C Minor for Viola terdapat teknik staccato, legato, detaché, vibrato, accent, tremolo dan multiple stops, serta terdapat ornamen appogiatura, acciacatura.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling II: Sensitivity to overall structure in a Haydn E-minor sonata." Musicae Scientiae 16, no. 1 (November 23, 2011): 67–80. http://dx.doi.org/10.1177/1029864911423146.
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Previous studies have suggested that listeners are insensitive to the overall tonal structure of musical pieces. In Part I of this report ( Granot & Jacoby, 2011 ) we reexamined this question by means of a puzzle task using 10 segments of Mozart’s B flat major piano sonata K. 570/I. As expected, subjects had difficulty in recreating the original piece. However, their answers revealed some interesting patterns, including (1) Some sensitivity to the overall structure of A–B–A’ around the non-stable B section; (2) Non-trivial sensitivity to overall “directionality” as shown by a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; and (4) Sensitivity to opening and closing gestures, thematic similarity, and surface cues. In the current paper we further validate these findings by comparing the results obtained from a new group of participants who performed an 8-segment puzzle task of Haydn’s E minor piano sonata Hob. VXI-34/I. The similarity of our results to those obtained with the Mozart sonata validates our methods and points to the robustness of our findings, despite the differences in the music contexts (composer and key), and despite some methodological caveats.
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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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GABOR, Elod, and Ignac-Csaba FILIP. "Johann Georg Pisendel: “Sonata for violin solo in A minor”." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 71–76. http://dx.doi.org/10.31926/but.pa.2019.12.61.30.
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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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McBurney, Gerard. "Piano Music by Gurney and Ferguson." Tempo 59, no. 232 (April 2005): 53–55. http://dx.doi.org/10.1017/s0040298205240159.
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IVOR GURNEY: Despair; Sehnsucht; Song of the Summer Woods; The Sea; Nocturnes in B and A flat; Preludes Nos.1–9. HOWARD FERGUSON: Piano Sonata in F minor; Five Bagatelles. Mark Bebbington (pno). Somm New Horizons SOMMCD 038.
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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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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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Dedusenko, Zhanna. "Features of the embodiment of the genre of sonata for violin and piano in the works by Gabriel Fauré (on the example of Sonata № 2, in E Minor, op. 108)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 157–70. http://dx.doi.org/10.34064/khnum1-59.11.
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Background. The article reveals the genre-style, form-building and dramatic features of G. Fauré’s Sonata No. 2, in E Minor, op. 108. It is determined that this work, in contrast to his first sonata in A Major op. 13, written in the early period of the composer’s life and embodying romantic elation and inspiration, belongs to the late period of G. Fauré’s work, which is distinguished by a complex harmonic and polyphonic writing, sophisticated form and dramatic content characteristic of the early 20th century music and the First World War. The purpose of this article is a characteristic of genre-stylistic and compositional-dramaturgical features of G. Fauré’s Sonata for violin and piano № 2, in E Minor, op. 108. Results. The Second Violin Sonata by G. Fauré, in contrast to the First, has a different dramaturgy and is built on the principle of dramatic antithesis. A special place – and this brings its logical patterns closer to Beethoven’s – is given to the sonata allegro of the first movement, the excitement and explosiveness of which contrasts not only with the lyrical Andante of the second one, in A Major, but also with the enlightened and carefree Allegro non troppo of the finale in E Major. The logic of the formation in the first movement is associated with the originality of the passage of musical events and has a spiral structure consisting of five turns. The musical image of the second movement’s theme is interesting, as it is born from the conjugation of several voices, combining the features of rhythmic variability. This gives the theme a special, truly French charm. There are several dynamic build-ups in the second movement throughout Andante, which shows the implementation of the wave dramaturgy principle. Rondo shows the freshness of musical colors and spontaneity of expression. The last refrain of this part is especially interesting from the dramatic, thematic and ensemble points of view. The general culmination of the Sonata takes place in the refrain. It includes the main intonational ideas and serves as a generalization of the key events of the composition. At the highest climax of Rondo the main and secondary themes from the first movement of the Sonata appear. Thus, the idea of concentric circles, which was noted in the sonata allegro, is implemented in the finale of the Rondo. Conclusion. The analysis of the Second Violin Sonata by G. Fauré allows us to speak not only about a special implementation of the form in this work, but, in comparison with the First Sonata, about a great variety of ensemble writing, marked by the polyphonization of texture. The timbre contrast of the violin and piano allows the composer to set off the emerging replicas, arrange them in different sound spaces, which may resemble the organ register. The loss of any “character” by the members of the ensemble is most consistently traced in the sonata allegro. Another regularity can be traced in the reduction of the background, which is supplanted by the thematization of the texture. This is emphasized by the frequent change of role-playing functions of the instruments and the multitude of ensemble details that ensure the mobility of the musical texture and its multidimensionality. In this Sonata G. Fauré shows a special sensitivity to the harmonic component of the musical language. This search for expressive possibilities of harmony subsequently becomes a distinctive feature of the modern French musical language, which affects the sound image of a chamber ensemble, leading to the interpretation of chamberness as a refined variability of sensations.
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Fisk, C. "Schubert Recollects Himself: The Piano Sonata in C Minor, D. 958." Musical Quarterly 84, no. 4 (January 1, 2000): 635–54. http://dx.doi.org/10.1093/mq/84.4.635.
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Rosen, Charles. "The First Movement of Chopin's Sonata in Bb Minor, Op. 35." 19th-Century Music 14, no. 1 (July 1990): 60–66. http://dx.doi.org/10.1525/ncm.1990.14.1.02a00040.
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Renat, Maryla. ""Sonata in D minor", Op. 9 by Karol Szymanowski. Genesis – reception – compositional technique." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 10 (2015): 29–58. http://dx.doi.org/10.16926/em.2015.10.02.
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Brown, Julie Hedges. "Study, Copy, and Conquer." Journal of Musicology 30, no. 3 (2013): 369–423. http://dx.doi.org/10.1525/jm.2013.30.3.369.
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Schumann's 1842 chamber music exemplifies a common theme in his critical writings, that to sustain a notable inherited tradition composers must not merely imitate the past but reinvent it anew. Yet Schumann's innovative practices have not been sufficiently acknowledged, partly because his instrumental repertory seemed conservative to critics of Schumann's day and beyond, especially when compared to his earlier experimental piano works and songs. This essay offers a revisionist perspective by exploring three chamber movements that recast sonata procedure in one of two complementary ways: either the tonic key monopolizes the exposition (as in the first movement of the Piano Quartet in E♭ major, op. 47), or a modulating main theme undercuts a definitive presence of the tonic key at the outset (as in the first movement of the String Quartet in A major, op. 41, no. 3, and the finale of the String Quartet in A minor, op. 41, no. 1). Viewed against conventional sonata practice, these chamber movements appear puzzling, perhaps even incoherent or awkward, since they thwart the tonal contrast of keys so characteristic of the form. Yet these unusual openings, and the compelling if surprising ramifications that they prompt, signal not compositional weakness but rather an effort to reinterpret the form as a way of strengthening its expressive power. My analyses also draw on other perspectives to illuminate these sonata forms. All three movements adopt a striking thematic idea or formal ploy that evokes a specific Beethovenian precedent; yet each movement also highlights Schumann’s creative distance from his predecessor by departing in notable ways from the conjured model. Aspects of Schumann’s sketches, especially those concerning changes made during the compositional process, also illuminate relevant analytical points. Finally, in the analysis of the finale of the A-minor quartet, I consider how Schumann’s evocation of Hungarian Gypsy music may be not merely incidental to but supportive of his reimagined sonata form. Ultimately, the perspectives offered here easily accommodate—even celebrate—Schumann’s idiosyncratic approach to sonata form. They also demonstrate that Schumann’s earlier experimental tendencies did not contradict his efforts in the early 1840s to further advance his inherited classical past.
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Rosen, Charles. "The First Movement of Chopin's Sonata in B♭ Minor, Op. 35." 19th-Century Music 14, no. 1 (1990): 60–66. http://dx.doi.org/10.2307/746676.
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Dibble, Jeremy. "Context, Form and Style in Sterndale Bennett’s Piano Concertos." Nineteenth-Century Music Review 13, no. 2 (December 2016): 195–219. http://dx.doi.org/10.1017/s1479409816000616.
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A concert pianist in his own right and a prodigious youth, Sterndale Bennett composed his five complete piano concertos at the beginning of his career. Although Mozart is often cited as a major influence on Bennett’s musical style, and Bennett was a keen executant of Mozart’s piano concertos throughout his career as a virtuoso (at a time when a performing tradition of Mozart’s concertos was still establishing itself), of equal or even greater impact on Bennett’s style of concerto was the ‘London School’ of pianists, among them Field, Hummel, Potter (Bennett’s teacher), Cramer and Moscheles whose first-movement structural paradigms of ritornello and sonata are especially evident in the corresponding movements of the first four of Bennett’s concertos. Structural and stylistic factors are also discussed in relation to the more romantically inclined slow movements (which includes an examination of the programmatic movement of the Third Concerto in C minor Op. 9, so enthusiastically reviewed by Schumann in Leipzig, and the unpublished ‘Adagio in G minor’) as well as the ‘shared sonata’ schemes of the finales in which the influence of Mendelssohn features more conspicuously. Finally, the stylistic amalgam of Bennett’s concertos, in particular the frequently performed Fourth Concerto in F minor Op. 19 and the unpublished Konzert-Stück in A minor, is considered within the larger context of the first half of the nineteenth century with particular reference to the tensions that existed between the composer’s classical instincts and the desire to experiment with freer Romantic forms.
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Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (October 2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.
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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.
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McClelland, Ryan. "Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos." Articles 26, no. 1 (December 7, 2012): 123–47. http://dx.doi.org/10.7202/1013246ar.
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The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, and resolves them convincingly near the end of the scherzo.
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Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.
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Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.
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Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.
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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set, sonata form, character piece, Lied, and aria in Schubert. Schubert's formal integrations are made in the service of a Romantic sensibility of distance, loss, memory, and regret. He joins musical aspects of distance (from the theme, from a home key, from a home register) to distance in its poetic aspects: from the past, from home, from old loves and places. Schubert not only continues the 18th-century tradition of musical depictions of distance, he transforms and expands them in unprecedented ways. The result is a poignant intersection of formal innovation and musical poetics.
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Frisch, Walter. "Thematic Form and the Genesis of Schoenberg's D-Minor Quartet, Opus 7." Journal of the American Musicological Society 41, no. 2 (1988): 289–314. http://dx.doi.org/10.2307/831435.
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Schoenberg's D-minor Quartet, Opus 7, is distinctive for fusing elements of sonata and four-movement form into an immense fifty-minute work that coheres primarily by thematic processes and relationships. The numerous sketches for the quartet reveal that the task of achieving both thematic continuity on such a scale and adequate contrast between sections challenged even the normally rapid and "spontaneous" composer, who had to stop at certain points to revise his compositional strategy. Schoenberg resorted at these points to groups of brief concept sketches to work out the thematic associations and their eventual ordering and placement in the larger formal design.
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Lasocki, David, Giovanni Platti, Gregory Hayes, Thomas Vincent, George Pratt, Johann Christoph Pepusch, Himie Voxman, et al. "Sonata in C Minor; For Oboe (Violin, Flute) and Basso Continuo (Harpsichord, Piano)." Notes 45, no. 3 (March 1989): 622. http://dx.doi.org/10.2307/940829.
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Head, Matthew. "Genre, Romanticism and Female Authorship: Fanny Hensel's ‘Scottish’ Sonata in G Minor (1843)." Nineteenth-Century Music Review 4, no. 2 (November 2007): 67–88. http://dx.doi.org/10.1017/s1479409800000896.
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The year 1846 was a watershed for Fanny Hensel: in that year she published collections of music in her own name. Felix Mendelssohn, withholding personal approval of his sister's decision to go public, nonetheless acknowledged a change of status when he offered his ‘professional blessing upon your decision to enter our guild’. This much is well known, but the decision to publish was one of several signs that in the 1840s Hensel sought to set her life-long cultivation of composition on a more formal and professional footing. With her Piano Sonata in G minor (autumn 1843) she tackled a genre largely off-limits to earlier female composers in northern Germany. The genre involved extended instrumental forms and Hensel was alternately confident and full of doubts about her abilities in this area. In a letter to her brother concerning her String Quartet, she pictured herself trapped in the ‘emotional and wrenching’ (‘rührend u. eindringlich’) style of late Beethoven. Countering her brother's criticisms of the quartet she asserted, ambivalently, that she did not lack ‘the compositional skill’ (‘die Schreibart’) to succeed so much as ‘a certain vital force’ (‘ein gewisses Lebensprinzip’) and the ‘strength to sustain my ideas and give them the necessary consistency’.
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Jackson, Roland. "Concerning Chopin's “Enigmatical” Finale in the Sonata in B♭ Minor, Op. 35." Journal of Musicological Research 31, no. 1 (January 2012): 27–48. http://dx.doi.org/10.1080/01411896.2012.643451.
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Tudor, Brînduşa. "Number 13 / Part I. Music. 11. Great Contemporary Pianists in Interpretative Dialogue: Alfred Brendel and Murray Perahia." Review of Artistic Education 13, no. 1 (March 1, 2017): 93–98. http://dx.doi.org/10.1515/rae-2017-0011.
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Abstract The choice of valuable interpretative versions is highly important for both pianists on their way to performance and teachers in their complex activity of piano training. These become real models of esthetical thinking and artistic inspiration in the approach of a musical work. We shall use Sonata in D minor D 958 by Franz Schubert as an interpretative analysis model in the view of the pianists Alfred Brendel and Murray Perahia.
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Wolf, Eugene K. "The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457." Journal of Musicology 10, no. 1 (January 1, 1992): 3–47. http://dx.doi.org/10.2307/763559.
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Wolf, Eugene K. "The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457." Journal of Musicology 10, no. 1 (January 1992): 3–47. http://dx.doi.org/10.1525/jm.1992.10.1.03a00010.
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Bradley-Fulgoni, Peter. "The mystery of Modern dissonance." Architectural Research Quarterly 16, no. 2 (June 2012): 190–92. http://dx.doi.org/10.1017/s1359135512000516.
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The story goes that when the twenty-year old Brahms visited Liszt in Weimar in 1853, Liszt effortlessly sight-read the younger man's piano Sonata in C major (a work of considerable technical difficulty). Brahms was astounded by this feat of consummate musicianship. However, when Liszt then played his own, as yet unpublished, B minor Sonata, Brahms fell asleep. Liszt probably understood that the young composer was tired after his long journey, and of course the story may be apocryphal, but nevertheless the fact that they never met again may be read as a metaphor for a divergence of musical tendencies that came to characterise nineteenth-century high art music. Some describe this as ‘the war of the Romantics’, a bitter dispute between the New German School (principal figures, Franz Liszt and Richard Wagner) and traditionalists, such as Brahms, whose work was deemed oldfashioned. It was a spat that embroiled the whole of musical Europe.
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Rothstein, William. "Piano Sonata in E Major Op. 109. Beethoven’s Last Piano Sonatas: An Edition with Elucidation. By Heinrich Schenker; trans., ed., and annotated by John Rothgeb Piano Sonata in A flat Major Op. 110. Beethoven’s Last Piano Sonatas: An Edition with ElucidationPiano Sonata in C Minor Op. 111. Beethoven’s Last Piano Sonatas: An Edition with ElucidationPiano Sonata in A Major Op. 101. Beethoven’s Last Piano Sonatas: An Edition with Elucidation." Music and Letters 97, no. 4 (November 2016): 661–63. http://dx.doi.org/10.1093/ml/gcw094.
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Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.
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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.
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Marston, Nicholas. "In the ‘Twilight Zone’: Beethoven's Unfinished Piano Trio in F Minor." Journal of the Royal Musical Association 131, no. 2 (2006): 227–86. http://dx.doi.org/10.1093/jrma/fkl014.
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Although it has long been known that Beethoven began composing a piano trio in F minor in 1816, scholarly examination of the extant sources for this unfinished project has only recently progressed beyond Nottebohm's brief remarks in the 1880s. The present article reveals the existence of numerous new sources evidently unknown to Nottebohm, including a leaf which forms the continuation of the draft score (Concept) of the first movement, the principal source for the trio. (Transcriptions of this score, including the new continuation, and of a newly identified draft which preceded it, accompany the article.) The trio project is contextualized in relation to other compositions, in particular the String Quartet in F minor, op. 95, the ‘Archduke’ Trio and the Piano Sonata in A, op. 101, and an attempt is made to understand the failure of the trio project in relation to Beethoven's limited compositional activity at this much-discussed point in his career.
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Tanner, Mark. "The Power of Performance as an Alternative Analytical Discourse: The Liszt Sonata in B Minor." 19th-Century Music 24, no. 2 (2000): 173–92. http://dx.doi.org/10.2307/746841.
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Tanner, Mark. "The Power of Performance as an Alternative Analytical Discourse: The Liszt Sonata in B Minor." 19th-Century Music 24, no. 2 (October 2000): 173–92. http://dx.doi.org/10.1525/ncm.2000.24.2.02a00040.
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Kim, Yumi. "Psychoanalytical Reading of Liszt’s Sonata in B Minor: I: PAC as an objet petit a." Music Theory Forum 28, no. 1 (June 30, 2021): 113–36. http://dx.doi.org/10.16940/ymr.2021.28.1.113.
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MacKay, James S. "Formal Mixture in the Sonata-Form Movements of Middle- and Late-Period Beethoven." Articles 31, no. 1 (June 7, 2012): 77–99. http://dx.doi.org/10.7202/1009287ar.
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Modal mixture is defined as a local colouration of a diatonic progression by borrowing tones or chords from the parallel major or minor tonality. In his efforts to expand tonal resources, Beethoven took this technique further: he borrowed large-scale tonal processes from a composition’s parallel tonality, a technique that I term formal mixture. After tracing its origin to certain works by J. S. Bach, C. P. E Bach, Domenico Scarlatti, and Joseph Haydn, I demonstrate how Beethoven built upon his predecessors’ use of the technique throughout his career, thereby expanding and diversifying the tonal resources of late classical era sonata forms.
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Husain, Gabriela, William Forde Thompson, and E. Glenn Schellenberg. "Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities." Music Perception 20, no. 2 (2002): 151–71. http://dx.doi.org/10.1525/mp.2002.20.2.151.
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We examined effects of tempo and mode on spatial ability, arousal, and mood. A Mozart sonata was performed by a skilled pianist and recorded as a MIDI file. The file was edited to produce four versions that varied in tempo (fast or slow) and mode (major or minor). Participants listened to a single version and completed measures of spatial ability, arousal, and mood. Performance on the spatial task was superior after listening to music at a fast rather than a slow tempo, and when the music was presented in major rather than minor mode. Tempo manipulations affected arousal but not mood, whereas mode manipulations affected mood but not arousal. Changes in arousal and mood paralleled variation on the spatial task. The findings are consistent with the view that the "Mozart effect" is a consequence of changes in arousal and mood.
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Garipova, Ninel F. "The Semantic Structures of Domenico Scarlatti’s Sonata for Clavier К. 466, L. 118 in F minor." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2019): 97–104. http://dx.doi.org/10.17674/1997-0854.2019.2.097-104.
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Segall, Christopher. "Rondo⇒Sonata Conversion: The Finale of Beethoven's String Quartet in C Minor, Op. 18 No. 4." Music Theory and Analysis (MTA) 5, no. 2 (October 31, 2018): 203–15. http://dx.doi.org/10.11116/mta.5.2.5.
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Monahan, Seth. ""Inescapable" Coherence and the Failure of the Novel-Symphony in the Finale of Mahler's Sixth." 19th-Century Music 31, no. 1 (2007): 053–95. http://dx.doi.org/10.1525/ncm.2007.31.1.053.
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Critics have long viewed Mahler's Sixth Symphony in A Minor (1904) as the composer's consummate essay in musical tragedy or negativity, one with deeply personal implications. Its enormous finale draws together materials from all the preceding movements and enacts a terrible conflict ending in failure. Yet few studies have looked beneath the work's bombastic rhetorical-expressive surface to explore how its negativity might be reflected in its tonal, formal, and thematic processes. This study sets out to link that negative expressivity to a breakdown of what Adorno called the "novelistic" character of Mahler's symphonies. For Adorno, Mahler pioneered a new, emancipatory symphonic idiom, one that liberated its musical materials from the dictates of preconceived formal totalities. Unlike the Classical symphony, where the parts exist for the sake of a symmetrical, tightly knit whole, the "novel-symphony" follows no predetermined path. Instead, it unfolds according to the dictates of its constituent elements, realizing its unique form from the "bottom up" rather than the "top down."Yet (as Adorno suggests) in the finale of the Sixth this integrating totality returns with a vengeance. We can read the movement as a clash between Adorno's novelistic and Classical paradigms, a showdown between the impulsive freedom of certain recalcitrant thematic elements on the one hand, and the increasingly punitive demands of rigid minor-mode sonata on the other. This drama--one that caricaturizes "classicism" itself as a repressive or stifling force--plays out on both formal and thematic levels. Several writers have noted the claustrophobic effect created by Mahler's incessant recycling of certain key motives, an "inescapable" coherence in which the organicist imperatives of the grand tradition themselves become corrupt and, ultimately, corrosive. As these generic, subthematic particles proliferate, the movement's "novelistic" themes--those seeking to subvert the strict sonata--are systematically denuded of the differentiating features and dissolved beyond recognition. In the end, the movement's infamously brutal minor-mode conclusion reveals itself to be the culmination of a musical plot spanning the entire movement, one that gathers its many details into an inexorably tragic narrative whole.
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Taylor, Benedict. "Schubert and the Construction of Memory: The String Quartet in A minor, D.804 (‘Rosamunde’)." Journal of the Royal Musical Association 139, no. 1 (2014): 41–88. http://dx.doi.org/10.1080/02690403.2014.886414.
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ABSTRACTAs well over a century of reception history attests, qualities of memory, reminiscence and nostalgia seem to constitute some of the most characteristic attributes of Schubert's music. Yet despite the undoubted allure of this subject and its popularity in recent years, the means by which music may suggest the actions of memory and temporal consciousness are often unclear or under-theorized in scholarship. This article examines how such nostalgic subjectivities are constructed in Schubert's music and the language used to describe it. Rather than overturning the now habitual associations between Schubert and memory, the article seeks to question more deeply how they are, and indeed might better be, supported. It looks principally at the String Quartet in A minor, D.804 (‘Rosamunde’), and draws further on such staples of the Schubertian memory discourse as the Quartet in G, D.887, and the Piano Sonata in B♭, D.960.
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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
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Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
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Lam, Nathan L. "Modal Spelled Pitch Class, La-Minor Solfège, and Schubert’s Third Relations." Journal of Music Theory 64, no. 2 (October 1, 2020): 241–81. http://dx.doi.org/10.1215/00222909-8550795.
Full textAbstract:
This article develops the notion of modal spelled pitch class by combining Julian Hook’s theory of spelled heptachords and Steven Rings’s heard scale degree. Modal spelled pitch class takes the form of an ordered triple that includes the key signature, the generic pitch classes (letter names without accidentals) of the tonic, and the note in question. From there one can infer other information, such as scale degree, mode, and la-minor solfège. In the construction of modal spelled pitch class, la-minor solfège is of equal importance to do-minor solfège, and subsequent analyses contrast the perspectives of both types of movable-do solfège users. This argument aligns with recent reevaluations of Jacques Handschin’s tone character (Clampitt and Noll 2011; Noll 2016b) and suggests a path of reconciliation in the ongoing solfège debate. Close readings of Franz Schubert’s Impromptu in E♭ major, D. 899, and Piano Sonata in B♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled pitch class transpositions show the scales and melodies that prolong third-related harmonies also participate in their own third relations.
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Ferris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin." Journal of the American Musicological Society 56, no. 2 (2003): 351–408. http://dx.doi.org/10.1525/jams.2003.56.2.351.
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Abstract The critics of the Neue Zeitschrift für Musik idealized the private performance as an enlightened alternative to the public concert, and it was in private settings that Clara Wieck Schumann typically played Robert Schumann's music in the early years of her career. In the winter of 1839-40 she was in Berlin, abandoned by her father, Friedrich Wieck, and struggling to continue her career on her own. At Schumann's suggestion she performed his Sonata No. 2 in G Minor, Op. 22 in a public soirée. Afterwards Schumann decided his music was too personal for a public audience, and his major piano works were not heard again until the year of his death.
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Sydir, Nataliya. "Peculiarities of The Piano Ballad Genre at The Beginning of The 20th Century (based on works by S. Bortkevych, І Friedman, B. Lyatoshynsky)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 79–90. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233120.
Full textAbstract:
A comparative analysis of ballads for piano by three artists, whose works were created at the beginning of the 20th century, has been carried out. It has been revealed that the traditions the composers relied on during the period of the formation of their own style were influenced by the musical atmosphere and the environment (they are united by some common creative principles of F. Chopin and F. Liszt). The comparative analysis has reviled that the means of expression (allusions, stylizations) introduced and taken as a model to follow, differ due to the different conditions for the formation of a creative idea. For S. Bortkevych, these are the factors of nostalgia in forced emigration, hence he appealed to the idioms of expression of S. Rachmaninoff, M. Mussorgsky, and O. Scriabin. For I. Friedman these are the features of thematic development and development of F. Liszt's drama in view of the addressee of the dedication. For B. Lyatoshynsky these are works of M. Mettner, who the composer later borrowed a synthetic model of the sonata-ballad from. It has been highlighted that in terms of form, S. Bortkevych has a rondo-sonata with features of variation, I. Friedman has a sonata form with a mirror reprise and a fugue in the episode, and B. Lyatoshynsky has a sonata form of the poem type with features of cyclicality. In the article it has been claimed that the features of epicness and lyrics, gradations and means of achieving expression, freedom and scale of expansion of the major-minor in each of the composers are also different. There is an attraction to different styles of expression: romantic-secession (S. Bortkevych), secession-modern (I. Friedman), modern-expressionistic (B. Lyatoshynsky). The means used by composers have been differentiated: S. Bortkevych used allusions and pseudo-citations, intonation inversions and methods of musical structure development, which show resemblance with the works of S. Rachmaninoff, O. Scriabin and M. Mussorgsky. I. Friedman reproduced improvisation, spectacular virtuosity and the peculiarity of F. List drama tradition. B. Lyatoshynsky emphasized the basic features of the genre, based on the peculiarities of the formation of Chopin-Liszt ballad style, combining them with the peculiarities of genre synthesis and the characteristic features of M. Mettner's individual compositional style. The extent of each of the composers' contributions to the interpretation of the piano ballad genre has been clarified.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.