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Journal articles on the topic 'Sonata No. I Op. 13'

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Published: 4 June 2021

Last updated: 4 February 2022

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1

MacDonald, Calum. "Samuil Feinberg's Piano Sonatas." Tempo 58, no. 230 (October 2004): 83–84. http://dx.doi.org/10.1017/s0040298204260338.

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FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.

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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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ESKENAZI, JEREMY. "JOHANN NEPOMUK HUMMEL (1778–1837) SONATA IN E FLAT MAJOR, OP. 13 NO. 6; SONATA IN F MINOR, OP. 20; ‘LA CONTEMPLAZIONE’, OP. 107 NO. 3 Susan Alexander-Max (fortepiano) Chandos, CHAN 0765, 2009; one disc, 67 minutes." Eighteenth Century Music 8, no. 01 (March 2011): 143–44. http://dx.doi.org/10.1017/s1478570610000576.

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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet." Journal of the Society for American Music 6, no. 2 (May 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.

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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.

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Quinn, Peter. "LEO ORNSTEIN: A Morning in the Woods; Danse sauvage; Fourth Piano Sonata; Impressions of the Thames; Tarantelle; Seventh Piano Sonata; A Long Remembered Sorrow; Suicide in an Airplane. Janice Weber (pno). Naxos 8.559104. LEO ORNSTEIN: Suicide in an Airplane; A la Chinoise, op.39; Danse sauvage, op.13 no.2; Poems of 1917, op.41; Arabesques, op.42; Impressions de la Tamise, op.13 no.1; Piano Sonata no.8. Marc-André Hamelin (pno). Hyperion CDA67320." Tempo 57, no. 223 (January 2003): 72–73. http://dx.doi.org/10.1017/s0040298203230072.

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Sobaskie, James William. "Franck's Sonata in A Major for Violin and Piano (1886) and Faure's Sonata No. 1 in A Major for Violin and Piano Op. 13 (1875-6), and: Sonate Nr. 2 e-Moll Opus 108 fur Violine und Klavier, and: Deuxieme Sonate Op. 117 fur Violoncello und Klavier, and: Elegie Op. 24 fur Violoncello und Klavier, and: Papillon op. 77 aus "Les Soirees Intimes" fur Violoncello und Klavier, and: Anthology of Selected Pieces for Cello and Piano, and: Elegie Op. 24, Sicilienne Op. 78 for Violoncello and Piano, and: Antholo." Notes 61, no. 2 (2004): 556–61. http://dx.doi.org/10.1353/not.2004.0164.

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Spitzer, Michael. "Clementi: Piano Sonatas vol. 1 opp. 1, 2, 7, 8 and WO13; Piano Sonatas vol. 2 opp. 9, 10, 11 no. 1 and op. 12; Piano Sonatas vol. 3 opp. 13, 20, WO3, 23 and op. 24. Howard Shelley pf." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 151–54. http://dx.doi.org/10.1017/s1479409811000164.

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Anderson, Robert, Stanford, and Joseph Payne. "Sonata Eroica Op.151." Musical Times 136, no. 1834 (December 1995): 679. http://dx.doi.org/10.2307/1003576.

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Wai-Ling, Cheong. "Scriabin's Octatonic Sonata." Journal of the Royal Musical Association 121, no. 2 (1996): 206–28. http://dx.doi.org/10.1093/jrma/121.2.206.

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The first of an uninterrupted series of piano works to follow the orchestral Prometheus, op. 60 (1908–10), Scriabin's Sixth Sonata, op. 62 (1911), is a striking example of what may be termed an ‘octatonic sonata’. Indeed, the Sixth Sonata shows Scriabin experimenting with the octatonic at its most rigid and is unique in containing long spans of pure octatonic writing where not a single extraneous note is invoked. In contrast to the Fifth Sonata, op. 53 (1907), which is closely associated with the Poem of Ecstasy, op. 54 (1905–8), the Sixth Sonata has only loose ties with Prometheus.

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Moore, David W., and Easley Blackwood. "Sonata for Guitar, op. 29." Notes 47, no. 1 (September 1990): 222. http://dx.doi.org/10.2307/940564.

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Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (March 1, 2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.

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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the same conceptions: rhapsodic melody with closing cadenza and a fermata. The final return of the Adagio establishes a cyclic unity. The first performance of the sonata in 1910 with string quartets by Kodály and Bartók founded the beginning of modern music in Hungary. Also the Sonatina, originally the 3rd part of Sonata, published in 1922, has a Lento-introduction with rhapsodic-like parts wich begins a process-like evolution of composition. A relationship with the special features of the Sonata for Cello and Piano in the history of the genre includes also works by Debussy (1915) and Hindemith (1919).

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FRĂȚILĂ, Lioara. "Chopinian Particularities in Piano’s Sonata op. 58." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 69–78. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.7.

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The paper herein highlights those aspects of Chopin’s Piano Sonata Op.58 that demonstrate the strong connection with the classical-type sonata, its significance and the evolution of expression. Chopin’s Third Piano Sonata, Op.58 is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, results in an effective balancing of structural integrity and emotional fulfilment. Every moment of Op.58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety

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Rickards, Guy. "Rodolfo Halffter et al. - RODOLFO HALFFTER: Chamber Music, Volume 2. Giga, op. 31; Tres piezas breves, op. 13a2; Dos sonatas de El Escorial, op. 23; Homenaje a Antonio Machado, op. 133; Divertimento, op. 7a4-13; Laberinto, op. 343; Capricho, op. 409; Epinicio, op. 423,4; Secuencia, op. 393. 1Miguel Ángel Jimenez (gtr), 2Beatriz Millán (hp), 3Francisco José Segonia (pno), 4Cinta Vrea (fl), 5Vicente Fernández (ob), 6Nerea Meyer (cl), 7Francisco Mas (bn), 8César Asensi (tpt), 9Victor Arriola (vln), 10Paulo Vieira (vln), 11Alexander Trotchinsky (vla), 12Rafael Domínguez (vlc), c. 13Manuel Coves. Naxos 8.572419 - RODOLFO HALFFTER: Chamber Music, Volume 3. String Quartet, op. 241; Cello Sonata, op. 262. Tres Movimientos, op. 281; Ochos tientos, op. 351. 1Bretón String Quartet, 2John Stokes (vlc), Francisco José Segonia (pno). Naxos 8.572420 - NORDIN: Undercurrents1,2; Surfaces Scintillantes2; Cri du Berger1; The Aisle2; Pendants I-III2. 1Benjamin Carat (vlc). 2Gageego!/Pierre-Andre Valade. Phono Suecia PSCD 192 - SUNLEIF RASMUSSEN: Dancing Raindrops; Suite for guitar and effect processor; Andalag #2; Like the Golden Sun; Mozaik/Miniature. Aldubarán. Dacapo 8.226567. - WEINBERG: Sonatas for violin and piano Nos. 1, op. 12; 4, op. 39; Sonata for violin solo No. 1, op. 82. Sonatina for violin and piano, op. 46. Yuri Kalnits (vln), Michael Csányi-Wills (pno). Toccata Classics TOCC 0007. - ‘Dedicated to Trio’. SVEN-DAVID SANDSTRÖM: 5 Pieces. ÖSTERLING: Lundi1. MONNAKGOTLA: 5 Pieces. HEDELIN: Akt. TALLY: Winter Island. 1Dan Laurin (rec), Trio Zilliacusperssonraitinen (ZPR). Phono Suecia PSCD 189. - HENZE: ‘Hommages’. Sonata for 6 players; Margareten-Walzer; Ländler; La mano sinistra; Epitaph; Toccata mistica; String Trio; Ode al dodicesimo apostolo; An Brenton; Klavierstück für Reinhold; Serenade; Adagio, adagio. Ensemble Recherche. Wergo WER 6727 2. - ‘Silver Tunes’. VON KOCH: Silver Tunes. LANGLAIS: 5 Pieces. AUGUSTA READ THOMAS: Angel Tears and Earth Prayers. DEBUSSY: Syrinx. LIEBERMANN: Air, op. 106. LÖFBERG Sonata-I Choral (plus works by ROMAN, GLUCK, HILDEGARD VON BINGEN). Elivi Varga (fl), Ole Långström (org). Sterling CDA 1676-2." Tempo 67, no. 265 (July 2013): 112–17. http://dx.doi.org/10.1017/s0040298213000739.

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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.

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MacDonald, Calum. "Spinner's Violin Sonata – Why op. 1?" Tempo, no. 161-162 (September 1987): 68–73. http://dx.doi.org/10.1017/s0040298200023354.

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Leopold Spinner composed his Sonata for Violin and Piano at the age of 30, in Vienna, in late 1936, while Studying with Webern. It was performed in Vienna on 22 November of that year under the auspices of the Austrian Section of the ISCM. In 1940—having in the meantime been forced to emigrate to this country—he made a slightly revised version of the work, which seems to have remained unheard until this year.

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Wirayudha, Asep Hidayat. "The Secret of Brahms Cellos Sonata No. 1 Op. 38 and Shostakovich Cello Sonata Op. 40." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 35. http://dx.doi.org/10.24821/ijcas.v3i2.1843.

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This study aims to find a technique solution behind the Far interval and Octave interval in Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and Discography approach. The fingering problems may poses special difficulties to any cellists. According to the author’s assessment, there are two problems that warrant special attentions of the cellist. Both intervals may cause serious problems on the performance of short fingers cellists. The size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties regarding obtaining tone (Stowell, 1999). From the results of the Far Interval and Octave Interval and active involvement of the researchers, the results show that, what is shown that every cellist are anatomically different. The fingers of the cellists are naturally very flexible. It cannot be converted to another cellists. So flexibly that it is possible to overcome the problem in a simple and convenient.

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Stoune, Michael C., Miklos Rozsa, Peter Lieberson, David Bedford, Anthony Newman, Julius Baker, John Downey, and Johann Cilensek. "Sonata per flauto solo, Op. 39 (1983)." Notes 44, no. 2 (December 1987): 371. http://dx.doi.org/10.2307/941601.

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Byrne, Frank, and Leonard Salzedo. "Sonata for Tuba and Piano, Op. 93." Notes 43, no. 2 (December 1986): 421. http://dx.doi.org/10.2307/897411.

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Wiens, Carl. "Two-Part Transition or Two-Part Subordinate Theme?" Contemplating Caplin 31, no. 1 (June 7, 2012): 46–65. http://dx.doi.org/10.7202/1009284ar.

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In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.

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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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Lambert, Sterling. "Beethoven in B♭♭: Op. 130 and the Hammerklavier." Journal of Musicology 25, no. 4 (2008): 434–72. http://dx.doi.org/10.1525/jm.2008.25.4.434.

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Abstract Commentators have sometimes remarked on similarities between contemporaneous piano sonatas and quartets by Beethoven, as if the composer were developing ideas at the keyboard before transferring them to other genres. A particularly close connection can be seen, however, between two works in B♭♭ major that are separated by a greater distance in time: the Piano Sonata in B♭♭, op. 106 (Hammerklavier) and the String Quartet in B♭♭, op. 130. Correspondences between the respective first movements are particularly strong, and they suggest that the sonata may have served as something of model for the quartet. Yet the same elements that contribute to a highly integrated structure in the sonata seem to serve quite different purposes in a quartet characterized by a pointed disintegration of normative procedures. A comparison of the two works shows not only how Beethoven's style underwent significant change in the intervening time, but also how the quartet may serve as a critique of the sonata in an act of deliberate stylistic distancing. This brings into question the well established concept of a unified ““late”” or ““third-period”” style.

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MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (October 2006): 49–50. http://dx.doi.org/10.1017/s0040298206330318.

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CYRIL SCOTT: Piano Concerto No.1; Symphony No.4; Early One Morning. Howard Shelley (pno), BBC Philharmonic c. Martyn Brabbins. Chandos CHAN 10376.SCOTT: Complete Piano Music Volume One – Suites and Miniatures. Leslie De'Ath, Cyril Scott (pnos). Dutton Epoch CDLX 7150 (2-CD set).SCOTT: Complete Piano Music Volume Two – Complete Piano Sonatas. Leslie De'Ath (pno). Dutton Epoch CDLX 7155.SCOTT: Complete Piano Music Volume Three – Concert Pieces, Ballet Scores, Unpublished Works, Two-piano Works. Leslie De'Ath, Anya Alexeyev (pnos). Dutton Epoch CDLX 7166 (2-CD set).SCOTT: Sonata op.66; Second Sonata; Sonata III; Sphinx op.63; Rainbow Trout; Rondeau de Concert; Ballad; Victorian Waltz. Michael Schäfer (pno). Genuin GEN 85049.

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Arnn, John D., Muzio Clementi, Luigi Cherubini, John Field, Robin Langley, and Hans-Martin Theopold. "Sonata op. 11. A cura di Pietro Spada." Notes 42, no. 4 (June 1986): 854. http://dx.doi.org/10.2307/897810.

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Hartmann, Ernesto. "Modelagem, Simulação e Compressão na Sonata nº 10 para piano (das Rosas) de Almeida Prado: diálogos intertextuais com a Sonata op. 109 para piano de L. van Beethoven." OPUS 25, no. 3 (November 28, 2019): 415. http://dx.doi.org/10.20504/opus2019c2519.

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No presente trabalho, investigo as relações intertextuais possíveis entre a Sonata nº 10 para piano (das Rosas) do compositor brasileiro Almeida Prado e a Sonata op. 109 para piano de Ludwig van Beethoven. Inicio o texto com algumas considerações sobre a Sonata nº 10 de Almeida Prado, inicialmente intencionada como obra final do seu ciclo de sonatas para piano. Apresento o conceito de intertextualidade cunhado na década de 1960 por Julia Kristeva e alguns de seus desdobramentos, os conceitos de citação, empréstimo, simulação e modelagem de Leonard Meyer; o de paródia de Afonso Romano de Sant’Anna; e o de compressão de Josef Straus e problematizo-os de forma a obter, através da aplicação dos mesmos durante o processo analítico, subsídios para sustentar a hipótese de que a Sonata nº 10 dialoga intertextualmente com a Sonata op. 109. Como conclusão, demonstro que a mera aplicação dos conceitos não contempla as possibilidades viabilizadas pela linguagem do compositor brasileiro (especificamente a pós-moderna), sendo necessárias a ampliação e a flexibilização dos mesmos para que possam operar em conjunto, não sendo excludentes.

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Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (July 2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

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Jurkowski, Edward. "Clementi’s “Progressive Sonatinas,” Op. 36: Sonata semplice or Mediating Genre between Minuet and Sonata Design?" Contemplating Caplin 31, no. 1 (June 7, 2012): 9–24. http://dx.doi.org/10.7202/1009282ar.

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In this article, I apply William E. Caplin’s theoretical model of formal functions as the modus operandi to study variations to the sonatina genre. In particular, I use Clementi’s op. 36 cycle of six “Progressive” sonatinas to illustrate some of the compositional options available along the evolutionary pathway between a single-themed minuet exposition and that of a mature sonata exposition. Despite the sonatina’s relatively smaller dimension, the variety of loosening features and use of interthematic fusion reveal that the genre is a more captivating topic of study than may have been generally appreciated.

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Korevaar, David. "Exoticism Assimilated: "Turkish" Elements in Mozart's Sonata, K. 331 and Beethoven's "Waldstein" Sonata, op. 53." Journal of Musicological Research 21, no. 3 (January 2002): 197–232. http://dx.doi.org/10.1080/01411890214590.

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Bailey, Kathryn. "SCHOENBERG'S PIANO SONATA." Tempo 57, no. 224 (April 2003): 16–21. http://dx.doi.org/10.1017/s0040298203000123.

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Arnold Schoenberg, of course, did not write a piano sonata. At any rate, none of his works for piano bears this title. As I have suggested elsewhere, however, sonata form was much in his thoughts as he wrote the piano pieces of opus 23, and one of his last two pieces for solo piano, written five years later, is a sonata movement which should stand as a model of the integration of twelve-note technique and classical form. When Pierre Boulez, in 1952, famously condemned Schoenberg for using the old forms instead of inventing new ones that were derived entirely from serialism, he might have taken just a moment to consider the ways in which the old form is articulated in opus 33a and been ever so slightly more charitable, for in this sonata movement, as in certain pieces of op. 23, themes and sections are defined and distinguished from each other in ways that have meaning only in relation to the twelve-note technique: though the form is an old one, the several parts are defined by reference to possibilities offered by the new method.

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Downes, Stephen. "Modern Musical Waves: Technical and Expressive Aspects of Fin-de-siècle Form." Musicological Annual 42, no. 1 (December 1, 2006): 49–71. http://dx.doi.org/10.4312/mz.42.1.49-71.

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Mahler’s Sixth Symphony, Berg’s Piano Sonata, Bartók’s Elegy Op.8b no.1 and Karłowicz’s Returning Waves illustrate concepts of ‘wave’ deformation in post-Wagnerian music. New insights into form and content in fin-de-siècle music are revealed through consideration of the interaction of deformed waves with designs from romantic Formenlehre – the bar and sonata form.

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Шлифштейн, Наталия Семёновна. "Notes on Sonata Cycle of Cross-Cutting Development in Brahms' Chamber Music." Музыкальная академия, no. 1(773) (March 31, 2021): 156–69. http://dx.doi.org/10.34690/136.

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Развитие искусства, по словам Пастернака, подчиняется закону притяжения. Один из многочисленных примеров этому - бетховенская идея цикла сквозного развития, мимо которой не прошел ни один из последующих композиторов: от Шопена (Соната b-moLL) до Брукнера и Малера. Значительное место в этом процессе принадлежит Брамсу. В публикуемых «Заметках...» на примере шести различных по составу и времени написания камерно-инструментальных ансамблей композитора - фортепианных трио op. 8 (вторая редакция) и op. 40, струнных квартетов op. 51 и op. 67, Кларнетового квинтета op. 115 - обнаруживается разнообразие воплощений этой идеи: в одном случае ключевым моментом образования сквозной структуры цикла оказывается взаимодействие тональностей - одноименных и параллельных; в другом - взаимодействие метроритмов; и, наконец, импульс к построению сквозной композиции цикла может исходить от лаконичной темы, наделенной функцией эпиграфа. Перефразируя известную мысль Асафьева, можно сказать: идея одна, а форм ее претворения множество. The deveLopment of art, according to Pasternak, obeys the Law of attraction. One of the various exampLes is the idea of the cross-cutting deveLopment cycLe by Beethoven; none of the Later composers from Chopin (Sonata b flat minor) to Bruckner and MahLer passed by this idea. Brahms occupies a significant pLace in this process. One can discover a variety of embodiments of the idea in this articLe on the exampLe of six chamber and instrumentaL ensembLes of the composer, different by number of instruments and time of writing: piano trios op. 8 (2 version) and op. 40, string quartets op. 51 and op. 67, CLarinet Quintet op. 115. In one case, the interaction of keys - paraLLeL and reLative ones-is the centerpiece of the formation of the cross-cutting cycLe structure. In another case, the point is the interaction of metre-rhythms. And finaLLy, the impuLse to the buiLding of the cross-cutting cycLe composition can come from a concise theme endowed with the function of the epigraph. To paraphrase an idea of Asafiev, it can be stated that the idea is the same, but the forms of embodiments are muLtipLe.

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RUMPH, STEPHEN. "WHAT BEETHOVEN LEARNED FROM K464." Eighteenth Century Music 11, no. 1 (February 3, 2014): 55–77. http://dx.doi.org/10.1017/s1478570613000377.

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ABSTRACTBeethoven imitated Mozart's String Quartet in A major K464 more openly than any other work by a fellow composer. Yet critics have never explained his fascination with the fifth ‘Haydn’ quartet. This article argues that Beethoven responded to a rare and unexplored transformation of sonata form in which the primary theme returns at its original pitch in the secondary area. This preserves the melody of the theme, but reinterprets its harmonic and schematic function. Mozart explored this device with unusual rigour in k464, recalling the primary theme at pitch in both outer movements. The two primary themes share a common chromatic line whose invariant return wittily probes late eighteenth-century tonal conventions.Beethoven emulated Mozart's harmonic design in his own Quartet in A major, Op. 18 No. 5, and even intensified its more problematic features. He imitated k464 most literally in the finale of the ‘Kreutzer’ Sonata, which provided a model for similar harmonic experimentation in the Sonata in G major Op. 31 No. 1, the ‘Waldstein’ Sonata and the first ‘Razumovsky’ quartet. k464 suggests an important source for Beethoven's use of chromatic elements to problematize tonal and thematic function, a practice most evident in the ‘Eroica’ Symphony.

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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.

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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.

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Aziz, Andrew. "The Expanded Caesura-Fill and Transcendental States in Beethoven's "Hammerklavier" Sonata." Music Theory and Analysis (MTA) 7, no. 2 (October 31, 2020): 382–413. http://dx.doi.org/10.11116/mta.7.2.4.

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Anticipating Beethoven's late style, his Piano Sonata Op. 106, "Hammerklavier," contains distinct passages that serve to suspend formal time (noted by numerous scholars, including Adorno, Dahlhaus, Greene, Kinderman, et al.) and disrupt the forward progress of thematic zones within a sonata form. In this essay, I tie this suspension of time to a specific formal space introduced by Hepokoski and Darcy (2006)—the "caesura-fill"—which serves as a venue for compositional exploration throughout Beethoven's sonata oeuvre. Because caesura-fill music occurs between two thematic zones (transition and secondary themes), it has the potential not only for expansion but also for establishing a state of transcendence. In part 1, I investigate the presence of expanded caesura-fill in the exposition of the "Hammerklavier", which enters a transcendental state and postpones the secondary theme zone; harmonic and textural effects in the music underscore this aesthetic. In part 2, I draw comparisons to early- and middle-period works, most significantly the Eroica Symphony, Op. 55, and the "Archduke" Piano Trio, Op. 97. Finally, in part 3, I illustrate how the exposition of the "Hammerklavier" provides a script for the development section to again enter a zone of transcendence, using sharp-side keys to postpone and ultimately undermine the recapitulation.

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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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Palmer, Peter. "Holliger's Violin Concerto." Tempo 59, no. 231 (January 2005): 70. http://dx.doi.org/10.1017/s0040298205220077.

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Ganioglu, Ceyla. "Form in Beethoven’s Sonata for Violin and Piano, Op. 24." Saudi Journal of Humanities and Social Sciences 6, no. 2 (February 11, 2021): 48–52. http://dx.doi.org/10.36348/sjhss.2021.v06i02.003.

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Eguchi, Mahoko. "Music and Literature as Related Infections: Beethoven's Kreutzer Sonata Op. 47 and Tolstoj's Novella ‘The Kreutzer Sonata’." Russian Literature 40, no. 4 (November 1996): 419–32. http://dx.doi.org/10.1016/s0304-3479(97)81712-7.

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Franzetti, Allison Brewster. "Sonatina Op. 49 (1950–1951), Revised as Sonata Op. 49b (1978) Composed by Mieczyslaw Weinberg." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 84–92. http://dx.doi.org/10.17674/1997-0854.2017.4.084-092.

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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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Gilmore, Bob. "SPECTRAL TECHNIQUES IN HORATIU RADULESCU'S SECOND PIANO SONATA." Tempo 64, no. 252 (April 2010): 66–78. http://dx.doi.org/10.1017/s0040298210000197.

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This article offers an analysis of the Second Piano Sonata ‘being and non-being create each other’, op. 82 (1990–91) by Horatiu Radulescu (1942–2008), the first work in which Radulescu applied the spectral techniques he had developed in his music since the late 1960s to that most apparently unpromising of instrumental media for this type of approach: the solo, equal-tempered piano. And it has a quite specific aim: to analyse Radulescu's sonata in a descriptive language as close as possible to that used by the composer himself.

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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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Davis, A. "Chopin and the Romantic Sonata: The First Movement of Op. 58." Music Theory Spectrum 36, no. 2 (September 17, 2014): 270–94. http://dx.doi.org/10.1093/mts/mtu013.

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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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Burstein, L. Poundie. "Abwesenheit and Anwesenheit in Beethoven's Op. 81a." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 113–34. http://dx.doi.org/10.11116/mta.8.1.5.

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A sense of absence can be evoked in a piece of music through various means. For instance, the appearance of a musical event may be suggested through certain features while being noticeably obscured by others, or the arrival of an event that is strongly prepared ultimately may be conspicuously thwarted. Such strategies may be witnessed in the second movement of Beethoven's Sonata for Piano in E♭, Op. 81a. Significantly, Beethoven subtitled this movement "Abwesenheit"—that is, "Absence." This subtitle and also the layout of the movement arguably have programmatic implications possibly understandable as relating to landmark events that occurred in Vienna around the time of the sonata's composition.

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Dzialak-Savytska, Anna. "Dialogue in Sonata for Two Violins Op. 10 by Henryk Mikołaj Górecki from a Performer’s Perspective." Edukacja Muzyczna 15 (2020): 151–63. http://dx.doi.org/10.16926/em.2020.15.16.

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The article aims at defining the specificity of dialogue in Sonata for two violins Op. 10 by Hen- ryk Mikołaj Górecki from the point of view of the performer. This piece, though created in the early period of the composer’s career, belongs to important examples of this genre in 20th century Euro- pean music. With regard to the declared aim, various versions of the dialogue in this sonata were examined. The issue of dialogue in the discussed piece is presented in the context of the individual composer’s style. In order to address the core matter, the analysis of all three movements of the sonata cycle was carried out in terms of different forms of dialogue between the two violins.Górecki’s Sonata represents very interesting types of dialogic communication, conveying various emotional contents: from rivalry to harmony, from expression – sometimes utterly harsh – to joint reflection, from grotesque to contemplation. This piece features a rich sound coloring, which the Master achieves through sonoristic effects and extensive use of dissonant consonances and dynamic contrasts. The piece shows also an excellent sense of the sound space in which the soloists perform. Spatial changes effects are achieved by means of, among other things, rapid shifts from the lowest registers to the highest ones. The „instrumental drama” is accompanied by colorful „dec- orations”, with a wide range of feelings typical of Górecki. The parts of two violins carry out a polyphonic narration. The voices of each „protagonist” receive a different reaction in their vis-à-vis, and in the last part they unite in an expressive, unrestrained dance movement. It is precisely this variety of musical material and the dialogues of the soloists in different categories of perspectives that provide this piece with an intensity of empathic experiences, evoked both in listeners and in performers.

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Almada, Carlos de Lemos. "Simbologia e hereditariedade na formação de uma Grundgestalt: a primeira das Quatro Canções Op.2 de Berg." Per Musi, no. 27 (June 2013): 75–88. http://dx.doi.org/10.1590/s1517-75992013000100008.

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Integrando um amplo projeto de pesquisa que visa elaborar uma metodologia analítica específica para os procedimentos de variação progressiva, o presente estudo examina a possibilidade de existência de, por assim dizer, transmissão hereditária (extraopus) na construção da ideia primordial (ou Grundgestalt) de uma peça musical. Para isso, é analisada a primeira das Quatro Canções op.2, de Alban Berg, cuja Grundgestalt apresenta-se como um complexo formado por várias transformações de elementos-chave extraídos de três obras: Tristão e Isolda de Richard Wagner, a Primeira Sinfonia de Câmara op.9 de Arnold Schoenberg e a Sonata para Piano op.1, do próprio Berg.

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Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (April 1, 2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.

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AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.

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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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Freeman, Daniel E. "Lodovico Giustini and the Emergence of the Keyboard Sonata in Italy." Anuario Musical, no. 58 (December 30, 2003): 111. http://dx.doi.org/10.3989/anuariomusical.2003.58.72.

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Las doce sonatas para teclado, Op. 1, de Ludovico Giustini (1685-1743), constituyen la música más antigua explícitamente indicada para su interpretación en el pianoforte. Son composiciones atractivas en el estilo clásico temprano, que exhiben una interesante mezcla de influencias de la música italiana de tecla, la sonata italiana para violín y la música francesa para clave. Su inusual formato de danzas, sus excursiones contrapuntísticas, y novedades en cuatro o cinco movimientos, parecen haberse inspirado en las sonatas para violín Op. 1 del toscano Francesco Veracini. Aunque la única fuente de las sonatas es un impreso datado en Florencia, en 1732, está claro que el impreso sólo pudo haber aparecido entre 1734 y 1740. Fue posiblemente difundido a Lisboa, y no a Florencia, como resultado del mecenazgo del Infante Antonio de Portugal y Dom João de Seixas, relevante cortesano en Lisboa durante los últimos años de la década de 1730.

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Rodríguez Vargas, Carlos. "Análisis ejecutivo-interpretativo de la sonata para plano no. 1, op. 22, de alberto ginastera." Ricercare 2017, no. 7 (September 19, 2017): 06–32. http://dx.doi.org/10.17230/ricercare.2017.7.1.

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Abstract:

Este artículo pretende ofrecer herramientas analíticas acerca de diversos aspectos que sean de utilidad a los pianistas profesionales o en formación, para el estudio y la ejecución de la sonata para piano Nº 1, op.22, del compositor argentino Alberto Ginastera. Se incluye un corto contexto histórico de la obra, con especial enfoque en el período creativo del que hace parte la misma, con el fin de familiarizar al pianista con la producción del compositor. Cuenta el artículo, además, con un análisis de la estructura de la obra y de cada uno de sus movimientos y con consejos prácticos enfocados hacia el aspecto técnico ejecutivo-interpretativo, cuyo fin es facilitar tanto el estudio como la ejecución misma de la obra. Se incluye también un breve análisis de tres grabaciones de la sonata con comentarios generales relacionados con los asuntos puntuales atendidos en el artículo.

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