Relevant bibliographies by topics / Sonatas (Cello and harpsichord)

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Academic literature on the topic 'Sonatas (Cello and harpsichord)'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Sonatas (Cello and harpsichord)"

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HOWARD, ALAN. "pieter hellendaal (1721–1799)‘CAMBRIDGE’ SONATAS Johannes Pramsohler (violin) / Gulrim Choï (cello) / Philippe Grisvard (harpsichord) Audax adx13720, 2020: one disc, 69 minutes." Eighteenth Century Music 18, no. 2 (2021): 317–19. http://dx.doi.org/10.1017/s1478570621000166.

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Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
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Pittenger, Elise. "Perspectives on Beethoven’s Middle and Late Periods: Developments in his Writing for Cello in the Op. 69 and Op. 102 Sonatas." Revista Música 20, no. 2 (2020): 223–38. http://dx.doi.org/10.11606/rm.v20i2.176085.

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This article explores the developments in Beethoven’s writing for the cello in the Op. 69 and Op. 102 sonatas, with the premise that they reflect the overall shift in his style from his Middle to Late Periods. In order to place the cello sonatas in context, the traditional framing of Beethoven’s work into three phases is described and well as the current state of cello writing at the turn of the century. The cello part in the Op. 69 sonata is then discussed, with attention to the role of the cello as compared to the piano and to the interaction between the two instruments. The Op. 102 sonatas are presented, also with attention to the interaction between the instruments. The suggestion is made that these sonatas illustrate Beethoven’s increasingly radical treatment of form, a treatment that results in challenging instrumental writing that, while not as gratifying as that of his Middle Period, nonetheless allows him to attain a new kind of expressivity as well as formal complexity.
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Schwartz, Manuela, and Mary Whittall. "Review: French Cello Sonatas 1871–1939." Music and Letters 83, no. 4 (2002): 641–44. http://dx.doi.org/10.1093/ml/83.4.641.

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OLIVIERI, GUIDO. "THE EARLY HISTORY OF THE CELLO IN NAPLES: GIOVANNI BONONCINI, ROCCO GRECO AND GAETANO FRANCONE IN A FORGOTTEN MANUSCRIPT COLLECTION." Eighteenth Century Music 18, no. 1 (2021): 65–97. http://dx.doi.org/10.1017/s1478570620000457.

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ABSTRACTThe analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practice of continuo realization at the cello, as well as on the connections with partimento practice. This collection is thus of critical importance for a discussion of the technical achievements and developments of the cello repertory in Naples before the emergence of the celebrated generation of Neapolitan cello virtuosi in the early years of the eighteenth century.
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SUTCLIFFE, W. DEAN. "MUZIO CLEMENTI, OPERA OMNIA VOLUME 1: SIX SONATAS FOR HARPSICHORD OR PIANO, OP. 1 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2000 pp. xii + 55, ISMN M 2153 0537 3 VOLUME 10: DUO FOR TWO PIANOS OR TWO HARPSICHORDS, OP. 1A, AND DUO FOR TWO PIANOS, OP. 12 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2001 pp. ix + 28, ISMN M 2153 0655 4 VOLUME 12: THREE SONATAS FOR HARPSICHORD OR PIANO, OP. 7 ED. COSTANTINO MASTROPRIMIANO Bologna: Ut Orpheus Edizioni, 2002 pp. x + 36, ISMN M 2153 0656 1 VOLUME 21: THREE SONATAS FOR PIANO AND VIOLIN, OP. 15 ED. LUCA SALA Bologna: Ut Orpheus Edizioni, 2000 pp. ix + 71, ISMN M 2153 0571 7 VOLUME 30: THREE SONATAS FOR PIANO OR HARPSICHORD, VIOLIN AND CELLO, OP. 27 ED. MASSIMILIANO SALA Bologna: Ut Orpheus Edizioni, 2001 pp. xi + 70, ISMN M 2153 0576 2 VOLUME 35: THREE SONATAS FOR PIANO WITH FLUTE AND CELLO AD LIBITUM, OP. 32 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2003 pp. ix + 43, ISMN M 2153 0859 6 VOLUME 37: TWO SONATAS AND TWO CAPRICCIOS FOR PIANO, OP. 34 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2002 pp. x + 81, ISMN M 2153 0782 7." Eighteenth Century Music 2, no. 2 (2005): 351–59. http://dx.doi.org/10.1017/s1478570605280417.

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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Monsman, Nancy, and Jeffrey Solow. "The Cello Sonatas of Giuseppe Dall'Abaco: A Rediscovery." American String Teacher 42, no. 2 (1992): 74–78. http://dx.doi.org/10.1177/000313139204200224.

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Mortensen, Lars Ulrik. "‘Unerringly tasteful’?: harpsichord continuo in Corelli's op.5 sonatas." Early Music XXIV, no. 4 (1996): 665–80. http://dx.doi.org/10.1093/earlyj/xxiv.4.665.

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Mortensen, L. "'Unerringly tasteful'?: harpsichord continuo in Corelli's op.5 sonatas." Early Music 24, no. 4 (1996): 665–80. http://dx.doi.org/10.1093/em/24.4.665.

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Dissertations / Theses on the topic "Sonatas (Cello and harpsichord)"

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Minut, Mirabella A. "Style and compositional techniques in Vincent Persichetti's ten sonatas for harpsichord." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536753.

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This dissertation presents the ten sonatas for harpsichord written by American composer Vincent Persichetti (1915-1987). The research aims to define the specific approach to musical style that Persichetti embraced in these works. The methodology employs an analytical approach to define that style. The introductory chapter places the harpsichord sonatas in the context of Persichetti’s keyboard repertoire and his general musical output and outlines the limited scholarly research available on the topic. The second chapter contains a short biography of the composer and a review of existing literature pertinent to this study. In the third chapter, the ten sonatas are individually analyzed. The concluding chapter summarizes common stylistic traits found in the analyses. It emphasizes the importance of these works for contemporary harpsichordists, denoting Persichetti’s passion for the rediscovered instrument in the last several years of his life. The stylistic elements found in Persichetti’s harpsichord sonatas include the use of classical forms, the preference for contrapuntal craft as exemplified accompanied melody, mirror technique, and complementary rhythms, the amalgamated harmonic language, the frequent use of polychords, the use of dynamic markings as indicators of the registration as well as for musical expression and the use of the full range of the harpsichord. This research references for the first time the composer’s Tenth Harpsichord Sonata, published posthumously in 1994.<br>School of Music
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Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.

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There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.
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Cadieux, Marie-Aline. "The Cello and Piano Sonatas of Emilie Mayer (1821-1883) /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu148818776384735.

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Vera, Fernand Toribio Soler Antonio Soler Antonio. "Selected harpsichord sonatas by Antonio Soler analysis and transcription for classical guitar duo /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9727.

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Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).
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Vera, Fernand Toribio. "Selected Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Classical Guitar Duo." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9727/.

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Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.
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Llorens, Ana. "Creating musical structure through performance : a re-interpretation of Brahms's cello sonatas." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278796.

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From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.
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Chiang, I.-Fang. "The Sonatas of Johann Gottfried Eckard (1735-1809) and the Evolution of Keyboard Instruments Between 1760 and 1785." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500148/.

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Johann Gottfried Eckard was a self-trained composer and keyboardist studying with Carl Philipp Emanuel Bach’s Versuch while he lived in Augsburg. Eckard traveled to Paris with the keyboard instrument builder, Johann Andreas Stein, in 1758 and settled in France for the rest of his life. Eckard only composed eight keyboard sonatas and a set of variations on the Menuet d’Exaudet. He published his works during the transitional period from harpsichord to fortepiano. The eight keyboard sonatas incorporated variations of musical styles which included Italian sonata, galant, and empfindsamer stil. His keyboard sonatas influenced his contemporaries including Wolfgang Amadeus Mozart and Johann Schobert. Eckard was one of the early fortepiano composers in France and tried to promote the new instrument, but wrote in the Foreword of six sonatas (op.1), that they were suitable for the harpsichord, the clavichord, and the fortepiano. The six sonatas of op.1 were published in 1763, two years after fortepiano was advertised for sale in the local newspaper. In 1768, the fortepiano was used in a public concert for the first time in Paris. In the aspect of performance practice, both harpsichord and fortepiano used juxtapose during the transitional period, even though the music would sound better on the fortepiano especially the slow movements in Eckard’s sonatas. The early stage of French fortepiano building was influenced by German keyboard instrument builders. In addition to building harpsichords, French builders, Taskin and Goermann, also started building fortepianos. Eckard was highly respected as both a composer and a performer from music critics in his time.
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Kleinmann, Johannes. "Polystylistic Features of Schnittke's Cello Sonata (1978)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30478/.

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Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.
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Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.

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The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
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Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.

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Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.
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Books on the topic "Sonatas (Cello and harpsichord)"

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Caudill, Rebecca. The best-loved doll. H. Holt, 1992.

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Bach, Johann Sebastian. Bach for relaxation. RCA Victor, 1998.

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Rachmaninoff, Sergei. Cello sonatas. Chandos, 1988.

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Persichetti, Vincent. Tenth harpsichord sonata. Elkan-Vogel, 1994.

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Persichetti, Vincent. Ninth harpsichord sonata. Elkan-Vogel, 1987.

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Scarlatti, Domenico. Piano sonatas. Edited by Hinson Maurice. Alfred Pub. Co., 1990.

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Johannes, Brahms. Sonatas for cello and piano. RCA Red Seal, 1985.

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Bon, Anna. Six sonatas for harpsichord or piano. Vivace Press, 1995.

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Gambarini, Elisabetta De. Lessons for harpsichord. Edited by Asti Martha Secrest. Hildegard Pub. Co., 1995.

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Scarlatti, Domenico. Selected sonatas for the piano. Alfred Pub. Co, 1989.

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Book chapters on the topic "Sonatas (Cello and harpsichord)"

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Schulenberg, David. "Bach the Capellmeister." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

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As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.
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Flindell, Fred. "More conceming Mozart’s Enthusiasm for Josef Mysliveček’s Six Sonatas for the Piano Forte or Harpsichord." In Mozart Studien Band 17. Hollitzer Verlag, 2008. http://dx.doi.org/10.2307/j.ctvg8p3c1.8.

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