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Journal articles on the topic 'Sonatas (Piano) Sonatas (Violoncello and piano)'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (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 sa

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2

Brassine, H. "Review: Six Sonatas for Harpsichord or Piano Forte with an Accompaniment for a Violin, op. 3 and Six Sonatas for Violoncello (with Keyboard Accompaniment)." Music and Letters 84, no. 2 (2003): 344–45. http://dx.doi.org/10.1093/ml/84.2.344.

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3

Kroll, Mark. "Chamber Music: Six Sonatas for Harpsichord or Piano Forte with an Accompaniment for a Violin, op. 2; Six Sonatas for Violoncello (with Keyboard Accompaniment) (review)." Notes 61, no. 4 (2005): 1101–3. http://dx.doi.org/10.1353/not.2005.0068.

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4

Moore, David W., Henry Cowell, Ernst Bacon, Arthur Berger, Ben Weber, and Seymour Shifrin. "Sonata for Violoncello and Piano." Notes 49, no. 3 (1993): 1273. http://dx.doi.org/10.2307/899019.

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5

Keefe, Simon P. "Mozart's piano sonatas." Early Music XXVI, no. 2 (1998): 336–37. http://dx.doi.org/10.1093/earlyj/xxvi.2.336.

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6

Ehrlich, Cyril, and Schnabel. "Beethoven: Piano Sonatas." Musical Times 133, no. 1787 (1992): 30. http://dx.doi.org/10.2307/966242.

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7

MacDonald, Calum. "Samuil Feinberg's Piano Sonatas." Tempo 58, no. 230 (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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8

Fisk, Charles. "Beethoven's Piano Sonatas: A Short Companion, and: Playing the Beethoven Piano Sonatas (review)." Notes 59, no. 2 (2002): 344–46. http://dx.doi.org/10.1353/not.2002.0168.

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9

Del Real Barreto, Cristian Job. "Las sonatas woo 47 de beethoven. su importancia en el conjunto de las sonatas para piano." Ricercare 2017, no. 7 (2017): 43–67. http://dx.doi.org/10.17230/ricercare.2017.7.3.

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El objeto de estudio de la presente investigación, en este caso, las sonatas tempranas para piano de Ludwig van Beethoven, como piezas esenciales en el repertorio pianístico de la historia de la música académica. El tema de investigación surge por la reciente publicación (2007) del conjunto completo de ellas, en una edición crítica, de las 35 sonatas para piano por el profesor Barry Cooper, reconocido especialista en Beethoven. Ésta es la única edición moderna que incluye, desde el principio, las tres sonatas WoO 47 y las siguientes 32 ya conocidas. Nuestra revisión está orientada a recopilar

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10

Solomon, Larry J., and John Cage. "Sonatas and Interludes for prepared piano." American Music 16, no. 1 (1998): 130. http://dx.doi.org/10.2307/3052692.

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11

Fillion, Michelle, and John Irving. "Mozart's Piano Sonatas: Contexts, Sources, Style." Notes 56, no. 2 (1999): 406. http://dx.doi.org/10.2307/900019.

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12

Sweeney-Turner, Steve, and Robert Taub. "Scriabin: Piano Sonatas Nos. 1-10." Musical Times 135, no. 1821 (1994): 722. http://dx.doi.org/10.2307/1003210.

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13

Guillaumier, C. K. "Prokofiev's Piano Sonatas. By Boris Berman." Music and Letters 90, no. 4 (2009): 717–19. http://dx.doi.org/10.1093/ml/gcp027.

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14

Huron, David. "Crescendo/Diminuendo Asymmetries in Beethoven's Piano Sonatas." Music Perception 7, no. 4 (1990): 395–402. http://dx.doi.org/10.2307/40285475.

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A study of 32 piano sonatas by Beethoven reveals a significant asymmetry between increasing and decreasing dynamics. Specifically: (1) crescendos are more frequent than diminuendos, (2) crescendos tend to last longer than diminuendos, (3) large changes of dynamics tend to involve reductions in loudness, and (4) crescendos will more commonly follow low dynamic levels than will diminuendos follow high dynamic levels. These results support a "ramp archetype" of musical dynamics in which the music tends to build in a gradual way, but tends to subside relatively quickly. The results parallel a prev

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15

Cooper, B. "Review: Beethoven's Piano Sonatas: A Short Companion." Music and Letters 84, no. 2 (2003): 297–300. http://dx.doi.org/10.1093/ml/84.2.297.

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16

Rushton, Julian G. "Understanding Mozart's Piano Sonatas - By John Irving." Journal for Eighteenth-Century Studies 35, no. 2 (2012): 295–96. http://dx.doi.org/10.1111/j.1754-0208.2011.00435.x.

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17

Barraza-Jeraldo, Vladimir. "Integral de las tres sonatas para piano." Revista musical chilena 75, no. 235 (2021): 253. http://dx.doi.org/10.4067/s0716-27902021000100253.

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18

Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.

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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531,

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19

Khusainov, Ruslan T. "About Stylistic Interactions in Paul Hindemith’s Piano Sonatas." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (2015): 75–82. http://dx.doi.org/10.17674/1997-0854.2015.4.075-082.

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20

Khodorovskyi, V. I., and I. M. Khodorovska. "L. Beethoven’s Piano Sonatas: Goldenweiser’s Principles of Editing." Musical art in the educological discourse, no. 1 (2016): 62–66. http://dx.doi.org/10.28925/2518-766x201616267.

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21

Drabkin, William. "Haydn's Piano Sonatas. Building a Music Library: 4." Musical Times 128, no. 1727 (1987): 8. http://dx.doi.org/10.2307/964623.

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22

Noorduin, Marten. "Is There Any Scope for Another Edition of Beethoven's Piano Sonatas?" Nineteenth-Century Music Review 17, no. 2 (2019): 329–40. http://dx.doi.org/10.1017/s1479409819000053.

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Beethoven's piano sonatas have appeared in innumerable editions – most of them in more than one hundred, as the collection in the library of the Beethoven-Haus in Bonn reveals. The sources for these works have also never been as readily available as they are now, as most first editions can be viewed on the Beethoven-Haus website, which also hosts scans of many important manuscript sources, as well as links to images of source materials on the websites of other archives. Thus, the question must be asked: Is there any scope for another edition of Beethoven's Piano Sonatas?

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23

Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.

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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose mac

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24

Garcia, Susanna. "Scriabin's Symbolist Plot Archetype in the Late Piano Sonatas." 19th-Century Music 23, no. 3 (2000): 273–300. http://dx.doi.org/10.2307/746881.

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25

Stadlen, Peter, Robert Schumann, Fabio Biondi, Luigi Di Ilio, and Clara Schumann. "Sonatas for Violin and Piano Op. 105 and 121." Musical Times 134, no. 1808 (1993): 593. http://dx.doi.org/10.2307/1002885.

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26

Park, Yoomi. "Beethoven’s Fantasy : Performative Persona in the Late Piano Sonatas." Journal of the Science and Practice of Music 40 (October 31, 2018): 71–103. http://dx.doi.org/10.36944/jspm.2018.10.40.71.

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27

Putz, John F. "The Golden Section and the Piano Sonatas of Mozart." Mathematics Magazine 68, no. 4 (1995): 275. http://dx.doi.org/10.2307/2690572.

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28

Putz, John F. "The Golden Section and the Piano Sonatas of Mozart." Mathematics Magazine 68, no. 4 (1995): 275–82. http://dx.doi.org/10.1080/0025570x.1995.11996333.

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29

Garcia, Susanna. "Scriabin's Symbolist Plot Archetype in the Late Piano Sonatas." 19th-Century Music 23, no. 3 (2000): 273–300. http://dx.doi.org/10.1525/ncm.2000.23.3.02a00050.

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30

Kemova, Kseniya S. "Unknown piano duet repertoire: The sonatas by Franz Seydelmann." South-Russian musical anthology, no. 1 (2021): 95–103. http://dx.doi.org/10.52469/20764766_2021_01_95.

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31

Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.

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Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.

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32

Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.

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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard M&#252;hlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – wit

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33

MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (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 Son

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34

Mead, Philip. "TIPPETT'S FOURTH PIANO SONATA." Tempo 71, no. 279 (2016): 8–17. http://dx.doi.org/10.1017/s004029821600067x.

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AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctorate there. This was preceded by an afternoon workshop on the piece with lively discussion between composer and pianist. Two days previously, on 8 May 1989, in preparation for the concert, Mead played the work privately to the composer. The information in this article, which is almost entirely drawn from those two meetings, begins with a brief description of working with Tippett. Then, after an overview of all four son

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35

Rowland, David. ""Beethoven's Piano Sonatas: a Handbook for Performers," by Stewart Gordon." Performance Practice Review 22, no. 1 (2017): 1–4. http://dx.doi.org/10.5642/perfpr.201722.01.01.

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36

Kramer, Lawrence. "Expressive Doubling: Beethoven's Two-Movement Piano Sonatas and Romantic Literature." Studies in Romanticism 27, no. 2 (1988): 175. http://dx.doi.org/10.2307/25600707.

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37

Rosenblum, Sandra P. "Two sets of unexplored metronome marks for Beethoven's piano sonatas." Early Music XVI, no. 1 (1988): 59–71. http://dx.doi.org/10.1093/earlyj/xvi.1.59.

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38

Marston, Nicholas. "The Creation of Beethoven’s 35 Piano Sonatas. By Barry Cooper." Music and Letters 99, no. 4 (2018): 678–81. http://dx.doi.org/10.1093/ml/gcy109.

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39

Porębski, Adam. "Piano Sonatas by Ryszard Bukowski – a search of interpretative keys." Notes Muzyczny 2, no. 12 (2019): 115–36. http://dx.doi.org/10.5604/01.3001.0013.7171.

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Performing a forgotten piece or work by a not-well-known composer is always a great challenge for an artist. The fact that there are no recordings, no performance traditions or at least an arranged and published score is not conductive to a decision to include such a piece in one’s repertoire. Which elements should a performer pay attention to while working on unknown contemporary pieces? Aside from the emotions and intuition, which influence the shape of a composition in a natural way, he or she should also refer to the intellectual side of interpretation. The issue to reflect on is the way h

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40

Babukhina, E. V. "On the Characterness in Piano Sonatas by C. M. Weber." Университетский научный журнал, no. 49 (2019): 54–61. http://dx.doi.org/10.25807/pbh.22225064.2019.49.54.61.

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41

Zhao, Z. "K. M. Weber. Sonatas for Violin and Piano Op. 10." Университетский научный журнал, no. 44 (2019): 141–54. http://dx.doi.org/10.25807/pbh.22225064.2019.44.141.154.

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42

Miucci, Leonardo. "Beethoven’s pianoforte damper pedalling: a case of double notational style." Early Music 47, no. 3 (2019): 371–92. http://dx.doi.org/10.1093/em/caz045.

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Abstract This article challenges the so-called ‘Urtext’ approach whereby performers aim to play no more and no less than is notated in an authoritative edition. With reference to Beethoven’s pedalling, it shows that he provided no pedal markings in the authorised editions of his piano sonatas before op.26 (1801), which constitute nearly a third of his output in this genre. After this point, however, his notation evolved, and he began indicating pedal markings with increasing intensity. The article traces practices of piano pedalling as indicated in keyboard treatises around 1800 and also as re

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43

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

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44

Sánchez Rodríguez, Virginia. "Las Sonatas para piano de Beethoven a través de los trabajos de edición de Agnes Zimmermann." Cuadernos de investigación musical, no. 11 (December 15, 2020): 45. http://dx.doi.org/10.18239/invesmusic.2020.11.05.

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Las Sonatas para piano son, en su conjunto, una de las obras de Ludwig van Beethoven más interpretadas a lo largo de la historia, tanto en público como en el ámbito escolar, pero también una de las que han disfrutado de un elevado número de ediciones a cargo de pianistas y estudiosos de diferentes países. De acuerdo con esta circunstancia, en este trabajo presentamos la edición realizada por la pianista y compositora británica Agnes Zimmermann (1847-1925), una de las mujeres músicas más célebres de su época que, además, mantuvo un estrecho contacto con el legado beethoveniano a lo largo de su

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45

STEWART-MACDONALD, ROHAN. "MUZIO CLEMENTI (1752–1832) THE COMPLETE PIANO SONATAS – 1 Howard Shelley (piano) Hyperion CDA67632, 2007; two discs, 152 minutes - MUZIO CLEMENTI (1752–1832) THE COMPLETE PIANO SONATAS – 2 Howard Shelley (piano) Hyperion CDA67717, 2008; two discs, 136 minutes - MUZIO CLEMENTI (1752–1832) THE COMPLETE PIANO SONATAS – 3 Howard Shelley (piano) Hyperion CDA67729, 2009; two discs, 122 minutes." Eighteenth Century Music 6, no. 2 (2009): 283–87. http://dx.doi.org/10.1017/s1478570609990182.

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46

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 (2011): 151–54. http://dx.doi.org/10.1017/s1479409811000164.

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47

Noorduin, Marten. "Re-examining Czerny’s and Moscheles’s Metronome Marks for Beethoven’s Piano Sonatas." Nineteenth-Century Music Review 15, no. 2 (2017): 209–35. http://dx.doi.org/10.1017/s1479409817000027.

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Shortly after Beethoven’s death, several of his closest associates provided performance indications for editions of his works. Previous discussions of Carl Czerny’s and Ignaz Moscheles’s metronome marks for Beethoven’s piano sonatas have highlighted the importance of these indications for our understanding of the intended performance practice of these works. Nevertheless, the provenance and meaning of these metronome marks have remained unclear, which has led to some confusion in the literature.By presenting new evidence, including the discovery of what are most likely the metronome marks inte

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48

Kamien, Roger. "Non-Tonic Settings of the Primary Tone in Beethoven Piano Sonatas." Journal of Musicology 16, no. 3 (1998): 379–93. http://dx.doi.org/10.2307/763997.

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49

York, John. "The makings of a cycle? James MacMillan's Cello and Piano Sonatas." Tempo, no. 221 (July 2002): 24–28. http://dx.doi.org/10.1017/s0040298200015631.

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At a time when composers usually write only one piece in any particular genre, since they seldom get the commission or — like Brahms and Beethoven – feel the urge or need to make it two or three at the very least, it is more than just good fortune that James MacMillan's cello compositions, large and small, are rapidly becoming a major corpus of work for the instrument. It is a tribute to, and result of, his confidence with the cello's ability to carry his thoughts, and also of its inherent suitability to express the singing, dancing and searingly intense things he wants to say.

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50

Lalitte, Philippe, Emmanuel Bigand, Joanna Kantor-Martynuska, and Charles Delbéé. "On Listening to Atonal Variants of Two Piano Sonatas by Beethoven." Music Perception 26, no. 3 (2009): 223–34. http://dx.doi.org/10.1525/mp.2009.26.3.223.

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WE INVESTIGATED THE CONTRIBUTION OF TONAL relationships to the perception of musical ideas and to the feelings of "arousal." Two excerpts of piano sonatas by Beethoven and two atonal variants were used as experimental stimuli. This manipulation destroyed the tonal relationships but preserved both the local and global temporal organization (rhythm and formal). Listeners were asked to indicate the onset of musical ideas, to estimate the arousing properties of the music in a continuous response task, and to rate the similarity of the pieces. A drastic change in the pitch structure strongly affect

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