Guide to Sonatas: Music for One or Two Instruments

Guide to Sonatas: Music for One or Two Instruments

Melvin Berger

Language: English

Pages: 160

ISBN: 0385413025

Format: PDF / Kindle (mobi) / ePub


With the same authority, insight, and unique ability to bring music to life on the printed page that he brought to his Guide to Chamber Music, Melvin Berger gives us an indispensable guide to the sonata form. Comprehensive, analytical, and historical, including descriptions in nontechnical language of over two hundred of the best best-known sonatas, Guide to Sonatas is designed to help all music lovers−casual listeners, experienced concertgoers, performers, conductors, or teachers−deepen their understanding and enhance their enjoyment of the classical repertoire. 

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cannot but be acutely aware of the many thematic interconnections in the sonata. Both principal themes of the first movement, for example, start with four descending notes, a figure that goes on to dominate the movement as it appears in various contexts throughout. The only noticeable exception occurs in the coda, where several times the four notes rise instead of fall and sometimes include a leap instead of progressing only by step. Beethoven’s tempo marking for the second movement indicates

believed to have been composed by Bach. Discussed below are the two sonatas for flute and basso continuo and the sonata for solo flute.) Both of the sonatas for harpsichord and flute give mostly the effect of a trio with three independent voices—flute, right hand of the harpsichord, and left hand of the harpsichord—each voice comprised of single notes. Only rarely does the harpsichord stray from this linear texture and play a more chordal part. The Bach biographer Philipp Spitta calls the B

music-loving Cardinal Pietro Ottoboni, where the composer presented weekly Monday evening concerts that were considered the most important events in Rome’s musical life. His published output, which is comparatively limited in quantity, is confined to sonatas and concertos, and always features the violin. Corelli produced a total of six opus numbers, each containing twelve individual compositions. Opp. 1, 2, 3, and 4 are trio sonatas for two violins, harpsichord, and cello; Op. 5 is sonatas for

two themes and a short coda. The affectionate quality of the Andante’s main theme, despite its somewhat homely, slightly awkward quality, manages to insinuate itself into the listener’s memory. The subsidiary subject, which begins as a blustery affair, grows more subdued after the original onslaught. The entire movement is essentially a rather free alternation of these two ideas. The delightful Menuetto was much favored during Schubert’s lifetime, and modern audiences are equally beguiled by

satanic rite or ritual. That it is an appropriate name becomes clear as one listens to the music, in which passages of deeply felt religious fervor alternate with sections of demonic rage, and moments of frenzied abandon overwhelm parts of beatific serenity. Traditional harmony, melody, and form all become subservient to the central cause, which is to express in sound Scriabin’s religious-philosophical-musical visions. The Piano Sonata No. 10 in C, Op. 70, ranks high among Scriabin’s most

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