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The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period ).
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.
Sonata No. 3 for Violin Solo, "Es ist so schönes Wetter draussen", Op. 31, No. 2 (1924) Sonata No. 1 for Violin and Piano, Op. 11, No. 1, in E ♭ major (1918) Sonata No. 2 for Violin and Piano, Op. 11, No. 2, in D major (1918) Sonata No. 3 for Violin and Piano in E major (1935) Sonata No. 4 for Violin and Piano in C major (1939)
Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations (strings trio, quartet, quintet, sextet, etc.; piano trio, quartet, quintet, sextet, etc.), among others. A sub-title is a subsidiary name given to a work by the composer, and considered part of its formal title, such as:
In the field of music theory, the term Sonata Cycle refers to the layout of a multi-movement work where the movements are recognizably in the forms of the tradition of classical music. It differs from the term cyclic form in that there is no unifying motive or theme used in all the movements.
For example, unit length of 8 1 ⁄ 2 in the first section of Sonata III is achieved by using six bars in 2/2 time and two in 5/4 (rather than eight bars in 2/2 and one in 1/2). In many sonatas the microstructure—how the melodic lines are constructed—deviates slightly from the pre-defined proportion.
Sonata in B-flat for Keyboard and Violin, K. 31 (1766) Sonata in D for Keyboard and Violin, K. 630 (1766, doubtful) Mature violin sonatas (1778–88)