Pianoforte Sonata — Modern Sonatas, Duet Sonatas, Sonatinas, etc.
CHAPTER XI MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.
Some mention, however brief, must be made of various sonatas written by other contemporaries of the four composers discussed in the last chapter.
After Beethoven, the only work which, from an evolution point of view, really claims notice is one by Liszt.
All other sonatas are written on classical lines with more or less of modern colouring.
Even M.
Vincent d'Indy, one of the advanced French school of composers, has written a "Petite Sonate dans la forme classique."
Moscheles, in Germany, and Kalkbrenner, in France: these were once names of note.
Their music is often clever and brilliant, but, to modern tastes, dry and old-fashioned; much of it, too, is superficial.
Among still more modern works may be named those of Stephen Heller, Raff, Rubinstein, Bargiel, and Grieg.
The sonatas of Heller are failures, so far as the name sonata means anything.
He was not a composer _de longue haleine_, and his opening and closing movements are dull and tedious; some of the middle movements--as, for example, the two middle ones of the Sonata in C major--are, however, charming.
Bargiel's Sonata in C major (Op.
34) is written somewhat in "Heller" style, but it is stronger, and, consequently, more interesting than any of that composer's. Raff and Rubinstein both wrote pianoforte sonatas, but these do not form prominent features in their art-work.
Grieg's one Sonata in E minor (Op.
7) is a charming, clever composition; yet as it was with Chopin, so is it with this composer: his smallest works are his greatest.
Of duet sonatas there is little more to do than to mention the principal ones.
In the evolution of the sonata they are of little or no moment.
Some, however, are highly attractive.
It would be interesting to know who wrote the first sonata for four hands, but the point is not an easy one to settle.
Jahn, speaking of Mozart's duets, remarks that "pianoforte music for two performers was then far from having attained the popularity which it now possesses, especially among amateurs."
We imagine that the Sonate à Quatre mains sur un Clavecin Composé par J.
C.
Bach ---- à Amsterdam chez J. Schnitt Marchand de Musique dans le Warmoes-straat was one of, if not the earliest.
The part for the second clavier is printed under that of the first.
The sonata consists of only two movements: an Allegro and a Rondo.
The general style and treatment of the two instruments reminds one of Mozart, but the music is crude in comparison.
Here is the commencement of the theme of the first movement-- [Music illustration] The duet sonatas of Mozart are full of charm and skill, and will ever be pleasing to young and old.
Dussek has written some delightful works, and Hummel's Op.
92, in A flat, is certainly one of the best pieces of music he ever wrote.
Schubert's two sonatas (B flat, Op.
30;
C, Op.
140) are very different in character: the one is smooth and agreeable; the other contains some of the noblest music ever penned by the composer.
Sonatinas are almost always written for educational purposes.
No description, no analysis of such works, is necessary; only a list of the best.
The "Twelve Sonatinas for the Harpsichord or Pianoforte, for the use of Scholars" (Op.
12), by James Hook (1746-1827), father of the well-known humorist, Theodore Hook, deserve honourable mention.
Each number contains only two short movements; they are well written, and, though old, not dry.
Joseph Bottomley, another English composer (1786-?
), also wrote twelve sonatinas for the pianoforte.
Those of Clementi and Dussek seem destined to perennial life.
The former composed twelve (Op.
36, 37, and 38), the latter six (Op.
20);
and then, of course, of higher musical interest are the sonatinas of Beethoven (two) and Hermann Goetz (two).
From an educational point of view, however, these are perhaps not of equal value with many others of inferior quality; but they are full of character and charm.
Kuhlau (1786-1832), on whose name Beethoven wrote the well-known Canon, "Kuhl nicht lau," composed sonatas which, owing to their fresh, melodious character and skilful writing, justly take high rank.
Op.
20, 55, 59, 60, and 88 have all been edited by Dr. H.
Riemann.
Among still more modern composers may be mentioned: Reinecke, whose three sonatinas (Op.
47), six sonatinas with "the right-hand part within the compass of five fingers" (Op.
127A), and (Op.
136) the "Six Miniature Sonatas" (another term for sonatinas) have given satisfaction to teachers, and enjoyment to many young pupils; also Cornelius Gurlitt, who has proved a prolific worker in this department of musical literature.
His six sonatinas (Op.
121) and the duet sonatas (Op.
124,--really sonatinas) are exceedingly useful, and justly popular.
Besides these, he has issued two series of progressive sonatinas: some by Diabelli, Pleyel, Steibelt, etc. ; some from his own pen.
Koehler's three sonatinas (without octaves), A. Loeschhorn's instructive sonatinas, E. Pauer's National Sonatinas (Ireland, Wales, Italy, etc. ), and Xaver Scharwenka's two sonatinas are likewise of value.
Among various strange works written under the title of sonata we may count certain programme pieces.
Thus, John Christian Bach, or "Mr. Bach," as he is named on the title-page, published a sonata "qui represente La Bataille de Rosbach," and an _N.
B.
_ adds: "Dans cette Sonate La Musique vous montre le Comencement d'une Bataille le feu des Cannons et Mousqueterie L'Ataque de la Cavalerie et les L'Amendations des Blessées."
This work consists of one movement (Allegro) in sonata-form.
Except for the title, and the words "Canonade" and "Feu des Mousqueteries," it would be difficult to guess the subject.
The music, which may be described as a study in the Alberti bass, is decidedly more correct in form than the French of the title-page.
Then, again, Dussek composed a "Characteristic Sonata" describing "The Naval Battle and Total Defeat of the Grand Dutch Fleet by Admiral Duncan on the 11th of October 1797." But he was engaged in a much more suitable task when he wrote music _expressing the feelings_ of the unfortunate Marie Antoinette.
There are three sonatas composed by A. Quintin Buée. [113] No. 3 is "for two performers on one instrument."
In the last movement, the first performer is "Le Français," and he rattles along with the popular tune "Ça ira," while the second, "The Englishman," steadily plays his national air, "Rule Britannia"; towards the close, _fors fuat_, "God save the King" and "Ça ira" are combined.
INDEX
ALBERTI, 109, 112.
Alberti Bass, 26, 30, 33 (note), 109, 110, 239. Albrici V. 39, influence on Kuhnau, 42. Ambros A. W.
Pasquini, 73. Arbeau T. Orchésographie, 15 and 16. Arne T. A.
222, 225; _Sonatas_: 226, 227. BACH C.
P.
E.
9, 12, 29 and (note), 31, 32, 87, 219, 228;
_Sonatas_: "Frederick," 25, 85-91, Würtemberg, 85, 92, 93, 115, "Reprisen," 85, 94-100, Töplitz, 93 and 94, "Leichte," 100, 161 (note), three-movement, 175, Leipzig Collections, 85, 101-7;
Beethoven, 86, 105, 106, Dr. Bülow, 96-8, Fasch, 40, Haydn, 93, 114, 115, 125, Kuhnau, 22, 24, Marpurg's _Clavierstücke_, 91 and 92, Neefe, 161-3. Bach J. C.
28 (note), 35, 227, 239;
_Sonatas_: 107, 108, 236. Bach J. C. F.
29, 35, 106. Bach J. E.
26, 29. Bach, J. S.
9, 14 (note), 229 (note);
Organ Concerto, 76, sonata attributed to, 89 (note), Forty-eight Preludes and Fugues, 160 and 161, and fugue-form, 91;
Beethoven, 182-5, Kuhnau, 20, 21, 48, 87, Rust, 152. Bach W. F.
29;
_Sonatas_: 26, 108. Banchieri, 10;
_L'Organo suonarino_ (with sonata) 3-5. Banister H. C.
Life of Macfarren, 140. Bargiel, 235;
_Sonata_: 236. Barry C. A.
218. Barthélémon Miss, 229 and (note).
Bassani G. 7, 223 and (note).
Becker D. 10;
_Sonatas_: 43. Becker C. F.
Hausmusik in Deutschlande, 49-50. Beethoven L. v.
29, 31 and (note), 32, 33, 35, 45, 125, 194, 219;
Reminiscences, 133-140, 167, 168, patrons and friends, 168-171, programme-music, 21, opus numbers, 112, 113, connection and number of movements, 106 and 107, 171, poetic basis, 178, 185-191, exposition section, 36, approach to recapitulation, 37, key of second subject, 177, the "repeat," 178, 179, Codas and Introductions, 179-181, central thought, 182, disorganisation, 191;
_Sonatas_: (Op.
111), 57, 116, 174-6;
table, 164-5;
two-, 174-6, three-, 172-3, four-movement, 173-4, sonatinas, 238;
Symphony in C, 102, 103, "Eroica," 135, sketches, 171-2, theme of Op.
106, 210, 211;
Bach C. P.
E.
86, 87, Bach J. S.
160, 182-5, Brahms, 210, 211, Haydn, 166, 167, Kuhlau, 238, Kuhnau, 57, Neefe, 161-3, Potter, 230, Scarlatti, 17, Schindler, 186-8, 190, Weber, 192, 195-198. Benda G. 28, 83 and (note);
_Clavierstücke_, 84;
_Sonatas_: 27. Bennett S. _Sonatas_: 231-32. Beringer O. 218. Birchall R. 18, 145 (note).
Bitter C. H.
85, 92, 94 (note);
E.
Bach, 97 and 98. Böhm G. _Chorale_, 54, 131. Bononcini B. 6. Bononcini G. M.
6. Borwick L. 205. Bottomley J. sonatinas, 238. Brahms J. 120;
_Sonatas_: 209-18. Chopin, 214, Clementi, 216, Liszt, 210, 214, Mendelssohn, 217, Schubert, 214. Bossard, 42 (note).
Buée A. Q.
_Sonatas_: 239, 240 and (note).
Bull Dr. 221. Bülow Dr. H.
v.
and E. Bach's sonatas, 96-8, 160. Burney Dr. 4, Musical Extracts, 6. Burton J. _Sonatas_: 228. Buxtehude, 131;
Suites, 51 and 52. Byrd W. 221, 222. CARLYLE, his "Frederick the Great," 83 (note).
Chopin F. 229;
_Sonatas_: 209. Clementi, M. 33, 45, 119 (note), 130;
_Sonatas_: 131, 132-42, sonatinas, 238;
Beethoven, 131, 133, 134, Field, 229, Macfarren, 140, Mozart, 132, 133, Potter, 230, Scarlatti, 135. Corelli A. 3, 6, 7, 8, 9, 11, 12, 13, 15, 16, 42, 45, 46, 74, 77 (note), 79, 87, 224. Cramer J. B.
108, 146, 192, 193 and (note).
DANNREUTHER E.
133. Davidson J. W.
149. Dussek J. L.
33, 197, 237, 239;
Letters to publishers, 142-5;
_Sonatas_: 146-7, 148,' _Le Retour à Paris_, 149, _Plus Ultra_, 150, sonatinas, 238. Macfarren, 151-2, Mendelssohn, 147, Tomaschek, 145-6, Woelfl, 149. FAISST J.
50, Analysis of a Mattheson Sonata, 22-3. Farina C. 6. Fasch J. F.
40. Fasch C. F.
C.
and E. Bach, 40, 41. Ferdinand, Prince Louis, death of 144, 145 (note).
Fétis F. J.
27, 38, 240 (note), extract from _Biographie Universelle des Musiciens_, 72-3. Field J. _Sonatas_: 229. Forkel, Letter from E. Bach to, 93-4, 96, 97. Frederick the Great, 22, 40, 41, 82, 83 (note), 85, 88. Frescobaldi, 71 (note).
Froberger J. J.
20, 42, 46, 51, 52. Fuller-Maitland J. A.
51 (note), 223. GABRIELI A.
10. Gabrieli G. 2, 10. Gaffi B. pupil of Pasquini, 71. Galuppi, 27, 29, 30 and (note) 31. Gasparini, pupil of Pasquini, 77 (note).
Geminiani, 11, 225. Gluck, 28 (note).
Goethe, 191. Goetz H. 238. Graun C. H.
83. Graun J. G.
82. Graupner Chr.
39 ff.
Grétry, 27. Grieco G. 80. Grieg E. 235-6. Grove Sir G. 20, 27 (note), 73, 111, 133, 145. Gurlitt C. 238. HANDEL G.
F.
13, 14, 19, 26, 40, 57;
Kuhnau 48-9. Hasler H. L.
10. Hasse J. A.
28, 29, 84 (note);
_Sonatas_: 27, 32. Hawkins Sir J. 223 ff.
Haydn J. 1, 37, 45, 87, 99, 164, 182, 228;
New era, 30, anecdote, 117, programme-music, 185, European magazine, 114, 115, father of symphony, 111, "In Native Worth," 167, number and connection of movements, 33 and (note), 106, introductory slow movement, 138, three-movement form, 174, approach to dominant section, 34, second subject, 35, codas, 179, 189;
_Sonatas_: 113, 115-20;
Bach C. P.
E.
93, Beethoven, 166, 167, Metastasio, 111, Porpora, 112. Heller S. 233, 235-6. Hering A. 38. Hook J. sonatinas, 237. Hook T. 237. Hummel J. N.
192, 194 (Op.
92), 237. Humphries J. 224. IKEN Dr. C.
Beethoven, 188-9. Indy, Vincent d', 235. JAHN Otto, 120, 129, 132, 236. KALKBRENNER F.
W.
M.
134, 192, 235. Keiser, 48. Kittel C. 38 and (notes).
Krieger J. P.
14 and (note).
Krügner S. 38 and (note).
Kühnel, 39. Kuhnau A. 38 and (note).
Kuhnau J. 10, 22, 38, 219;
Writings and pupils, 39-41, German and Italian influences, 42, Bible Stories, 65-70, Seven Partitas, 41, Preface to Bible Sonatas, 52-4;
_Sonatas_: (B flat), 43-4, _Frische Clavier Früchte_, 44-50, "Bible," 19-21, 45, 46 (note), 48-9, 51, 54-65. LEGRENZI G.
10;
_Sonatas_: 6. Le Trésor des Pianistes, 45 (note), 80, 94 (note).
Liszt F. 235;
Beethoven, 176 _Sonata_: 210 and 218-20. Locatelli 11, 12;
_Sonatas_: 9. Loeschhorn A. sonatinas, 239. Lotti, teacher of Galuppi, 29, 77 (note).
MACFARREN SIR G.
A.
140;
_Sonatas_: 230 and 231;
Dussek, 151 and 152. Marpurg, 2, 3. Martini San, 112, 226. Mattheson, 7, 20, 23, 38 (note), 39 (note), 40 and (note), 42;
Pasquini 74;
_Sonata_: 22-3. Matthisson, the poet, 157. Mendel, 27, 72. Mendelssohn F. 151 (note), 231;
Dussek, 147. Morley, 7. Moscheles I. 235. Mozart L. 34;
_Sonatas_: 27. Mozart W. A.
33, 34, 35, 37, 45, 87, 99, 169;
Italian influence, 126-127, Op.
1, 33 (note), Requiem, 57, duets, 236 and 237;
_Sonatas_: 120-5;
Beethoven, 160-1, Clementi, 132, Haydn, 127-9, Kuhnau, 49. Müthel J. G.
27, 28 (note), 33, 90 (note).
NEEFE C.
G.
_Sonatas_: 161-3. Nichelmann C. 27, 28, 106. PALESTRINA, 71, 73.
Paradies P. D.
27, 28, 108-110. Parry Dr. C. H.
13, 20, 108;
_Sonatas_: 232 and 233. Pasquini B. (_see frontispiece by S. Hutton_), 14 (note), 74;
His monument, 71-2;
Operas and oratorio, 72, Toccatas and Suites, 72, 74-5, music in Berlin Library, 73, in British Museum, 75;
_Sonatas_: 76-80;
Fétis, 72-3, Handel, 77 (note), Kuhnau, 81. Pasquini E. 71 (note).
Pauer E. 43, 80, 189 (note);
sonatinas, 239. Pescetti G. B.
_Sonatas_: 25-6. Pleyel, 239. Poglietti, 74 and (note).
Potter C. _Sonata_: 130. Prieger Dr. E.
153, 159, 193 (note).
Prout Prof. E.
147. Purcell H. 2;
_Sonatas_: 222-4. RAFF J.
235, 236. Ravenscroft J. 224. Ravenscroft R. 224. Reinecke C. 238. Riemann Dr. H.
27 (note), 185, 238. Rimbault Dr. 43. Rochlitz F. 141. Rockstro, 77 (note).
Rubinstein A. 235, 236. Rudolph, Archduke, 165, 170, 201. Rust Dr. W.
153 and (note).
Rust F. W.
152 ff.
Rust J. L. A.
152. SANDONI P.
G.
_Sonatas_: 23-4. Scarlatti A. 77 (note), 80. Scarlatti D. 36, 73-4, 77 (note), 80, 89, 226;
_Sonatas_: 15, 16-19;
Bach C. P.
E.
92 and 93, Paradies, 109. Schaffrath C. 27 and (note), 31. Scharwenka X. 239. Scheibe J. A.
_Critischer Musikus_, 48. Schindler A. 140 (note), 141, 142, 172, 173, 189;
Conversations with Beethoven, 186-8, 190. Schop J. 10, 11. Schubert F. 120, 195;
_Sonatas_: 198-206, 237. Schumann R. 152, 200, 202, 206;
Fantasia, 209;
_Sonatas_: 208-9;
Beethoven, 207. Sherard J. 223 (note).
Shakespeare, 190, 191. Schoelcher V. Life of Handel, 19 (note), 77 (note).
Spenser H. 191. Spitta Dr. P.
20, 21, 54, 57, 195. Squire W. B.
51 (note).
Stanford Dr. C. V.
_Sonata_: 233-4. Steffani A. 77 (note);
_Sonatas_: 14. Steibelt D. 192, 193 (note);
sonatinas, 239;
Beethoven, 194. TARTINI G.
9, 11 (note);
_Sonatas_: 12. Telemann G. P.
48;
_Sonatas_: 24-5, sonatinas, 89 (note).
Tomaschek, account of Dussek's playing, 145-6. Turini F. 5-6;
_Sonatas_, 4. UMSTATT J.
27 and (note), 32. VERACINI, 11 and (note), 12, 225. Vitali G. B.
7, 223. Vogler, Abbé, 195, 196. WAGENSEIL G.
31 and (note), 174;
_Sonatas_: 27. Weber C. M.
v.
192;
_Sonatas_: 194-8. Weber M. M.
v.
194. Weitzmann C. F.
_Geschichte des Clavierspiels_, 74, Pasquini, 75. Wesley S. 226;
_Sonatas_: 229-30. Woelfl J. 174, 192;
_Ne Plus Ultra_ Sonata: 149-50, 193 (note);
Beethoven, 194. Worgan I. _Sonatas_: 228. ZACH, 31, 32.
Zimmermann Miss A. 230. MORRISON AND GIBB, PRINTERS, EDINBURGH
FOOTNOTES:
[1] _Musikalisches Lexicon oder musikalische Bibliothek.
_ [2] Among the four-movement sonatas of Op.
1, No. 6 (in B minor) has the peculiar order: Grave, Largo, Adagio, Allegro.
[3] The Preludio Adagio only consists of four chords, or two bars; the Adagio, again, only consists of four bars.
The sonata, therefore, may be considered as of three movements.
[4] 1680-1762. [5] 1693-1764. [6] 1685-1750 (Veracini is regarded as of the Corelli school, yet it should not be forgotten that his uncle, Antonio Veracini, is said to have published "Sonate a tre, due violini e violone, o arciliuto col basso continuo per l'organo" at Florence, already in 1662).
[7] 1692-1770. [8] It is important to distinguish between _sonata_ and _sonata-form_.
The first movement of a modern sonata is usually in sonata-form; but there are sonatas (Beethoven, Op.
26, etc. ) which contain no such movement.
Sonata-form, as will be shown later on, has been evolved from old binary form.
By _sonata_ is understood merely a group of movements; hence objection may certainly be taken to the term as applied to the one-movement pieces of Dom.
Scarlatti, which are not even in sonata-form.
[9] It must be remembered that Corelli spent some time in Germany between 1680 and 1683, the latter being the year of publication of his first sonatas at Rome.
[10] In J. S.
Bach's 2nd Sonata for Flauto traverso and Cembalo (third movement) there is a return to the opening theme in the second section; also in the Presto of the sonata for two violins and figured bass we have an example very similar to the "Hoboy" sonata of Handel.
[11] Krieger, by the way, studied under Bernardo Pasquini at Rome.
[12] Cf.
Corelli: Corrente in 10th Sonata of Op.
2; also Allemande and Giga of the next sonata.
[13] Cf.
Scarlatti: No. 10 of the sixty sonatas published by Breitkopf & Härtel.
[14] When there is clearly a second subject, that of course offers the point of return.
(See Nos.
24 and 39. ) [15] See V. Schoelcher's _Life of Handel_, p. 23. [16] See, however, chapter on the predecessors of Beethoven.
[17] See ch. iii.
on Pasquini.
[18] "Seit einigen Jahren hat man angefangen, Sonaten für's Clavier (da sie sonst nur für Violinen u. dgl.
gehören) mit gutem Beifall zu setzen; bisher haben sie noch die rechte Gestalt nicht, und wollen mehr gerührt werden, als rühren, das ist, sie zielen mehr auf die Bewegung der Finger als der Herzen."
[19] The public did not support the undertaking, and the other five never appeared.
[20] The copy in the British Museum has no violin part, which was probably unimportant.
[21] Emanuel Bach's predecessor as clavecinist at the Prussian Court.
[22] This name is not in Mendel, Riemann, Grove, nor Brown.
Fétis, however, mentions him as Joseph Umstadt, _maître de chapelle_ of Count Brühl, at Dresden, about the middle of the eighteenth century, and as composer of _Parthien_, and of six sonatas for the clavecin.
[23] See, however, the early Würtemberg sonatas.
[24] Examples to be found in Rolle, Müthel, and Joh.
Chr.
Bach, etc. [25] Gluck's six sonatas for two violins and a thorough bass, published by J. Simpson, London (probably about the time when Gluck was in London, since he is named on title-page "Composer to the Opera"), have three movements: slow, fast, fast,--the last generally a Minuet.
