The Pianoforte Sonata / Its Origin and Development

The movement is graceful and pleasing. Then follows an Allegro marziale:—

Then an "In Prison" section with suitable superscription—

Lastly, a Finale—

The title and the various superscriptions naturally cause the sonata to be ranked as programme-music, but of a very simple kind. It is easy to suggest pastoral scenes: a few pedal notes, a certain simplicity of melody, and a few realistic touches expressive of the waving of branches of trees, or the meandering of a brook, and the thing is accomplished.

Dr. C.H. Parry is an English composer whose name has of late been much before the public. He has written works both secular and sacred for our important provincial festivals; also chamber music, songs, etc.; and all his music shows mastery of form, skill in the art of development, and eclectic taste. For the present, we are, however, concerned merely with his sonatas. Like Brahms, he at first composed pianoforte sonatas: No. 1, in F; No. 2, in A minor and major. Brahms made a third attempt, but the two just mentioned are all that are known to us of Dr. Parry's. No. 1 opens with a non troppo Allegro, a smooth movement of somewhat pastoral character; the music, also the writing for the instrument, remind one occasionally of Stephen Heller. A bright, though formal Scherzo, with a well-contrasted Trio in the key of the submediant, is followed by a melodious Andante and a graceful, showy Allegretto.

No. 2 has an introductory movement marked maestoso; it is divided into three sections. The first opens with a phrase of dramatic character; the second, in the remote key of G sharp minor, contains two short, expressive, Schumannish themes treated in imitation; the third has passages leading back to the opening key and phrase. The Allegro grazioso which follows is a compact little movement; in form it is orthodox, yet there is no repeat to the exposition section. The influence of Heller is still felt, but also that of Schumann. Grace rather than power distinguishes the Adagio con sentimento, in the key of C sharp minor. The Scherzo is clever and effective, and the Allegretto cantabile, though the last, is scarcely the best of the four movements.

A manuscript Sonata in D flat (Op. 20) by Dr. C.V. Stanford, another prominent composer of our day, was produced at the Popular Concerts (4th February 1884). It consists of an Adagio leading to an Allegro moderato. Then follows an Intermezzo in the key of the relative minor. An Adagio (F major) leads to the Allegro Finale in D flat major. It is thus noticed in the Musical Times of March 1884:—"Some listeners have professed to perceive in the work a deliberate intention to violate the established laws of form, but we confess that to us no such design is apparent. In matters of detail, Mr. Stanford shows himself an independent thinker, but in all essentials his newest work is as classical in outline as could possibly be desired. The opening Adagio is exceedingly impressive, and the succeeding Allegro moderato is worked out with splendid mastery of the subject-matter, the general effect being that of a lofty design carried into execution by a thoroughly experienced hand. The succeeding Allegro grazioso, a modified kind of Scherzo, is vigorous, and the final Allegro commodo, with its excellent first subject, seems scarcely less important than the first movement."

CHAPTER XI

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—

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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.