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The five sonatas in this edition exhibit Allen Sapp’s characteristic expansive lyricism and depth of expression. Violin Sonata I was composed in 1942–43 while Sapp was studying with Nadia Boulanger and Aaron Copland. Following his service in Europe during World War II, he composed his Violin Sonata II and Viola Sonata in 1948. Klaus George Roy, in his review of a Boston performance by Joseph De Pasquale, called Sapp’s Viola Sonata “a work of beauty and immediate emotional appeal. There is a genuine lyric line and warmth of expression, carried by a real mastery of the polyphonic medium. . . . Who says the moderns can’t write a melody?” While these first three string sonatas were cast in a neoclassical style, Violin Sonatas III (1960) and IV (1981) are written with more chromatically complex harmonies and employ serial composition techniques, yet still exhibit a strong tonal orientation. Sapp considered Violin Sonata IV as the beginning of his late phase of composition, and possibly the most memorable of his works.
A solo, for Viola with Piano Accompaniment, composed by Benedetto Marcello.
This definitive volume, the second, largest, and most central in Newman's History of the Sonata Idea, covers the period from the first sample Italian sonatas using the new techniques of the Alberti bass about 1735 to the succession of masterpieces by Haydn, Mozart, and Beethoven which extended until about 1820. It is one of the few books to deal exclusively with the classical era in music. Originally published in 1963. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.
Expertly arranged sonatas for advanced piano duet (1 piano, 4 hands).
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.
The Music Forum