In music , a sonata ( / s ə ˈ n ɑː t ə / ; pl. sonate ) literally means a piece played as opposed to a cantata (Latin and Italian cantare , "to sing"), a piece sung . The term evolved through the history of music , designating a variety of forms until the Classical era, when it took on increasing importance. Sonata is a vague term, with varying meanings depending on the context and time period. By the early 19th century, it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue —as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though the musical style of sonatas has changed since the Classical era, most 20th- and 21st-century sonatas still maintain the same structure.
39-421: Oboe Sonata in general is a sonata composed for oboe , Oboe Sonata may also refer to: Oboe Sonata (Howells) Oboe Sonata (Poulenc) Oboe Sonata (Saint-Saëns) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Oboe Sonata . If an internal link led you here, you may wish to change
78-530: A central role today in music theory, and is an essential part of the theory of sonata structure as taught in most music schools. Sources Domenico Scarlatti Giuseppe Domenico Scarlatti (26 October 1685 – 23 July 1757) was an Italian composer. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style . Like his renowned father Alessandro Scarlatti , he composed in
117-447: A large body of music that would over time increasingly be thought essential for any serious instrumentalist to master. In the early 19th century, the current usage of the term sonata was established, both as regards form per se , and in the sense that a fully elaborated sonata serves as a norm for concert music in general, which other forms are seen in relation to. From this point forward, the word sonata in music theory labels as much
156-646: A lively finale in some binary form suggesting affinity with the dance-tunes of the suite . This scheme, however, was not very clearly defined, until the works of Arcangelo Corelli when it became the essential sonata and persisted as a tradition of Italian violin music. The sonata da camera consisted almost entirely of idealized dance-tunes. On the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed. Although nearly half of Johann Sebastian Bach 's 1,100 surviving compositions, arrangements, and transcriptions are instrumental works, only about 4% are sonatas. The term sonata
195-593: A music master to Princess Maria Barbara, who had married into the Spanish royal house. She later became Queen of Spain. Scarlatti remained in Spain for the remaining 25 years of his life and had five children there. After his wife died in 1739, he married a Spaniard, Anastasia Maxarti Ximenes. Among his compositions during his time in Madrid were most of the 555 keyboard sonatas for which he is best known. Scarlatti befriended
234-430: A prelude followed by a succession of dances, all in the same key. Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality. The sonata da chiesa, generally for one or two violins and basso continuo , consisted normally of a slow introduction, a loosely fugued allegro , a cantabile slow movement, and
273-492: A process known as interruption . As a practical matter, Schenker applied his ideas to the editing of the piano sonatas of Beethoven, using original manuscripts and his own theories to "correct" the available sources. The basic procedure was the use of tonal theory to infer meaning from available sources as part of the critical process, even to the extent of completing works left unfinished by their composers. While many of these changes were and are controversial, that procedure has
312-579: A variety of musical forms, although today he is known mainly for his 555 keyboard sonatas . He spent much of his life in the service of the Portuguese and Spanish royal families. Scarlatti was born in Naples , Kingdom of Naples , then belonging to the Spanish Empire . He was born in 1685, the same year as Johann Sebastian Bach and George Frideric Handel . He was the sixth of ten children of
351-462: A wide range of styles and moods is one of the hallmarks of Scarlatti's work. Another stylistic trait of this composer is the ability to mix “different forms or levels of discourse”. Other distinctive attributes of his music are: Kirkpatrick produced an edition of the sonatas in 1953, and the numbering from this edition—the Kk. or K. number—is now nearly always used. Previously, the numbering commonly used
390-454: Is a story of a trial of skill with George Frideric Handel at the palace of Cardinal Ottoboni in Rome, where Scarlatti was judged possibly superior to Handel on the harpsichord , although inferior on the organ . Later in life, he was known to cross himself in veneration when speaking of Handel's skill. While in Rome, Scarlatti composed several operas for Queen Casimir's private theatre. He
429-499: Is also applied to the series of over 500 works for harpsichord solo, or sometimes for other keyboard instruments, by Domenico Scarlatti , originally published under the name Essercizi per il gravicembalo (Exercises for the Harpsichord). Most of these pieces are in one binary-form movement only, with two parts that are in the same tempo and use the same thematic material, though occasionally there will be changes in tempo within
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#1732787243794468-482: Is designated with a historical plaque, and his descendants still live in Madrid. He was buried at a convent there, but his grave no longer exists. Minor planet 6480 Scarlatti is named in his honour. Only a small number of Scarlatti's compositions were published during his lifetime. Scarlatti himself seems to have overseen the publication in 1738 of the most famous collection, his 30 Esercizi (Exercises). They were well received throughout Europe and were championed by
507-531: Is listed as "doubtful." Composers such as Boccherini would publish sonatas for piano and obbligato instrument with an optional third movement—–in Boccherini's case, 28 cello sonatas. But increasingly instrumental works were laid out in four, not three movements, a practice seen first in string quartets and symphonies , and reaching the sonata proper in the early sonatas of Beethoven . However, two- and three-movement sonatas continued to be written throughout
546-597: Is often used for a short or technically easy sonata. In the Baroque period , a sonata was for one or more instruments, almost always with continuo . After the Baroque period most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument accompanied by a keyboard instrument. Sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments. In
585-420: The castrato singer Farinelli , a fellow Neapolitan also enjoying royal patronage in Madrid. Musicologist and harpsichordist Ralph Kirkpatrick , who published a biography of Scarlatti in 1953, commented that Farinelli's correspondence provides "most of the direct information about Scarlatti that has transmitted itself to our day". Scarlatti died in Madrid at the age of 71. His residence at 35 Calle de Leganitos
624-490: The 1770s. Haydn labels his first piano sonata as such in 1771, after which the term divertimento is used sparingly in his output. The term sonata was increasingly applied to either a work for keyboard alone (see piano sonata ), or for keyboard and one other instrument, often the violin or cello. It was less and less frequently applied to works with more than two instrumentalists; for example, piano trios were not often labelled sonata for piano, violin, and cello. Initially
663-523: The Classic Era (A History of the Sonata Idea) , begun in the 1950s and published in what has become the standard edition of all three volumes in 1972. Heinrich Schenker argued that there was an Urlinie or basic tonal melody, and a basic bass figuration. He held that when these two were present, there was basic structure, and that the sonata represented this basic structure in a whole work with
702-462: The Classical period: Beethoven's opus 102 pair has a two-movement C major sonata and a three-movement D major sonata. Nevertheless, works with fewer or more than four movements were increasingly felt to be exceptions; they were labelled as having movements "omitted," or as having "extra" movements. Thus, the four-movement layout was by this point standard for the string quartet, and overwhelmingly
741-450: The abstract musical form as particular works. Hence there are references to a symphony as a sonata for orchestra . This is referred to by William Newman as the sonata idea . Among works expressly labeled sonata for the piano, there are the three of Frédéric Chopin , those of Felix Mendelssohn , the three of Robert Schumann , Franz Liszt 's Sonata in B minor , and later the sonatas of Johannes Brahms and Sergei Rachmaninoff . In
780-469: The classical style and its norms of composition formed the basis for much of the music theory of the 19th and 20th centuries. As an overarching formal principle, sonata was accorded the same central status as Baroque fugue ; generations of composers, instrumentalists, and audiences were guided by this understanding of sonata as an enduring and dominant principle in Western music. The sonata idea begins before
819-528: The composer and teacher Alessandro Scarlatti . His older brother Pietro Filippo was also a musician. Scarlatti first studied music under his father. Other composers who may have been his early teachers include Gaetano Greco , Francesco Gasparini , and Bernardo Pasquini , all of whom may have influenced his musical style. Scarlatti was appointed as a composer and organist at the Chapel Royal of Naples in 1701 and briefly worked under his father, who
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#1732787243794858-431: The earliest pianofortes . (There are four for the organ and a few for small instrumental groups). Some display harmonic audacity in their use of discords, and unconventional modulations to remote keys . Though Scarlatti wrote over 500 sonatas, there is a wide variety in his works. Some are deeply serious, others are light and almost humorous. Some sound like courtly dances, others like street songs. This ability to cover
897-414: The early 19th century, the sonata form was defined, from a combination of previous practice and the works of important Classical composers, particularly Haydn, Mozart, Beethoven, but composers such as Clementi also. It is during this period that the differences between the three- and the four-movement layouts became a subject of commentary, with emphasis on the concerto being laid out in three movements, and
936-518: The exact composition dates for these surviving sonatas are not known, Kirkpatrick concluded that they might all have been composed late in Scarlatti's career (after 1735), with most of them possibly written after the composer's 67th birthday. Aside from his many sonatas, Scarlatti composed several operas, cantatas, and liturgical pieces. Well-known works include the Stabat Mater of 1715, and
975-1123: The foremost English writer on music of the eighteenth century, Charles Burney . Burney wrote that the harpsichordist Joseph Kelway was "head of the Scarlatti sect", a group of English musicians that championed Scarlatti as early as 1739, also including Thomas Roseingrave . The many sonatas unpublished during Scarlatti's lifetime have appeared in print irregularly in the past two and a half centuries. He has attracted notable admirers, including Béla Bartók , Arturo Benedetti Michelangeli , Pieter-Jan Belder , Johann Sebastian Bach , Muzio Clementi , Wolfgang Amadeus Mozart , Ludwig van Beethoven , Carl Czerny , Franz Liszt , Johannes Brahms , Frédéric Chopin , Claude Debussy , Emil Gilels , Francis Poulenc , Olivier Messiaen , Enrique Granados , Marc-André Hamelin , Vladimir Horowitz , Ivo Pogorelić , Scott Ross (the first performer to record all 555 sonatas), Heinrich Schenker , András Schiff and Dmitri Shostakovich . Scarlatti's 555 keyboard sonatas are single movements, mostly in binary form , and some in early sonata form , and mostly written for harpsichord or
1014-429: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Oboe_Sonata&oldid=1091551246 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Sonata The term sonatina , pl. sonatine , the diminutive form of sonata,
1053-598: The loss of the continuo . Crucial to most interpretations of the sonata form is the idea of a tonal center; and, as the Grove Concise Dictionary of Music puts it: "The main form of the group embodying the 'sonata principle', the most important principle of musical structure from the Classical period to the 20th century: that material first stated in a complementary key be restated in the home key".( The sonata idea has been thoroughly explored by William Newman in his monumental three-volume work Sonata in
1092-574: The most common for the symphony . The usual order of the four movements was: When movements appeared out of this order they would be described as "reversed", such as the scherzo coming before the slow movement in Beethoven's 9th Symphony. This usage would be noted by critics in the early 19th century, and it was codified into teaching soon thereafter. It is difficult to overstate the importance of Beethoven's output of sonatas: 32 piano sonatas, plus sonatas for cello and piano or violin and piano, forming
1131-718: The most common layout of movements was: However, two-movement layouts also occur, a practice Haydn uses as late as the 1790s. There was also in the early Classical period the possibility of using four movements, with a dance movement inserted before the slow movement, as in Haydn's Piano sonatas No. 6 and No. 8. Mozart 's sonatas were also primarily in three movements. Of the works that Haydn labelled piano sonata , divertimento , or partita in Hob XIV , seven are in two movements, thirty-five are in three, and three are in four; and there are several in three or four movements whose authenticity
1170-404: The practice and meaning of sonata form, style, and structure has been the motivation for important theoretical works by Heinrich Schenker , Arnold Schoenberg , and Charles Rosen among others; and the pedagogy of music continued to rest on an understanding and application of the rules of sonata form as almost two centuries of development in practice and theory had codified it. The development of
1209-508: The rest are trio sonatas, and a very small number are of the multivoice type. The sonatas of Domenico Paradies are mild and elongated works with a graceful and melodious little second movement included. The practice of the Classical period would become decisive for the sonata; the term moved from being one of many terms indicating genres or forms, to designating the fundamental form of organization for large-scale works. This evolution stretched over fifty years. The term came to apply both to
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1248-406: The sections. They are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of the time. They were admired for their great variety and invention. Both the solo and trio sonatas of Vivaldi show parallels with the concerti he was writing at the same time. He composed over 70 sonatas, the great majority of which are of the solo type; most of
1287-429: The structure of individual movements (see Sonata form and History of sonata form ) and to the layout of the movements in a multi-movement work. In the transition to the Classical period there were several names given to multimovement works, including divertimento , serenade , and partita , many of which are now regarded effectively as sonatas. The usage of sonata as the standard term for such works began somewhere in
1326-470: The symphony in four. Ernest Newman wrote in the essay "Brahms and the Serpent": The role of the sonata as an extremely important form of extended musical argument would inspire composers such as Hindemith , Prokofiev , Shostakovich , Tailleferre , Ustvolskaya , and Williams to compose in sonata form, and works with traditional sonata structures continue to be composed and performed. Research into
1365-412: The term had taken on its present importance, along with the evolution of the Classical period's changing norms. The reasons for these changes, and how they relate to the evolving sense of a new formal order in music, is a matter to which research is devoted. Some common factors which were pointed to include: the shift of focus from vocal music to instrumental music; changes in performance practice, including
1404-407: The works of Arcangelo Corelli and his contemporaries, two broad classes of sonata were established, and were first described by Sébastien de Brossard in his Dictionaire de musique (third edition, Amsterdam, ca. 1710): the sonata da chiesa (that is, suitable for use in church), which was the type "rightly known as Sonatas ", and the sonata da camera (proper for use at court), which consists of
1443-687: Was Maestro di Cappella at St. Peter's from 1715 to 1719. In 1719 he travelled to London to direct his opera Narciso at the King's Theatre . According to Vicente Bicchi, Papal Nuncio in Portugal at the time, Scarlatti arrived in Lisbon on 29 November 1719. There he taught music to the Portuguese princess Maria Magdalena Barbara . He left Lisbon on 28 January 1727 for Rome, where he married Maria Caterina Gentili on 6 May 1728. In 1729 he moved to Seville , staying for four years. In 1733, he went to Madrid as
1482-509: Was from the 1906 edition compiled by Neapolitan pianist Alessandro Longo (L. numbers). Kirkpatrick's numbering is chronological, while Longo's ordering is a result of his arbitrarily grouping the sonatas into "suites". In 1967 the Italian musicologist Giorgio Pestelli published a revised catalogue (using P. numbers), which corrected what he considered to be some anachronisms , and added some sonatas missing from Kirkpatrick's edition. Although
1521-428: Was then the chapel's maestro di cappella . In 1703 he revised Carlo Francesco Pollarolo 's opera Irene for performance at Naples. Soon after, his father sent him to Venice . After this, nothing is known of his life until 1709, when he went to Rome and entered the service of the exiled Polish queen Marie Casimire . It was there he met Thomas Roseingrave . Scarlatti was already an accomplished harpsichordist ; there
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