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The Pianoforte Sonata Its Origin and Development By: J. S. (John South) Shedlock (1843-1919) |
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PIANOFORTE SONATA ITS ORIGIN AND DEVELOPMENT BY J.S. SHEDLOCK, B.A. [Illustration: MONUMENT OF BERNARDO PASQUINI IN THE CHURCH OF SAN
LORENZO IN LUCINA ROME SKETCHED BY STRITCH HUTTON] METHUEN & CO.
36 ESSEX STREET, W.C.
LONDON
CONTENTS CHAP. PAGE I. INTRODUCTORY 1 II. JOHANN KUHNAU 38 III. BERNARDO PASQUINI: A CONTEMPORARY OF J. KUHNAU 71 IV. EMANUEL BACH AND SOME OF HIS CONTEMPORARIES 82 V. HAYDN AND MOZART 111 VI. PREDECESSORS OF BEETHOVEN 130 VII. LUDWIG VAN BEETHOVEN 160 VIII. TWO CONTEMPORARIES OF BEETHOVEN 192 IX. SCHUMANN, CHOPIN, BRAHMS, AND LISZT 207 X. THE SONATA IN ENGLAND 221 XI. MODERN SONATAS, DUET SONATAS, SONATINAS, ETC. 235 INDEX 241
PREFACE
This little volume is entitled "The Pianoforte Sonata: its Origin and
Development." Some of the early sonatas mentioned in it were, however,
written for instruments of the jack or tangent kind. Even Beethoven's
sonatas up to Op. 27, inclusive, were published for "Clavicembalo o
Pianoforte." The Germans have the convenient generic term "Clavier,"
which includes the old and the new instruments with hammer action;
hence, they speak of a Clavier Sonate written, say, by Kuhnau, in
the seventeenth, or of one by Brahms in the nineteenth, century. The term "Piano e Forte" is, however, to be found in letters of a
musical instrument maker named Paliarino, written, as we learn from
the valuable article "Pianoforte," contributed by Mr. Hipkins to Sir
George Grove's Dictionary of Music and Musicians , already in the
year 1598, and addressed to Alfonso II., Duke of Modena. The earliest
sonata for a keyed instrument mentioned in this volume was published
in 1695; and to avoid what seems an unnecessary distinction, I have
used the term "Pianoforte Sonata" for that sonata and for some other
works which followed, and which are usually and properly termed
"Harpsichord Sonatas." I have to acknowledge kind assistance received from Mr. A.W. Hutton,
Mr. F.G. Edwards, and Mr. E. Van der Straeten. And I also beg to thank
Mr. W. Barclay Squire and Mr. A. Hughes Hughes for courteous help at
the British Museum; likewise Dr. Kopfermann, chief librarian of the
musical section of the Berlin Royal Library. J.S. SHEDLOCK. LONDON, 1895.
THE PIANOFORTE SONATA
CHAPTER I INTRODUCTORY
In history we find certain names associated with great movements:
Luther with the Reformation, or Garibaldi with the liberation of
Italy. Luther certainly posted on the door of the church at Wittenberg
his famous Theses, and burnt the Papal Bull at the gates of that city;
yet before Luther there lived men, such as the scholar Erasmus, who
have been appropriately named Reformers before the Reformation. So,
too, Cavour's cautious policy paved the way for Garibaldi's brilliant
victories. Once again, Leonardo da Vinci is named as the inventor of
chiaroscuro, yet he was preceded by Fra Filippo Lippi. And in similar
manner, in music, certain men are associated with certain forms.
Haydn, for example, is called the father of the quartet; close
investigation, however, would show that he was only a link, and
certainly not the first one in a long evolution. So, too, with the
sonata. The present volume is, however, specially concerned with the
clavier or pianoforte sonata; and for that we have a convenient
starting point the Sonata in B flat of Kuhnau, published in 1695. The
date is easy to remember, for in that same year died England's
greatest musician, Henry Purcell. Before studying the history of the pianoforte sonata, even in outline,
it is essential that something should be said about the early history
of the sonata ... Continue reading book >>
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