the romantic sonata

8/10/2019 The Romantic Sonata

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The Romantic Sonata by Matthew Sieberg

1828

Schubert's repertoire contains many finely crafted masterpieces. From songs to

symphonies to works for piano, the music gives us glimpses of how his compositional

mindset was completely free from any expressive deficiencies and the fear of rejection.

His last sonata is one that can clearly display his power of imitating a song, as well as

using dotted rhythms to reference the dance. This Sonata is in B-flat Major and begins

accordingly but soon takes us on an unpredictable journey through other keys. Perhaps he

uses the low trill on B-flat and C-flat to justify the move to G-flat as appearing to be the

dominant making the quick return to B-flat all the more satisfying. Nevertheless, the G-

flat appears again as a minor theme in F-sharp. In the first movement a clear exposition,

development and recapitulation can be heard, thus, the form is sonata-allegro. A slow

dance in C-sharp minor creates the second movement and is in ternary form, ending in

the parallel major. A lively scherzo comes next and is in the predicted key of B-flat

major, its trio is in B-flat minor. The final movement is a rondo and in B-flat major with

short bursts of octaves on G (the sixth scale degree?), including the first notes.

By the time of this piano sonata's release the four movement lineup was widely accepted

as the norm with credit being given to the influence of the symphony. Key relationships

that appear throughout Schubert's Sonata are the topic of controversy. Four movement

protocol for a piece in a major key was that the first, third and fourth movements be

written in the tonic key, while the second movement be in the subdominant. In Schubert's

Sonata the second movement is in C-sharp minor and not the anticipated E-flat major.


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1839

The texture of Chopin's piano music synthesizes melody and accompaniment, that is, if a

melody is present. Transitions from phrase to phrase seem very natural, though, at times,

are drastic. There is subtlety to the driving force as he builds momentum. I think he

achieves this through the consistency of L.H. patterns matched with a wide range of

notes. The Sonata No. 2 in B-flat minor is a display of many elements that are normally

emphasized individually throughout one of Chopin's character pieces. Even compared to

his midsized forms, e.g. the scherzo or ballade, this Sonata contains great variety among

the themes. The first movement is a sizable one with repeats and abides strictly to sonata-allegro form aside from ignoring the first theme on the recapitulation. Then comes a fiery

scherzo and somber trio. The famous third movement's funeral march is split by a very

stirring song-without-words effect. The fourth movement is marked presto and flies by as

nonstop, single note per hand, octaves unfold (dare I say) aimlessly.

The movements, individually, offer great reward for performer and listener but there has

always been reservation as to whether Chopin had an overall landscape for the piece.

Perhaps, he was trying to close the gap between his output of small and large forms

without adjusting his composition technique. I think he just didn't care. The key

signature's consistency, early scherzo arrival and first movement ending in the parallel

major are eccentricities that make this Sonata Chopin's.


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1853

Liszt set very high standards for the players of his Sonata. Though obvious virtuosity can

easily be identified when observing a performer of any piece, what is witnessed may not

always match the technical demands within the written score. Liszt's piano music often

demands an athletic approach that audiences love but is also matched by extreme

intellectual demands. In his B minor sonata, the level of thematic transformation that

occurs had been unprecedented. Understanding how the themes are capitalizing on the

emotional allowances make his style unique. This can only be achieved if the interpretive

difficulties have been sincerely tamed for a convincing performance.

The entire Sonata consists of one movement but there will always be arguments about the

existence of smaller units within it, thus, creating a four-movement work. In fact, greater

evidence is in favor of the one movement containing an exposition, development and

recapitulation and acting as an all-inclusive single movement Sonata in Sonata-allegro

form. Though the key is B minor, it is vague until the third theme enters at measure 14.

Two more themes are introduced much further into the piece. These five themes go

through transformation at the genius hands of Liszt creating this repertory landmark of

expression and drama.


4/5

1853

The immediate standout of the Brahms Sonata in F minor is its size. Five movements was

not a normal procedure in composing a piano sonata but it does serve well to justly

intimidate immature pianists from taking on the piece. Like all music of Brahms, this

sonata requires finesse and aggressiveness to execute. His music may seem bipolar at

times, however the overall unity he achieves in larger works is quite settling. This Sonata

has a bombastic beginning with brief blasts of dotted rhythms that span a wide range, it is

then complemented by a very lyrical second theme. The first movement is in the

traditional sonata-allegro form. The second movement is slow and borrows the secondtheme of the first movement. A scherzo follows with energy in the same manner as the

first theme of the first movement, as is the trio like the second theme. Before the final

movement exists an intermezzo and is an unexpected element to the piano sonata.

Though Brahms had great success with this type of character piece and the five

movement structure had gained acceptance in orchestral foundations, the improvisational

forth movement may not have been necessary considering its theme was already

introduced in the second movement, however it does balance the overall momentum of

the sonata. The final movement is in ternary form with a coda. It's expressive vibe and

variable energy level seems to be the offspring of the previous movements. The unity

throughout the sonata is incredibly satisfying and no part seems random or redundant.


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Text referenced: Gordon, A History of Keyboard Literature

the romantic sonata

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