{|align="right" width=250px | |- | |} Sonata (; Italian: pl., ''Sonate'' ; from Latin and Italian: ''sonare'', "to sound"), in music, literally means a piece ''played'' as opposed to a cantata (Latin and Italian ''cantare'', "to sing"), a piece ''sung''. The term, being vague, naturally evolved through the history of music, designating a variety of forms prior to the Classical era. The term took on increasing importance in the Classical period, and by the early 19th century the word 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.

Usage of ''sonata''

In the Baroque, the term "sonata" was applied to a variety of works for solo instrument such as keyboard or violin, and for groups of instruments. In the transition from the Baroque to the Classical period, the term ''sonata'' underwent a change in usage, coming to mean a chamber-music genre for either a solo instrument (usually a keyboard), or a solo melody instrument with piano. Increasingly after 1800, the term applied to a form of large-scale musical argument, and it was generally used in this sense in musicology and musical analysis. Most of the time if some more specific usage was meant, then the particular body of work would be noted: for example the ''sonatas of Beethoven'' would mean the works specifically labeled ''sonata'', whereas ''Beethoven sonata form'' would apply to all of his large-scale instrumental works, whether concert or chamber. In the 20th century, sonatas in this sense would continue to be composed by influential and famous composers, though many works which did not meet the strict criterion of "sonata" in the formal sense would also be created and performed. The term sonatina, literally "small sonata", is often used for a short or technically easy sonata.

Instrumentation

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 together with a keyboard instrument. In the late Baroque and early Classical period, a work with instrument and written-out keyboard part was referred to as having an obbligato keyboard part, in order to distinguish this from use of an instrument or instruments as continuo, though this fell out of usage by the early 19th century. Beginning in the early 19th century, works were termed ''sonata'' if, according to the understanding of that time, they were part of the genre, even if they were not designated ''sonata'' when originally published, or by the composer. A related term at the time was "Fantasia" (Italian), "Fantaisie" (French), ''Phantasie'' (German), or ''Fantasy'' (English), which was applied to movements or works which had a much freer form than the Sonata (for example Schubert's ''Wanderer Fantasy'').

In the Classical period and afterwards, sonatas for piano solo were the most common genre of sonata, with sonatas for violin and piano or cello and piano being next. However, sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments, and for other instruments with piano.

Brief history of the usage of sonata

The Baroque sonata

In 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 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, according to Brossard (Newman 1972a, 23–24).

The sonata da chiesa, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile slow movement, and 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 Johann Sebastian Bach and George Frideric Handel, when it became the essential sonata and persisted as a tradition of Italian violin music – even into the early 19th century, in the works of Boccherini.

The sonata da camera consisted almost entirely of idealized dance-tunes, but by the time of Bach and Handel such a composition drew apart from the sonata, and came to be called a ''suite'', a ''partita'', an ''ordre'', or, when it had a prelude in the form of a French opera-overture, an ''overture''. On the other hand, the features of ''sonata da chiesa'' and ''sonata da camera'' then tended to be freely intermixed. Bach is also cited as being among the first composers to have the keyboard and solo instrument share a melodic line, whereas previously most sonatas for keyboard and instrument had kept the melody exclusively in the solo instrument. Although nearly half of Bach's 1,100 surviving compositions, arrangements, and transcriptions are instrumental works, only about 4% are sonatas (Newman 1972a, 266).

The term ''sonata'' 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 the sections. Many of the sonatas were composed in pairs, one being in the major and the other in the parallel minor. They are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of their time. They are admired for their great variety and invention.

The genre—particularly for solo instruments with just the continuo or ripieno—eventually influenced the solo movements of suites or concerti that occurred between movements with the full orchestra playing, for example in the Brandenburg Concerti of Bach. Both the solo and trio sonatas of Vivaldi show parallels with the concerti he was writing at the same time. Vivaldi composed over 70 sonatas, the great majority of which are of the solo type; most of the rest are trio sonatas, and a very small number are of the multivoice type (Newman 1972a, 169–70).

The sonatas of Domenico Paradies are mild and elongated works of this type, with a graceful and melodious little second movement included. The manuscript on which Longo bases his edition of Scarlatti frequently shows a similar juxtaposition of movements, though without any definite indication of their connection. The style is still traceable in the sonatas of the later classics, whenever a first movement is in a uniform rush of rapid motion, as in Mozart's violin sonata in F (K. 377), and in several of Clementi's best works.

The sonata in the Classical period

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 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 the 1770s. Haydn labels his first piano sonata as such in 1771, after which the term ''divertimento'' is used very 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 the most common layout of movements was:

# Allegro, which at the time was understood to mean not only a tempo, but also some degree of "working out", or development, of the theme. (See Charles Rosen's ''The Classical Style'', and his ''Sonata Forms''.) # A middle movement which was, most frequently, a slow movement: an Andante, an Adagio, or a Largo; or, less frequently, a Minuet or Theme and Variations form. # A closing movement was generally an Allegro or a Presto, often labeled ''Finale''. The form was often a Rondo or Minuet.

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, 7 are in two movements, 35 are in three movements, and 3 are in four movements; and there are several in three or four movements whose authenticity 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 the Classical period: Beethoven's opus 102 pair has a two-movement C major sonata and a three-movement D major sonata.

The four-movement layout was by this point standard for the string quartet, and overwhelmingly the most common for the symphony. The usual order of the four movements was:

# An allegro, which by this point was in what is called sonata form, complete with exposition, development, and recapitulation. # A slow movement, an Andante, Adagio or Largo. # A dance movement, frequently Minuet and trio or – especially later in the classical period – a Scherzo and trio. # A finale in faster tempo, often in a sonata–rondo form.

This four-movement layout came to be considered the standard for a sonata, and works without four movements, or with more than four, were increasingly felt to be exceptions; they were labelled as having movements "omitted," or had "extra" movements. Movements when they appeared out of this order 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 and violin and piano, forming a large body of music which would over time increasingly be thought essential for any serious instrumentalist to master.

The sonata in the Romantic period

In the early 19th century conservatories of music were established, leading to a codification of the practice of the Classical period. In this setting, our 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. Carl Czerny declared that he had invented the idea of sonata form, and music theorists began to write of the sonata as an ideal in music. From this point forward, the word ''sonata'' in music theory as often labels the abstract musical form as well as much 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'', and by others as the ''sonata principle''.

Among works expressly labeled ''sonata'', some of the most famous were composed in this era. Among piano sonatas alone, 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 the early 19th century the sonata form was rigorously defined, from a combination of previous practice and the works of important Classical composers, particularly Haydn, Mozart, Beethoven, but composers such as Clementi also. Works not explicitly labeled ''sonata'' were nevertheless felt to be an expression of the same governing structural practice. Because the word became definitively attached to an entire concept of musical layout, the differences in Classical practice began to be seen as important to classify and explain. 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 the symphony in four. Many thought that the four movement form was the superior layout. The concerto form was thought to be Italianate, while the four-movement form's predominance was ascribed to Haydn, and was considered German.

The importance of the sonata in the clash between Brahmsians and Wagnerians is also of note. Brahms represented, to his advocates, adherence to the form as it was strictly construed, while Wagner and Liszt claimed to have transcended the Procrustean nature of its outline. For example Ernest Newman wrote, in the essay "Brahms and the Serpent":

:That, perhaps, will be the ideal of the instrumental music of the future; the way to it, indeed, seems at last to be opening out before modern composers in proportion as they discard the last tiresome vestiges of sonata form. This, from being what it was originally, the natural mode of expression of a certain eighteenth century way of thinking in music, became in the nineteenth century a drag upon both individual thinking and the free unfolding of the inner vital force of an idea, and is now simply a shop device by which a bad composer may persuade himself and the innocent reader of textbooks that he is a good one. (Newman 1958, 51)

This view, that the sonata is truly only at home in the Classical style, and had become a road block to later musical development, is one that has been held at various times by composers and musicologists, including recently by Charles Rosen. In this view the sonata called for no explicit analysis in Haydn, Mozart, and Beethoven's era, in the same sense that Bach "knew" what a fugue was and how to compose one, whereas later composers were bound by an "academic" sense of form that was not well suited to the Romantic era's more frequent and more rapid modulations.

The sonata after the Romantic period

The sonata was closely tied in the Romantic period to tonal harmony and practice. Even before the demise of this practice, large-scale works increasingly deviated from the four-movement layout that had been considered standard for almost a century, and the internal structure of movements began to alter as well. The "sonata idea," along with the term ''sonata'' itself, continued to be central to musical analysis, and a strong influence on composers, both in large-scale works and in chamber music. The role of the sonata as an extremely important form of extended musical argument would inspire composers such as Hindemith, Prokofiev, Shostakovich to compose in sonata form, and works with traditional sonata structures continue to be composed and performed.

The piano sonatas of Scriabin began from standard forms of the late Romantic period, but progressively abandoned the formal markers that had been taught, and were usually composed as single-movement works.

Charles Ives's massive Concord Sonata (1920) for piano bore little resemblance to the traditional Sonata. It had four movements (though not with the usual tempos), very few barlines, and the tonality, where present, is fleeting or often compounded with polytonality. It even contained optional (and very minor) parts for viola and flute.

Still later, Pierre Boulez would compose three sonatas in the early 1950s, which, while they were neither tonal nor laid out in the standard four-movement form, were intended to have the same significance as sonatas. Elliott Carter began his transition from neo-classical composer to avant-garde with his Cello Sonata (1948).

The sonata in scholarship and musicology

The sonata idea or principle

Research into 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 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; and 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 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 the loss of the continuo (Rosen 1997, 196) and the playing of all movements of a work straight through, without "mechanical" repeats; the shift away from the idea that each movement should express one dominant emotion (see Affekt), to a notion of accommodating contrasting themes and sections in an integrated whole; the move from a polyphonic mode of composition to a homophonic mode; changes in the availability of instruments, and new technical developments in instruments; the obsolescence of straightforward binary organization of movements; the rise of more dance rhythms; and changes in patronage and presentation.

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" (Sadie 1988, ).

The sonata idea has been thoroughly explored by William Newman in his monumental three-volume work ''Sonata in 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. He notes that according to his research, theorists had generally shown "a hazy recognition of 'sonata form' during the Classical Era and up to the late 1830s" and places particular emphasis on Reicha's 1826 work describing the "fully developed binary form", for its fixing of key relationships, Czerny's 1837 note in the preface to his Opus 600, and Adolf Bernhard Marx, who in 1845 wrote a long treatise on sonata form. Up until this point, Newman argues, the definitions available were quite imprecise, requiring only instrumental character and contrasting character of movements.

William Newman also notes, however, that these codifications were in response to a growing understanding that the 18th century did have a formal organization of music. Before those publications of Reicha, Czerny, or Marx, there are references to the "customary sonata form", and in particular to the organization of the first movement of sonatas and related works. He documents the evolution of sonata analysis as well, showing that early critical works on sonatas, with some very notable exceptions, dealt with structural and technical details only loosely. Instead, many important works belonging to the sonata genre, or in sonata form, were not analyzed comprehensively in terms of their thematic and harmonic resources until the 20th century.

20th century theory

Two of the most important theorists in European musicology of the 20th century, Heinrich Schenker and Arnold Schoenberg, both had ideas of central importance for the analysis and general understanding of the sonata. Their ideas were extremely rigorous, and placed tremendous emphasis on the long range influence of tonal materials. Both advanced theories of analysis of works which would be adopted by later theorists. While the two men disagreed with each other, their ideas have often been used in combination.

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 a process known as ''interruption'' (Schenker 1979, 1:134). Arnold Schoenberg advanced the theory of ''monotonality'', according to which a single work should be played as if in one key, even if movements were in different keys, and that the capable composer would reference everything in a work to a single tonic triad.

For Schenker, tonal function was the essential defining characteristic of comprehensible structure in music, and his definition of the sonata form rested, not on themes groups or sections, but on the basic interplay between the different "layers" of a composition. For Schoenberg, tonality was not essential to comprehensibility, but he accorded similar importance to the structural role of notes, in "explaining" the relationships of chords and counterpoint in musical structure. Both theorists held that tonality, and hence sonata structure in tonal form, is essentially hierarchical: what is immediately audible is subordinate to large-scale movements of harmony. They argued that transient chords and events are less significant than movement between certain crucial underlying chords.

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 a central role today in music theory, and is an essential part of the theory of sonata structure as taught in most music schools.

Famous sonatas

''For a more comprehensive list of sonatas, see List of sonatas.

Baroque (ca 1600 – ca 1760)

Johann Sebastian Bach

*Three Sonatas for solo violin

Giuseppe Tartini

*Devil's Trill Sonata

Classical (ca 1760 – ca 1830)

Ludwig van Beethoven

* Piano Sonata No. 8 "Pathétique"

* Piano Sonata No. 14 "Moonlight"

* Piano Sonata No. 17 "Tempest"

* Piano Sonata No. 21 "Waldstein"

* Piano Sonata No. 23 "Appassionata"

* Piano Sonata No. 29 "Hammerklavier"

* Violin Sonata No. 5 "Spring"

* Violin Sonata No. 9 "Kreutzer"

* Cello Sonata No. 1 in F Major Op. 5

* Cello Sonata No. 2 in G Minor Op. 5

* Cello Sonata No. 3 in A Major Op. 69

Wolfgang Amadeus Mozart

* Piano Sonata No. 8 in A Minor (K. 310)

* Piano Sonata No. 11 in A Major (K. 331/300i)

* Piano Sonata No. 12 in F Major (K. 332)

* Piano Sonata No. 13 in B-flat Major (K. 333)

* Piano Sonata No. 14 in C Minor (K. 457)

* Piano Sonata No. 15 in F Major (K. 533/494)

* Piano Sonata No. 16 in C Major (K. 545)

* Sonata in A for Violin and Keyboard (K. 526)

Romantic (ca 1830 – ca 1900)

Johannes Brahms

* Cello Sonata No. 1

* Clarinet Sonata No.1 and No.2

* Violin Sonata No. 1

* Violin Sonata No. 2

* Violin Sonata No. 3

Frédéric Chopin

* Piano Sonata No. 2 in B♭ Minor

* Piano Sonata No. 3 in B Minor

Edvard Grieg

* Three sonatas for Violin and Piano

Franz Liszt

* Sonata after a Reading of Dante (''Fantasia Quasi Sonata'')

* Sonata in B minor

Robert Schumann

* Violin Sonata No 1 in A minor opus 105

Johannes Brahms, Albert Dietrich, and Robert Schumann

* 'F-A-E' Sonata

20th Century (including contemporary) (ca 1910–2011)

Samuel Barber

* Cello Sonata Op. 6

* Piano Sonata Op. 26 (1949)

Jean Barraqué

*Piano Sonata (1950–52)

Béla Bartók

* Sonata for Two Pianos and Percussion

* Sonata for Piano (1926)

* Sonata for Solo Violin

* Sonata No. 1 for Violin and Piano

* Sonata No. 2 for Violin and Piano

Leonard Bernstein

* Sonata for Clarinet and Piano

Pierre Boulez

* Piano Sonata No. 1

* Piano Sonata No. 2

* Piano Sonata No. 3

John Cage

* Sonata for Unaccompanied Clarinet

* Sonatas and Interludes for Prepared Piano (1946–48)

Brian Ferneyhough

* Sonatas for String Quartet (1967)

Alberto Ginastera

* Piano Sonata No. 1 (1952)

* Piano Sonata No. 2 (1981)

* Piano Sonata No. 3 (1982)

* Sonata for Cello and Piano (1979)

* Sonata for Guitar (1976, rev. 1981)

Karel Goeyvaerts

*Sonata for Two Pianos, Op. 1

Hans Werner Henze

* ''Royal Winter Music'', Guitar Sonatas No. 1 and 2

György Ligeti

*Sonata, for solo cello (1948/1953)

Charles Ives

* Piano Sonata No. 2, Concord, Mass., 1840-60

Leoš Janáček

* 1. X. 1905 (Janáček's Sonata for Piano)

Ben Johnston

* Sonata for Microtonal Piano

Sergei Prokofiev

* Violin Sonata No. 1 in F Minor

* Violin Sonata No. 2 in D Major

Alexander Scriabin

* Piano Sonata No. 2 (Sonata-Fantasy)

* Piano Sonata No. 3

* Piano Sonata No. 4

* Piano Sonata No. 5

* Piano Sonata No. 6

* Piano Sonata No. 7 "White Mass"

* Piano Sonata No. 8

* Piano Sonata No. 9 "Black Mass"

* Piano Sonata No. 10

Igor Stravinsky

Sonata for Piano in F minor (1903–04)

* Sonata for Piano (1924)

* Sonata for Two Pianos (1943)

References

Mangsen, Sandra, John Irving, John Rink, and Paul Griffiths. 2001. "Sonata". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

Newman, Ernest. 1958. ''More Essays from the World of Music: Essays from the London Sunday Times'', selected by Felix Aprahamian. London: John Calder; New York: Coward-McCann, Inc.

Newman, William S. 1966. ''The Sonata in the Baroque Era'', revised ed. Chapel Hill: The University of North Carolina Press. LCCN 66-19475.

Newman, William S. 1972a. ''The Sonata in the Baroque Era'', third edition. A History of the Sonata Idea 1. New York: W. W. Norton. ISBN 0-393-00622-0.

Newman, William S. 1972b. ''The Sonata in the Classic Era: The Second Volume of a History of the Sonata Idea'', second edition. A History of the Sonata Idea 2; The Norton Library N623. New York: W. W. Norton. ISBN 0-393-00623-9.

Newman, William S. 1983a. ''The Sonata in the Baroque Era'', fourth edition. A History of the Sonata Idea 1. New York: W. W. Norton. ISBN 0-393-95275-4.

Newman, William S. 1983b. ''The Sonata in the Classic Era'', third edition. A History of the Sonata Idea 2. New York: W. W. Norton. ISBN 0-393-95286-X.

Newman, William S. 1983c. ''The Sonata since Beethoven'', third edition. A History of the Sonata Idea 3. New York: W. W. Norton. ISBN 0-393-95290-8.

Newman, William S. 1988. ''Beethoven on Beethoven: Playing His Piano Music His Way''. New York: W. W. Norton. ISBN 0-393-02538-1 (cloth) ISBN 0-393-30719-0 (pbk).

Rosen, Charles. 1988. ''Sonata Forms'', revised edition. New York: W. W. Norton. ISBN 0-393-02658-2

Rosen, Charles. 1997. ''The Classical Style: Haydn, Mozart, Beethoven'', expanded edition, with CD recording. New York: W. W. Norton. ISBN 0-393-31712-9.

Rosen, Charles. 1995. ''The Romantic Generation''. Cambridge: Harvard University Press. ISBN 0-674-77933-9 ISBN 0-674-77934-7 (pbk).

Sadie, Stanley (ed). 1988. ''The Grove Concise Dictionary of Music''. London: Macmillan Publishers. ISBN 0333432363 (cloth); ISBN 0393026205 (pbk).

Salzer, Felix ''Structural Hearing: Tonal Coherence in Music''. 2 vols. New York: Dover Publications.

Schenker, Heinrich. 1979. ''Free Composition (Der freie Satz): Volume III of New Musical Theories and Fantasies'', edited by Oswald Jonas, translated by Ernst Oster. 2 vols. New York: Longman. ISBN 0582280737.

Schoenberg, Arnold. 1966. ''Harmonielehre'', 7th edition. Vienna: Universal-Edition. ISBN 370240029X.

See also

History of sonata form

Sonata da camera

Sonata form

Sonata rondo form

Sonatina

Trio sonata

Bassoon sonata

Cello sonata

Clarinet sonata

Flute sonata

Piano sonata

Viola sonata

Violin sonata

Category:Western classical music styles

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Wilhelm Walter Friedrich Kempff (25 November 1895 – 23 May 1991) was a German pianist and composer. Although his repertory included Bach, Liszt, Chopin, Schumann, and Brahms, Kempff was particularly well known for his interpretations of the music of Ludwig van Beethoven and Franz Schubert, both of whose complete sonatas he also recorded. He is considered to have been one of the great pianists of the 20th century.

Early life

Kempff was born in Jüterbog, Brandenburg, in 1895. He grew up in nearby Potsdam where his father was a royal music director and organist at St. Nicolai Church. His grandfather was also an organist and his brother Georg became director of church music at the University of Erlangen. Kempff studied music at first at the Berlin Hochschule für Musik at the age of nine after receiving lessons from his father at a younger age. Whilst there he studied composition with Robert Kahn and piano with Karl Heinrich Barth (with whom Arthur Rubinstein also studied). In 1914 Kempff moved on to study at the Viktoria gymnasium in Potsdam before returning to Berlin to finish his training.

As a pianist

In 1917, Kempff made his first major recital, consisting of predominantly major works, including Beethoven's Hammerklavier Sonata and Brahms Variations on a theme of Paganini. Kempff toured very widely in Europe and much of the rest of the world. Between 1936 and 1979 he performed ten times in Japan (a small Japanese island was named ''Kenpu-san'' in his honor). Kempff made his first London appearance in 1951 and in New York in 1964. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson's Disease). He died in Positano, Italy at the age of 95, five years after his wife, whom he had married in 1926. They are survived by seven children.

Wilhelm Kempff recorded over a period of some sixty years. His recorded legacy includes works of Schumann, Brahms, Schubert, Mozart, Bach, Liszt, Chopin and particularly, of Beethoven.

He was among the first to record the complete sonatas of Franz Schubert, long before these works became popular. He also recorded two sets of the complete Beethoven sonatas (and one early, almost complete set on shellac 1926-1945), one in mono (1951–1956) and the other in stereo (1964–1965). He recorded the complete Beethoven piano concertos twice as well, both with the Berlin Philharmonic; the first from the early 1950s in mono with Paul van Kempen, and the later in stereo from the early 1960s with Ferdinand Leitner. Kempff also recorded chamber music with Yehudi Menuhin, Pierre Fournier, Wolfgang Schneiderhan, Paul Grummer, and Henryk Szeryng, among others.

The pianist Alfred Brendel has written that Kempff "played on impulse... it depended on whether the right breeze, as with an aeolian harp, was blowing. You then would take something home that you never heard elsewhere." (in Brendel's book, ''The Veil of Order''). He regards Kempff as the "most rhythmical" of his colleagues. Brendel helped choose the selections for Phillip's "Great Pianists of the 20th Century" issue of Kempff recordings, and wrote in the notes that he regarded Kempff "achieves things that are beyond him" in his "unsurpassable" recording of Liszt's first Legende, "St. Francis Preaching to the Birds." When pianist Artur Schnabel undertook his pioneering complete recording of the Beethoven sonatas in the 1930s, he told EMI that if he didn't complete the cycle, they should have Kempff complete the remainder - even though the two pianists took noticeably different approaches to the composer (for example, Schnabel preferred extremely fast or slow tempos, while Kempff preferred moderate ones). Later, when Kempff was in Finland, the composer Jean Sibelius asked him to play the slow movement of Beethoven's 29th Sonata, the Hammerklavier; after Kempff finished, Sibelius told him, "You did not play that as a pianist but rather as a human being."

Technique

As a performer he stressed lyricism, charm, and spontaneity in music, particularly effective in intimate pieces or passages. He always strove for a singing, lyrical quality. He avoided extreme tempos and display for its own sake. He left recordings of most of his repertory, including the complete sonatas of Beethoven and Schubert. He performed to an advanced age, often concertizing past his eightieth birthday. He appeared in 1979 with the Berlin Philharmonic, marking an association with them that spanned over sixty years.

As a teacher

In 1924–1929 Wilhelm Kempff took over the direction of the Stuttgart College of Music as a successor of Max Pauer. In 1931 he was co-founder of the Summer courses at Marmorpalais Potsdam. In 1957 Wilhelm Kempff founded “Fondazione Orfeo” (today: Kempff Kulturstiftung) in the south-Italian city Positano and held his first Beethoven interpretation masterclass at Casa Orfeo, which Kempff had built especially for this reason. Until 1982 he continued teaching there once a year. After his death in 1991, Gerhard Oppitz taught the courses from 1992-1994 until John O'Conor continued till today. Oppitz and O’Conor had both been outstanding participants of Kempff's masterclasses and were personally closely connected with Wilhelm Kempff. Other noted pianists to have studied with Kempff include Jörg Demus, Norman Shetler, Mitsuko Uchida, Peter Schmalfuss, Idil Biret and Carmen Piazzini.

Composition

A lesser-known activity of Kempff was composing. He composed for almost every genre and used his own cadenzas for Beethoven's Piano Concertos 1-4. His student Idil Biret has recorded a CD of his piano works. His second symphony premiered in 1929 at the Leipzig Gewandhaus by Wilhelm Furtwängler. He also prepared a number of Bach transcriptions, including the Siciliano from the Flute Sonata in E major, that have been recorded by Kempff and others.

Recordings

Beethoven: Piano Sonatas Nos. 1, 12, 19, and 20 (DG LP 138 935; released 1965; recipient of Grand Prix du Disque)

Autobiography

Kempff, Wilhelm. ''Unter dem Zimbelstern: Jugenderinnerungen eines Pianisten'' ["Under the Cymbal Star: The Development of a Musician" (1951)]. Laaber: Laaber Verlag, 1978.

References

External links

Obituary for Wilhelm Kempff, by B. John Zavrel

A discussion of Kempff's work, with a special emphasis on Beethoven, by Christopher Breunig, in Jeunesses Musicales

Wilhelm Kempff discography by Frank Forman

Video recordings of Kempff performances, youtube.com

Wilhelm Kempff playing the 3rd movement of Beethoven's Moonlight Sonata.

Kempff home page, in German

Category:1895 births Category:1991 deaths Category:German classical pianists Category:German composers Category:Litteris et Artibus recipients Category:People from the Province of Brandenburg Category:People with Parkinson's disease Category:Members of the Bavarian Maximilian Order for Science and Art

be:Вільгельм Кемпф ca:Wilhelm Kempff de:Wilhelm Kempff es:Wilhelm Kempff eo:Wilhelm Kempff fr:Wilhelm Kempff ko:빌헬름 캠프 it:Wilhelm Kempff he:וילהלם קמפף nl:Wilhelm Kempff ja:ヴィルヘルム・ケンプ pl:Wilhelm Kempff pt:Wilhelm Kempff ro:Wilhelm Kempff ru:Кемпф, Вильгельм fi:Wilhelm Kempff sv:Wilhelm Kempff tr:Wilhelm Kempff zh:威廉·肯普夫

Coordinates	39°56′″N175°03′″N
name	Sonata Arctica
landscape	Yes
alias	Tricky Beans, Tricky Means,
background	group_or_band
origin	Kemi, Finland
genre	Power metal, progressive metal
years active	1996−present
label	Spinefarm, Nuclear Blast
website
current members	Tony KakkoElias ViljanenTommy PortimoMarko PaasikoskiHenrik Klingenberg
past members	Jani LiimatainenMikko HärkinJanne KivilahtiPentti Peura }}

Sonata Arctica are a Finnish power metal band from the town of Kemi, originally assembled in 1995. Their later works (most notably ''The Days of Grays'', ''Unia'' and a few tracks on ''Reckoning Night'') contain several elements typical of progressive metal.

Biography

Formation and early years (1996–1999)

The band was founded by Marko Paasikoski, Jani Liimatainen and Tommy Portimo in Kemi at the end of 1995 (Tony Kakko and Pentti Peura joined in early 1996). Originally named ''Tricky Beans'', they played hard rock rather than the power metal with which they grew to fame. During their early career, they recorded three demos which were never sent to any recording label — ''Friend 'till the End'', ''Agre Pamppers'' and ''PeaceMaker''.

In 1997 the band changed their name to ''Tricky Means'', and from that point until 1999 their style was thoroughly worked upon and ultimately was drastically changed, acquiring strong emphasis on the keyboard melodies and relying on an easily distinguishable rhythm line maintained both by the bass and the guitar. Vocalist Tony Kakko developed a clean singing style which relies both on falsetto and tenor voices and second guitarist Marko Paasikoski left the band. Kakko has stated that the change of sound was influenced by fellow Finnish power metal band Stratovarius.

In 1999 (after they changed their name to ''Sonata Arctica''), the band recorded a demo entitled ''FullMoon'' in Kemi's Tico Tico Studios, which was their first real metal recording. The line-up consisted of vocalist and keyboardist Tony Kakko, guitarist Jani Liimatainen, bassist Janne Kivilahti and drummer Tommy Portimo. The demo was sent to Spinefarm Records by a friend of the band and a recording deal soon followed.

''Ecliptica'' and ''Silence'' (1999–2002)

Later that year, Sonata Arctica's first single, entitled ''UnOpened'' was released in Finland. It entered the Finnish Top 20 sales chart on the week of its release and, soon after, the band had closed deals with labels from around the world, prior to the release of their debut album. The debut ''Ecliptica'' arrived by the end of 1999 and had a worldwide release, obtaining rave critics from the specialized press.

Tony Kakko then decided to focus on singing and began seeking a new keyboard player for Sonata Arctica; Mikko Härkin (ex-Kenziner) was eventually invited to fill the position.

In the beginning of 2000, Sonata Arctica was chosen to support the well known power metal band Stratovarius throughout their European tour. Marko Paasikoski returned to the band to play bass in the wake of Janne Kivilahti's departure after the tour.

From late 2000 to late 2001, the band worked on composing and recording their next album — ''Silence'' — which was released in June 2001. An extensive tour followed, which included concerts throughout Europe (together with Gamma Ray) and Japan. In 2002 Sonata Arctica made its first incursion to America, putting on shows in Brazil and Chile. According to some of the musicians from the band, it was one of their best tours to date — the other being the Japanese tour from 2003. A live album entitled ''Songs of Silence'' was also released that year, consisting of gigs from their tour in Japan. By the end of 2002, Mikko Härkin left the band due to personal reasons.

''Winterheart's Guild'' (2003)

Their third album — ''Winterheart's Guild'' — was recorded with the help of the seasoned keyboard player Jens Johansson from Stratovarius who recorded the keyboard solos, while Kakko took care of the basics. The album was released in 2003.

In the search for another keyboardist, the band received many applications and two of them were invited for auditions. Since they were well aware of the candidates' ability, the band decided to pick the new member based on personality. To this end they spent a night drinking with each of the potentials in order to find out which one would fit best into the band's personality and mentality. Henrik Klingenberg was eventually chosen and joined the band in time to take part in the tour that followed the release of ''Winterheart's Guild''. Most of the concerts on the tour were sold out.

With the end of their contract with Spinefarm Records, the band received invitations from most European recording labels, and eventually opted for Nuclear Blast.

''Reckoning Night'' (2004–2005)

In early 2004, the band was chosen as the opener for Iron Maiden's Japanese tour. Additionally, Tommy Portimo became a father; his wife gave birth to a baby girl in March. ''Reckoning Night'' was recorded in three months and released in October. Both the single and the EP of this release remained on the top of the Finnish charts simultaneously for over six weeks. A promotional tour was to follow, but Sonata Arctica was invited by the popular Nightwish to join their European tour, and thus made a change of plans. The concerts that followed were played for audiences of over ten thousand people. Fans took notice that Reckoning Night was more progressive than previous Sonata Arctica albums. At that time in interviews, Tony Kakko and Henrik Klingenberg began to claim that they saw themselves as more so just a rock band than Power Metal. Another notable feature about this album was that Henrik Klingenberg introduced use of the organ (music) to the band.

In early 2005, Nightwish invited the band to open the concerts of their North American tour. This tour eventually got cancelled, but the members of Sonata Arctica opted to still make a short tour, playing concerts in Canada and the USA. On October 21, 2005, Sonata Arctica opened for Nightwish at the Hartwall Areena, Helsinki.

''For the Sake of Revenge'' and Winterheart's Guild video game (2006)

In 2006, the band released a live CD and DVD entitled ''For the Sake of Revenge'', which was recorded in Tokyo in February 2005. Then, Spinefarm Records released a compilation album in order to get the most out of their contract with the band, since Sonata Arctica changed their recording label. The compilation is entitled ''The End of This Chapter'' and was released in Japan in August 2005 and in Europe on May 2006.

A computer video game was also planned, based on Sonata Arctica characters and music. The name of the game was going to be ''Winterheart's Guild'', like their album. The game was to be developed by Zelian Games, and was to be an Action-RPG in a style between Fallout and Diablo. The game was cancelled for unannounced reasons but a demo was shown at the ''Leipzig video game conference'' in 2006, featuring Henrik Klingenberg as the playable character. As of December 2006, the band began recording their fifth studio album.

''Unia'' (2007–2008)

On May 25, 2007, ''Unia'' was released. The album's first single, "Paid In Full", was released on April 27, 2007. Interestingly, the cover for ''Unia'' features a barely perceptible image of a person's hair and eyes looking out through a crack in the background in the lower right-hand corner. It is likely an allusion to the person in the song "Caleb" on ''Unia''.

On August 6, 2007, the band announced on their website that guitarist Jani Liimatainen had been asked to leave the band due to problems related to his conscription. He was replaced by Elias Viljanen who had already filled in for him in the band's Finnish and Japanese shows during the spring and summer.

In October 2007 Sonata Arctica headlined the ProgPower USA VIII. Later the band supported Nightwish across their 2008 tour of United States and Canada and headlined at the shows that Nightwish cancelled due to Anette Olzon's sudden severe sickness.

In 2008 Tony Kakko collaborated with English Singer/Songwriter and arranger Mark Deeks to perform choral arrangements of some of the band's works at a special one off concert at The Sage Centre in Gateshead.

It was announced on September 4, 2008 that the band's first two albums would be re-released by Spinefarm UK on October 6.

''The Days of Grays'' (Since 2009)

::''Main Article: The Days of Grays'' Sonata Arctica's latest album was released on September 16, 2009 in Finland and September 22 in the USA. Henrik stated that the new album will be in the same vein as ''Unia'', but not as complex and darker. Singles from this album include "Flag in the Ground" and "The Last Amazing Grays". On August 28, 2009, the music video of "Flag In The Ground" was released to the web. The limited 2CD European edition of the album featured many of the album tracks with all instruments performed by a symphony orchestra.

The band also recently toured with DragonForce for the third U.S. leg of the Ultra Beatdown tour, and will be touring the US "two or three times," as well as doing a European tour and Asian tour covering Indonesia, Taiwan, China, and Japan. In early 2010 they engaged on an Australian tour with Ensiferum and Melbourne band Vanishing Point.

In April 2010, Sonata Arctica embarked on their USA and Canada Headlining tour for The Days of Grays. In October they headlined in Chile in support of the same album.

Future plans

In January 2011, the band hinted in an online interview for Metaleater magazine that they are currently writing songs for a new album while on their current tour. Elias is quoted as saying, "I've been working on some new riffs, quite dark. Tony's been stuck in his bed scratching notes about some girl and her 'Luna Lust'." Tommy states later, "We've just got back from Cozumel, we had a good time, had lots of beers, loads more sun and thought about putting a bit more Queen stuff back into the music again."

While playing in Sheffield (UK) Tony stated to the audience that they were in fact hoping to start recording the new album this autumn and have it available for purchase before summer 2012.

In April, the band recorded a live DVD in Oulu, Finland, due for release in late 2011.

Influences

In a 2007 interview with C.B.Liddell, Tony Kakko cited the English rock band Queen as his biggest musical influence. "A lot of people seem to mention a Queen influence in our music," he said. "Queen have always been the biggest band for me."

Members

Current

Tony Kakko

*Vocals (1996−present)

*Keyboards (1996–2001, 2003, 2007–present)

Elias Viljanen

*Guitars (2007−present)

*Backing vocals (2007−present)

Marko Paasikoski

*Bass guitar (2000−present)

*Backing vocals (2000−present)

*Guitars (1996–1997)

Tommy Portimo

*Drums (1996−present)

Henrik Klingenberg

*Keyboards/keytar (2002−present)

*Backing vocals (2002−present)

Former

Pentti Peura

*Bass guitar (1996−1998)

*Backing vocals (1996−1998)

Janne Kivilahti

*Bass guitar (1998−2000)

*Backing vocals (1998−2000)

Mikko Härkin

*Keyboards (2000−2002)

*Backing vocals (2000−2002)

Jani Liimatainen

*Guitars (1996−2007)

*Backing vocals (1996−2007)

Guest musicians

Raisa Aine − flute (on "Letter to Dana")

Nik Van-Eckmann − spoken passages (on "...of Silence", "The End of This Chapter", "Last Drop Falls" and "The Power of One" from ''Silence'' and "Don't Say a Word", "White Pearl, Black Oceans..." and "Wildfire" from ''Reckoning Night'')

Timo Kotipelto − vocals (on "False News Travel Fast")

Renay Gonzalez − spoken female passage (on "The End of This Chapter")

Jens Johansson − keyboard solos (on "The Cage", "Silver Tongue", "Victoria's Secret" and "Champagne Bath")

Peter Engberg − acoustic guitars, bouzouki, chromaharp, cavaquinho and Q-chord (on "They Follow", "Under Your Tree", "The Harvest", "It Won't Fade" and "Fly With the Black Swan")

Johanna Kurkela − female vocals (on "Deathaura" and "No Dream Can Heal a Broken Heart")

Discography

Studio albums:

''Ecliptica'' (1999)

''Silence'' (2001)

''Winterheart's Guild'' (2003)

''Reckoning Night'' (2004)

''Unia'' (2007)

''The Days of Grays'' (2009)

Cover songs

"Black Diamond" − Stratovarius (live, short clip in ''Stratovarius - Infinite Visions VHS/DVD'')

"Speed of Light" − Stratovarius (in the end of "False News Travel Fast" in ''Songs of Silence'')

"Fade to Black" − Metallica (''Victoria's Secret'', ''Takatalvi'')

"Wind Beneath My Wings" − Bette Midler (''Orientation'')

"Die With Your Boots On" − Iron Maiden (''Last Drop Falls'', ''Orientation'')

"World in My Eyes" − Depeche Mode (''Don't Say a Word'')

"Two Minds, One Soul" − Vanishing Point (''Don't Say a Word'')

"Still Loving You" − Scorpions (''Takatalvi'')

"I Want Out" − Helloween (''Takatalvi'')

"Out in the Fields" − Gary Moore (''Paid in Full'', ''Unia'')

"Silent Jealousy" − X Japan (live)

"Crash & Burn" − Yngwie Malmsteen (live)

"Excuse Me While I Kill Myself" − Sentenced (live)

"I Was Made for Lovin' You" − KISS (live)

"Smoke on the Water" − Deep Purple (live)

"Child in Time" - Deep Purple (live)

"Gaston y'a l'téléfon qui son" − Nino Ferrer (live)

"One" − Metallica (live)

"We Will Rock You" − Queen (live)

"No More Tears" − Ozzy Osbourne (live)

"Hava Nagila" ("The Cage"/"Vodka", "For the Sake of Revenge")

"Master of Puppets" − Metallica (live)

"The Trooper" − Iron Maiden (live)

"Cowboys From Hell" - Pantera (live, Jani Liimatainen's Young Guitar DVD and Into The Storm bootleg DVD)

"Metropolis" - Dream Theater" (live)

"Total Eclipse Of The Heart" - Bonnie Tyler" (live)

"Runaway" - Del Shannon (live)

"Hell Is Living Without You" - Alice Cooper (One For All, All For One)

References

External links

Sonata Arctica's official website

Sonata Arctica's official fanclub

Winterheart's Guild video game

Category:Finnish power metal musical groups Category:Finnish progressive metal musical groups Category:Finnish heavy metal musical groups Category:Musical groups established in 1996 Category:Musical quintets

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Coordinates	39°56′″N175°03′″N
name	Valentina Lisitsa
background	non_vocal_instrumentalist
birth name	Valentina Lisitsa
born	1973
origin	Kiev, Ukraine, USSR
instrument	Piano
genre	Classical
occupation	Classical Pianist
website	Official Website }}

Valentina Lisitsa ( ) is a Ukrainian-born classical pianist. Lisitsa resides in North Carolina in the USA. Her husband, Alexei Kuznetsoff, is also a pianist and her partner in a number of piano duets.

Biography

Lisitsa was born in Kiev, Ukraine, in 1973. She started playing the piano at the age of three, performing her first solo recital at the age of four. Despite her early disposition to music, her dream at that point was to become a professional chess player. Lisitsa attended the Lysenko music school for Gifted Children and, later, Kiev Conservatory, where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko. It was when Lisitsa met Kuznetsoff that she began to take music more seriously. In 1991 they won the first prize in The Murray Dranoff Two Piano Competition. In the same year, they moved to the United States to further their careers as concert pianists. Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995.

Lisitsa has performed in various venues around the world, including Carnegie Hall, Avery Fisher Hall, and the Musikverein. Recently, she has been the pianist in recital engagements collaborating with violinist Hilary Hahn. Her recording of the 4 sonatas for violin and piano by composer Charles Ives, made with Hahn, was released in October, 2011. Many of Lisitsa's performances, including Frédéric Chopin's Op. 10 and Op. 25 Etudes and Beethoven's ''Appassionata Sonata'', can be viewed on YouTube.

Lisitsa has recorded 6 CDs for Audiofon Records, including two solo CDs, the other two being duets with Alexei Kuznetsoff, a Gold CD for CiscoMusic label with cellist DeRosa, a duet recital on VAI label with violinist Ida Haendel, DVDs of Frédéric Chopin's 24 Etudes, Schubert-Liszt Schwanengesang, and her most recent DVD titled ''Black and Pink''.

Lisitsa was featured on the HORSE the band song "Rape Escape" from their 2009 album ''Desperate Living''.

References

External links

Valentina Lisitsa's website

Valentina Lisitsa's videos on YouTube

Review of Valentina Lisitsa's September 30, 2010 recital at George Fox University

Category:1973 births Category:Living people Category:Ukrainian classical pianists Category:People from Kiev Category:American musicians of Ukrainian descent Category:Kiev Conservatory alumni

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Coordinates	39°56′″N175°03′″N
season name	Frasier Season 3
bgcolor	#FF6600
dvd release date	May 25, 2005
country	United States
network	NBC
first aired	September 19, 1995
last aired	May 21, 1996
num episodes	24
prev season	2
next season	4 }}

The third season of ''Frasier'' originally aired between September 1995 and May 1996, beginning on September 19, 1995.

Reception

The season ranked 12th in the season ratings with an average viewership of 13 million making it the 7th highest ranking show on the network.

List of episodes

№

#

Title

Directed by

Written by

Original air date

References

* Category:1995 television seasons Category:1996 television seasons

it:Episodi di Frasier (terza stagione)