The Pianoforte Sonata Part 1

The Pianoforte Sonata.

by J.S. Shedlock.

PREFACE

This little volume is ent.i.tled "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 a.s.sistance 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 a.s.sociated 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 a.s.sociated 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_. That term appears first to have been used in contradistinction to _cantata_: the one was a piece _sounded_ (_suonata_, from _sonando_) by instruments; the other, one _sung_ by voices. The form of these early sonatas (as they appear in Giovanni Gabrieli's works towards the close of the sixteenth century) was vague; yet, in spite of light imitations, the basis was harmonic, rather than contrapuntal. They were among the first fruits of the Renaissance in Italy. But soon there came about a process of differentiation. Praetorius, in his _Syntagma music.u.m_, published at Wolfenb.u.t.tel in 1619, distinguishes between the _sonata_ and the _canzona_. Speaking generally, from the one seems to have come the sonata proper; from the other, the suite. During the whole of the eighteenth century there was a continual intercrossing of these two species; it is no easy matter, therefore, to trace the early stages of development of each separately.

Marpurg, in his description of various kinds of pieces in his _Clavierstucke_, published at Berlin in 1762, says: "Sonatas are pieces in three or four movements, marked merely _Allegro_, _Adagio_, _Presto_, etc., although in character they may be really an _Allemande_, _Courante_, and _Gigue_." Corelli, as will be mentioned later on, gave dance t.i.tles in addition to Allegro, Adagio, etc.

Marpurg also states that "when the middle movement is in slow time it is not always in the key of the first and last movements." This, again, shows intercrossing. The genuine suite consisted of several dance movements (Allemande, Courante, Sarabande, Gigue) all in the same key. But we find occasionally in suites, a Fugue or Fuguetta, or even an Aria or Adagio; and in name, at any rate, one dance movement has formed part of the sonata since the time of Emanuel Bach.

In 1611, Banchieri, an Olivetan monk, published at Venice his _L'Organo suonarino_, a work "useful and necessary to organists,"--thus runs the t.i.tle-page. At the end of the volume there are some pieces, vocal and instrumental (a Concerto for soprano or tenor, with organ, a Fantasia, Ricercata, etc.), among which are to be found two _sonatas_, the one ent.i.tled, "Prima Sonata, doppio soggietto," the other "Seconda Sonata, soggietto triplicato." They are written out in open score of four staves, with mezzo-soprano, alto, tenor, and ba.s.s clefs. To show how the sonatas of those days differed both in form and contents from the sonata of our century, the first of the above-mentioned is given in short score. It will, probably, remind readers of "the first (_i.e._ sonatas) that my (_i.e._ Dr. Burney) musical inquiries have discovered, viz., some sonatas by Francesco Turini, which consisted of only a single movement, in fugue and imitation throughout."

[Music ill.u.s.tration]

Turini was organist of Brescia Cathedral, and in 1624 published _Madrigali a una, due, tre voci, con alcune Sonate e a tre, Ven.

1624_. Between Turini, also Carlo Farina, who published violin sonatas at Dresden in 1628, and Corelli (_b._ 1653), who brought out his first work in 1683, one name of great importance is Giovanni Legrenzi.

In the eighth volume of Dr. Burney's musical extracts there are two sonatas, _a tre, a due violini e violone_, by Legrenzi (opera ottava, 1677). The first is in B flat. It commences with a movement in common time ent.i.tled _La Benivoglia_.

[Music ill.u.s.tration]

An Adagio in G minor (only six bars) is followed by an Allegro in D minor, six-eight time, closing on a major chord; then eight bars common time in B flat (no heading); and, finally, a Presto (three-four) commencing in G minor and closing in B flat. None of the movements is in binary form.

The 2nd Sonata, in D, has five short movements. No. 1 has an opening of thirty-seven bars in common time, fugato. There is a modulation in the ninth bar to the dominant, and, later on, a return to the opening theme and key; in the intervening s.p.a.ce, however, in spite of modulation, the princ.i.p.al key is not altogether avoided.

Sonatas of various kinds by Legrenzi appeared between 1655 and 1677.

Then there were the "Varii Fiori del Giardino Musicale ouero Sonate da Camera, etc.," of Gio. Maria Bononcini, father of Battista Bononcini, the famous rival of Handel, published at Bologna in 1669, and the sonatas of Gio. Battista Vitali (Bologna, 1677). Giambatista Ba.s.sani of Bologna, although his junior by birth, was the violin master of the great Corelli. His sonatas only appeared after those of his ill.u.s.trious pupil, yet may have been composed before. Of the twelve in Op. 5, most have many short movements; some, indeed, are so short as to be scarcely deserving of the name.

By the time of Arcangelo Corelli, who, as mentioned, published his first work (Op. 1, twelve sonatas for two violins and a ba.s.s) in 1683, sonatas answered to the definition given by Mattheson in his _Das neu eroffnete Orchester_ (1713), in which they are said to consist of alternate Adagio and Allegro. J.G. Walther, again, in his dictionary of music,[1] which appeared at Leipzig in 1732, describes a sonata as a "grave artistic composition for instruments, especially violins."

The idea of grouping movements was already in vogue in the sixteenth century. Morley in his _Plain and Easy Introduction to Practical Music_, printed in 1597, speaks of the desirableness of _alternating_ Pavans and Galliards, the one being "a kind of staid musick ordained for grave dancing," and the other "a lighter and more stirring kind of dancing." Contrast was obtained, too, not only by difference in the character, but also, in the measure of the music; the former was in common, the latter in triple time.

With regard to the grouping of movements, Corelli's sonatas show several varieties. The usual number, however, was four, and the order generally--slow, fast, slow, fast. Among the forty-eight (Op. 1, 2, 3, and 4, published 1685, 1690, 1694, and 1700 respectively) we find the majority in four movements, in the order given above[2]; of the twelve in Op. 3, no less than eleven have four movements, but--

No. 1 (in F) has Grave, Allegro, Vivace, Allegro.

No. 6 (in G), Vivace, Grave, Allegro, Allegro.

No. 10 (in A minor), Vivace, Allegro, Adagio, Allegro.

There are, however, eight sonatas consisting of _three movements_; and as this, a century later, became the normal number, we will give the list:--

Op. 1, No. 7 (in C) Allegro, Grave, Allegro.

(Middle movement begins in A minor, but ends in C.)

Op. 2, No. 2 (in D minor) Allemanda (Adagio) Corrente (Allegro), Giga (Allegro).

Op. 2, No. 6 (in G minor) Allemanda (Largo), Corrente, Giga.

Op. 2, No. 9 (F sharp minor) Allemanda (Largo).

Tempo di Sarabanda (Largo).

Giga (Allegro).

Op. 4, No. 8 (D minor) Preludio (Grave).

Allemanda (Allegro).

Sarabanda (Allegro).

Op. 4, No. 10 (G) Preludio[3] (Adagio) and Allegro.

Adagio and Grave (E minor).

Tempo di Gavotta (Allegro).

Op. 4, No. 11 (C minor) Preludio (Largo).

Corrente (Allegro).

Allemanda (Allegro).

Op. 4, No. 12 (B minor) Preludio (Largo).

Allemanda (Presto).

Giga (Allegro).

It is interesting to note that each of the two sonatas (Op. 1, No. 7, and Op. 4, No. 10), most in keeping with its t.i.tle of sonata, has the middle movement in a relative key. Op. 1, No. 7, begins with an Allegro in common time; and the short Grave is followed by a light Allegro in six-eight time. The first movement, with its marked return to the princ.i.p.al key, is very interesting in the matter of form. The other sonatas with suite t.i.tles have all their movements in the same key. Locatelli in his _XII Sonate_ for flute, published early in the eighteenth century, has in the first: Andante, Adagio, Presto; also Nos. 3, 5, etc. So, too, in Tartini's Sonatas (Op. 1) there are also some in three (No. 3, etc.). But Emanuel Bach commenced with that number, to which, with few and unimportant exceptions, he remained faithful; likewise to the slow movement dividing the two quick ones.

The three-movement form used by J.S. Bach for his concertos and sonatas no doubt considerably influenced his son. But already, in 1668, Diderich Becker, in his _Musikalische Frulings-Fruchte_, wrote sonatas for violins, etc. and _continuo_, in three movements. (No. 10, Allegro, Adagio, Allegro. Again, Sonata No. 19 opens with a movement in common time, most probably an Allegro; then comes an Adagio, and, lastly, a movement in six-four, most probably quick _tempo_.) These sonatas of Becker _a 3_, _4_ or _5_, with _ba.s.so continuo_, are unfortunately only printed in parts. As a connecting link between the Gabrielis and Corelli, and more particularly as a forerunner of Kuhnau, Becker is of immense importance. We are concerned with the clavier sonata, otherwise we should certainly devote more s.p.a.ce to this composer. We have been able to trace back sonatas by German composers to Becker (1668), and by Italian composers to Legrenzi (1655); those of Gabrieli and Banchieri, as short pieces, not a group of movements, are not taken into account. Now, of earlier history, we do know that Hans Leo. von Hasler, said to have been born at Nuremberg in 1564, studied first with his father, but afterwards at Venice, and for a whole year under A. Gabrieli. Italian and German art are thus intimately connected; but what each gave to, or received from, the other with regard to the sonata seems impossible to determine. The Becker sonatas appeared at Hamburg, and surely E. Bach must have been acquainted with them. Becker in his preface mentions another Hamburg musician--a certain Johann Schop--who did much for the cause of instrumental music. Schop, it appears, published concertos for various instruments already in the year 1644. And there was still another work of importance published at Amsterdam, very early in the eighteenth century, by the famous violinist and composer G. Torelli, which must have been known to E. Bach. It is ent.i.tled "Six Sonates ou Concerts a 4, 5, e 6 Parties," and of these, five have three movements (Allegro, Adagio, and Allegro).

Corelli was the founder of a school of violin composers, of which Geminiani,[4] Locatelli,[5] Veracini,[6] and Tartini[7] were the most distinguished representatives; the first two were actually pupils of the master. In the sonatas of these men there is an advance in two directions: sonata-form[8] is in process of evolution from binary form, _i.e._ the second half of the first section is filled with subject-matter of more definite character; the bars of modulation and development are growing in number and importance; and the princ.i.p.al theme appears as the commencement of a recapitulation. We should like to say that _binary_ is changing into _ternary_ form; unfortunately, however, the latter term is used for a different kind of movement. To speak of a movement in sonata-form, containing three sections (exposition, development, and recapitulation) as in binary form, seems a decided misnomer.