Chapter XI

MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.

Some mention, however brief, must be made of various sonatas written by other contemporaries of the four composers discussed in the last chapter. After Beethoven, the only work which, from an evolution point of view, really claims notice is one by Liszt. All other sonatas are written on classical lines with more or less of modern colouring. Even M. Vincent d'Indy, one of the advanced French school of composers, has written a "Petite Sonate dans la forme classique."

Moscheles, in Germany, and Kalkbrenner, in France: these were once names of note. Their music is often clever and brilliant, but, to modern tastes, dry and old-fashioned; much of it, too, is superficial.

Among still more modern works may be named those of Stephen Heller, Raff, Rubinstein, Bargiel, and Grieg. The sonatas of Heller are failures, so far as the name sonata means anything. He was not a composer de longue haleine, and his opening and closing movements are dull and tedious; some of the middle movements—as, for example, the two middle ones of the Sonata in C major—are, however, charming. Bargiel's Sonata in C major (Op. 34) is written somewhat in "Heller" style, but it is stronger, and, consequently, more interesting than any of that composer's.

Raff and Rubinstein both wrote pianoforte sonatas, but these do not form prominent features in their art-work.

Grieg's one Sonata in E minor (Op. 7) is a charming, clever composition; yet as it was with Chopin, so is it with this composer: his smallest works are his greatest.

Of duet sonatas there is little more to do than to mention the principal ones. In the evolution of the sonata they are of little or no moment. Some, however, are highly attractive. It would be interesting to know who wrote the first sonata for four hands, but the point is not an easy one to settle. Jahn, speaking of Mozart's duets, remarks that "pianoforte music for two performers was then far from having attained the popularity which it now possesses, especially among amateurs." We imagine that the

Sonate à Quatre mains sur un Clavecin Composé par J.C. Bach ---- à Amsterdam chez J. Schnitt Marchand de Musique dans le Warmoes-straat

was one of, if not the earliest. The part for the second clavier is printed under that of the first. The sonata consists of only two movements: an Allegro and a Rondo. The general style and treatment of the two instruments reminds one of Mozart, but the music is crude in comparison. Here is the commencement of the theme of the first movement—

To hear this music (MIDI), click here.

To view the Lilypond source file, click here.

The duet sonatas of Mozart are full of charm and skill, and will ever be pleasing to young and old. Dussek has written some delightful works, and Hummel's Op. 92, in A flat, is certainly one of the best pieces of music he ever wrote. Schubert's two sonatas (B flat, Op. 30; C, Op. 140) are very different in character: the one is smooth and agreeable; the other contains some of the noblest music ever penned by the composer.

Sonatinas are almost always written for educational purposes. No description, no analysis of such works, is necessary; only a list of the best. The "Twelve Sonatinas for the Harpsichord or Pianoforte, for the use of Scholars" (Op. 12), by James Hook (1746-1827), father of the well-known humorist, Theodore Hook, deserve honourable mention. Each number contains only two short movements; they are well written, and, though old, not dry. Joseph Bottomley, another English composer (1786-?), also wrote twelve sonatinas for the pianoforte.

Those of Clementi and Dussek seem destined to perennial life. The former composed twelve (Op. 36, 37, and 38), the latter six (Op. 20); and then, of course, of higher musical interest are the sonatinas of Beethoven (two) and Hermann Goetz (two). From an educational point of view, however, these are perhaps not of equal value with many others of inferior quality; but they are full of character and charm. Kuhlau (1786-1832), on whose name Beethoven wrote the well-known Canon, "Kuhl nicht lau," composed sonatas which, owing to their fresh, melodious character and skilful writing, justly take high rank. Op. 20, 55, 59, 60, and 88 have all been edited by Dr. H. Riemann. Among still more modern composers may be mentioned: Reinecke, whose three sonatinas (Op. 47), six sonatinas with "the right-hand part within the compass of five fingers" (Op. 127A), and (Op. 136) the "Six Miniature Sonatas" (another term for sonatinas) have given satisfaction to teachers, and enjoyment to many young pupils; also Cornelius Gurlitt, who has proved a prolific worker in this department of musical literature. His six sonatinas (Op. 121) and the duet sonatas (Op. 124,—really sonatinas) are exceedingly useful, and justly popular. Besides these, he has issued two series of progressive sonatinas: some by Diabelli, Pleyel, Steibelt, etc.; some from his own pen. Koehler's three sonatinas (without octaves), A. Loeschhorn's instructive sonatinas, E. Pauer's National Sonatinas (Ireland, Wales, Italy, etc.), and Xaver Scharwenka's two sonatinas are likewise of value.

Among various strange works written under the title of sonata we may count certain programme pieces. Thus, John Christian Bach, or "Mr. Bach," as he is named on the title-page, published a sonata "qui represente La Bataille de Rosbach," and an N.B. adds: "Dans cette Sonate La Musique vous montre le Comencement d'une Bataille le feu des Cannons et Mousqueterie L'Ataque de la Cavalerie et les L'Amendations des Blessées." This work consists of one movement (Allegro) in sonata-form. Except for the title, and the words "Canonade" and "Feu des Mousqueteries," it would be difficult to guess the subject. The music, which may be described as a study in the Alberti bass, is decidedly more correct in form than the French of the title-page. Then, again, Dussek composed a "Characteristic Sonata" describing "The Naval Battle and Total Defeat of the Grand Dutch Fleet by Admiral Duncan on the 11th of October 1797." But he was engaged in a much more suitable task when he wrote music expressing the feelings of the unfortunate Marie Antoinette.

There are three sonatas composed by A. Quintin Buée.[113] No. 3 is "for two performers on one instrument." In the last movement, the first performer is "Le Français," and he rattles along with the popular tune "Ça ira," while the second, "The Englishman," steadily plays his national air, "Rule Britannia"; towards the close, fors fuat, "God save the King" and "Ça ira" are combined.