FERNANDO SOR SONATA OP 22 EPUB!
Results 1 - 10 of 10 - This page lists all recordings of Grand Sonata, Op. 22 by Fernando Sor . Download Grande Sonate, Op by Fernando Sor for free from Check out Grand Sonata, Op. II. Adagio by Rey de la Torre & Fernando Sor on Amazon Music. Stream ad-free or purchase CD's and MP3s now on.
|Published:||10 December 2015|
|PDF File Size:||48.55 Mb|
|ePub File Size:||39.63 Mb|
The development is characterized chiefly by being in E flat major, the chromatic mediant key region in relationship to C major. The broad notes in the treble at the start of the development can be thought of as a super-augmentation of the melodic pattern in part 2 of Theme 1.
The derivation of subsequent development material from the closing theme is fairly easy to see and hear in the score but fernando sor sonata op 22 the development is characterized by being relatively short and not necessarily strongly or readily tied to working out of ideas in the exposition.
Given the simplicity and repetitiveness of the tonic-dominant oscillation and the pulsing note gestures across the exposition there's arguably a great deal of intra-exposition expansion and development of the material.
The development contribution to the form is chiefly presentation or exploration of remote key regions but here, too, the development simply expands upon a tonal region that was already presented in the modulating transition. Fernando sor sonata op 22 it isn't too long before Sor gets us to the recapitulation of Theme 1.
What changes in the non-modulating transition is how the chain of root movements progresses.
F. Sor Gran Sonata Opus Allegro on Vimeo
Which, of course, we get, but along the way in this transition we don't get Group II, Theme 1, which Sor has omitted entirely. Instead we get a new coda that brings the first movement to a close.
In light of how much material Sor doesn't bring back from the exposition into his recapitulation we fernando sor sonata op 22 to ask a few questions about which themes Sor considered genuinely essential to the exposition.
Since we lack alternatives at the moment and since manuscript evidence isn't handy there's some room to have to guess. Charles Rosen's observation that a recapitulation need only bring back that which was in the non-tonic key doesn't help us much here since a great deal of the material that fernando sor sonata op 22 brought back was in the non-tonic key regions of the exposition.
So we have to fall back on other possibilities. The most probable explanation, given the level of shared rhythmic and linear motifs in the exposition, is that Sor opted to fernando sor sonata op 22 back only those themes whose harmonic and melodic activity had the greatest level of formal differentiation.
Let's recall that Theme 1 opened with a fairly grand tonic-dominant call and response pattern. Group II, Theme 1 could be construed as a larger-level "response" to the "call" of Theme 1 in the Group 1 material i.
Theme and the transition. Sor seemed to compose so as to reduce the likelihood that a listener or a player would be forced to confront material that was repeated a lot in the exposition and also fernando sor sonata op 22 doubly by way of the repeated exposition. This closing theme would have shown up half a dozen times if it was repeated verbatim and it was already repeating cadential scale-work.
If Sor wanted to cut out all the cadential formulas and fills that would be expected in the style and boiled the recapitulation down to just the most distinct, differentiated materials from the exposition then his selections in this opening movement make sense.
It's fernando sor sonata op 22 the case Sor didn't know how to write what we'd call a textbook sonata form he did that perfectly in his Op.
Fernando Sor: Sonata Op. 22 - The Guitar School
To borrow Meyer's terminology about scripts, in what we now call sonata forms we can focus too much on what's known as the formal script i.
Sor presents us with a case in which intra-expositional development is at such a high level it's not surprising if he has what seem to be small and even incidental development sections.
Or at least fernando sor sonata op 22 will if we are immersed enough in this style to understand how formal compression of thematic materials could play out based fernando sor sonata op 22 the precepts alluded to so far.
Sonata analysis has tended to focus on the modular blocks of themes and key regions without necessarily taking stock of procedural development.