He called them
sonatas from sonare, to sound, a name originally applied to any piece
that was sounded by instruments, not sung by the human voice. They
prefigured the solo sonata, the entire class of chamber music named from
the place where they were performed, and the symphony which is a sonata
for the orchestra. Absolute music was set once for all on the right path
by them. They ushered in a new era of Art.
Purcell, in England, Domenico Scarlatti and Sammartini, in Italy, the
Bachs, in Germany, and others continued to fashion the sonata form. It
ceased to be a mere grouping of dances, the name suite being applied to
that, and struck out into independent excursions in the domain of
fancy. The prevailing melody of its monophonic style proved suitable to
furnish a subject for the most animated discussion. Three contrasting
movements were adopted, comprising a summons to attention, an appeal to
both intellect and emotions, and a lively reaction after excitement.
A German critic has jocosely remarked that the early writers meant the
sonata to show first what they could do, second what they could feel,
and third how glad they were to have finished.
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