A Companion to Beethoven's Pianoforte Sonatas: Complete by Donald Francis, Sir Tovey

By Donald Francis, Sir Tovey

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These are often transparently related to the rhetoric of the text or to particular stage implications (which of course do not preclude the appropriation of compositional elements of the sonata-form paradigm). ‘Venite, inginocchiatevi’ (No. 13 in Le nozze di Figaro), is an extreme case of where the verbal text is a complement to an ongoing visual action (rather than a vehicle for affective expression in its own right); it introduces a very clear (as well as unique) two-theme exposition and a development, but it ends with a simple ‘tonal return’ rather than with a regular recapitulation.

G. M. Dickson, Finance and Government under Maria Theresia, 1740–1780 (Oxford, 1987) G. Klingenstein, ‘The Meanings of “Austria” and “Austrian” in the Eighteenth Century’, in Royal and Republican Sovereignty in Early Modern Europe, ed. R. Oresko, G. C. Gibbs and H. M. Scott (Cambridge, 1997), 423–78 34 B Bach, Carl Philipp Emanuel (b. Weimar, 8 Mar. 1714; d. Hamburg, 14 Dec. 1788). German composer; son of J. S. Bach. Carl Philipp Emanuel Bach received his musical training from his father and from about the age of fifteen took part in performances at the Leipzig Thomaskirche and by the local collegium musicum.

Both two-tempo arias and rond`os begin with a tonally open-ended slow section (usually a Larghetto or Andante) cadentially linked to the ensuing Allegro. The fast C section is balanced in length with the slow movement in the case of two-tempo arias but is longer and comparatively more complex in the rond`os, including two alternating groups of thematic materials, the second of which often has a ‘gavotte-like’ character (hence the neologism gavotte-rond`o, sometimes used in the secondary literature).

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