La Sonata In Different Instruments

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La Sonata in different instruments


Evolution or involution of sound processes. In this activity we will work the sonata for flute, violin and piano h.254 written in 1936 and published in 1937 by the Czech composer Bohuslav Martinu. Violin began to study at the Prague Conservatory until in 1923 he moved to Paris to study composition with Albert Roussel. He wrote more than 400 works, so he was a very productive composer but less known than his compatriot Leoš Janáček. Among his most outstanding and interpreted works, his choral work is to highlight. Gilgamesh’s epic;the six symphonies cycle;his five piano concerts;And his camera music, which includes seven string quartets and this sonata. 


Its complete catalog of works has been carried out by musicologist Harry Halbreich, using as numbering system the letter H followed by the number of works. Regarding the harmonious-mechanical analysis of this camera work, it is a four-movement sonata in which we can find different influences of the music of French impressionism and the neoclassicism of Igor Stravinsky. It has an eclectic style, marked by a strong neoclassical counterpoint where it mixes simplicity with an elegant virtuosity. The first movement is a rapid movement in which we can say that it has a sonata form in which there is an introduction made by the violin in light (short values).

For the exhibition in the second compass of the theme A performed by the flute while the piano accompanies vertically and rhythmicly with the modifical figure of the theme. Theme B appears in the anacrusa of the compass 9 through the violin in a more expressive way (longer values). So that in the anacrusa of the compass 12 a cadential period appears based on a melody accompanied by the flute with respect to the violin and piano and that will lead to development in the compass 40. In this development he works widely with the reasons for both themes harmonically seeking nearby (chromatic) tones in a very counterpoint and imitation of voices. 

The timbre of the instruments has a very similar texture among other things due to the tesiture and among them they wonder and respond in the form of scales or melodic intervals. A curious fact that helps us to talk about harmony is that all alterations are marked, so we cannot talk about a specific hue. However, the Sun note is always present and that in the last bars of the Cadencial Development period it ends in its dominant. Reexposure occurs in compass 96 in the same way as before, to finish adding a small coda in the compass anacrusa 118. The second movement is a slow, expressive and sweet movement.

With a much more free form (suite or fantasy type) in which a compass rupture occurs (many compass changes occur). Theme A is the first 11 measures, where the harmonies are very ethereal and the voices are intertwined that the flute and violin can barely differentiate. The melody moves by intervals of joint degrees and a change of texture occurs through the use of the homework of Pracheas. Evolution or involution of sound processes. With a kind of continuous bass in the left hand of the piano. Theme B appears in the anacrusa of the compass 12 and in its development there are variations of constant textures, more counterpoints. 

On this subject, the violin and the flute acquire more importance to look for the culminating point of the compass 27 and the accompaniment that towards the left hand on topic A, as an eighththat in turn, in the issues there are relationships and modifications that structure their subsequent development. The third movement is a rapid movement that has a minueto or scherzo shape. Where violin and flute are no longer so intertwined and with a slow time. The texture is very counterpoint in such a way that it seeks the symphonic continuity of the figure of the semicorchea in all instruments. 

As for the melody, and through the use of chromatisms, it plays with the different timbres of the instruments, and harmony we can say that it is in the tone of Re, although most of the movement is in the minor mode of Re and endsin greater. The fourth movement is a moderate movement, very similar to the first, in which we can say that it has a lied form in which there are 3 sections. In the first one there is an introduction made by the piano for the exposure of the topic A in the compass 21 performed by the flute and the violin while the piano accompanies in a very counter -counterpunt, chromatic and sometimes percussive way. 


The second section appears the topic B in the anacrusa of the compass 44 through the flute in a more expressive way to give rise to a cadence in the compass 91 where the melody harmonically seeks nearby tones for the re -exposition or third section that occurs inThe compass 96 in the same way as before (by piano), ending with a small coda in the compass 119 in Do Mayor. Finally, we can say that the composer seeks a harmonious relationship with a chromatic thought between the movements for the harmony and melody of the work.

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