Keyboard music from Couperin to early Beethoven
Examines the degree of stylistic progress that undoubtedly took place in certain areas of solo keyboard music between 1715 and 1805, and the extent to which this progress was circumscribed—or stimulated—by earlier stylistic models. There was a broad dichotomy between stylistic continuity and change...
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| Veröffentlicht in: | The Cambridge history of eighteenth-century music |
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| 1. Verfasser: | |
| Format: | UnknownFormat |
| Sprache: | eng |
| Veröffentlicht: |
2009
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Tag hinzufügen | Zusammenfassung: | Examines the degree of stylistic progress that undoubtedly took place in certain areas of solo keyboard music between 1715 and 1805, and the extent to which this progress was circumscribed—or stimulated—by earlier stylistic models. There was a broad dichotomy between stylistic continuity and change in 18th-c. solo keyboard music that was shaped by the tensions between the value systems associated with the amateur sphere and with the more exalted realm of learnedness and transcendence whose geographical origins lay in North Germany and whose ultimate embodiment was J.S. Bach. Several genres had particular prominence, namely variations, rondos, and the solo keyboard sonata. While the latter is conventionally viewed as a more modern form, it featured several elements of archaism, such as the frequent use of monothematic expositions. The development section, though it expanded in size and often seems unique, often contains formulaic harmonic elements. Other strategies found in developments, such as false recapitulations and "new themes" occur in sonatas from the late part of the century. Slow movements from this period also merit investigation, namely in how they relate to the rest of the sonata, while often adopting a remote key. (AN: 2009-20239) (RILM) |
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| ISBN: | 0521663199 9780521663199 |