Unit:
Department of Music StudiesLibrary of the School of Philosophy
Supervisors info:
Ιωάννης Φούλιας, Επίκουρος καθηγητής «Συστηματικής Μουσικολογίας. Θεωρίας της Μουσικής (18ου-19ου αιώνος)», Τμήμα Μουσικών Σπουδών του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών
Original Title:
Οι σονάτες και σονατίνες για πιάνο του Ferdinand Ries: συνολική επισκόπηση και αναλυτική μελέτη της σονατίνας op. 5 αρ. 2 και της σονάτας op. 26
Translated title:
Piano sonatas and sonatinas by Ferdinand Ries: overview and analysis of sonatina op. 5 no 2 and sonata op. 26
Summary:
The fact that Ferdinand Ries has been a student and a collaborator of Beethoven for several years has overshadowed after his death not only his successful artistic career in many European centres during the early 19th century, but also his remarkable contribution as a composer at the intersection of classic and romantic periods. Thus, the present paper opens with a comprehensive biographical sketch of Ries, before focusing on the analysis of two representative works as far as his output in the genres of sonatina and sonata for piano is concerned: Piano Sonatina in F major, opus 5 no. 2, and Piano Sonata in f sharp minor, opus 26, with the characteristic title “L’infortunée”. The music form of each movement of the selected works is examined with reference both to the music theory of the time and to influences detected from similar piano compositions by Beethoven. Furthermore, in the final comparative conclusions, the similarities and differences in the realisation of the sonata form as well as the ternary form (of different types) are revealed in their application on a large and a small scale, i.e. in a piano sonata and a sonatina for piano, respectively.
Main subject category:
Music
Other subject categories:
Fine arts - Entertainment
Keywords:
classicism, romanticism, early 19th century, music analysis, sonata form, ternary form, rondo, Beethoven, Caplin, Galeazzi, Hepokoski & Darcy
