The Romantic Sonata by Matthew Sieberg

1828
Schubert's repertoire contains many finely crafted masterpieces. From songs to
symphonies to works for piano, the music gives us glimpses of how his compositional
mindset was completely free from any expressive deficiencies and the fear of rejection.
His last sonata is one that can clearly display his power of imitating a song, as well as
using dotted rhythms to reference the dance. This Sonata is in B-flat Major and begins
accordingly but soon takes us on an unpredictable journey through other keys. Perhaps he
uses the low trill on B-flat and C-flat to justify the move to G-flat as appearing to be the
dominant making the quick return to B-flat all the more satisfying. Nevertheless, the Gflat appears again as a minor theme in F-sharp. In the first movement a clear exposition,
development and recapitulation can be heard, thus, the form is sonata-allegro. A slow
dance in C-sharp minor creates the second movement and is in ternary form, ending in
the parallel major. A lively scherzo comes next and is in the predicted key of B-flat
major, its trio is in B-flat minor. The final movement is a rondo and in B-flat major with
short bursts of octaves on G (the sixth scale degree?), including the first notes.

By the time of this piano sonata's release the four movement lineup was widely accepted
as the norm with credit being given to the influence of the symphony. Key relationships
that appear throughout Schubert's Sonata are the topic of controversy. Four movement
protocol for a piece in a major key was that the first, third and fourth movements be
written in the tonic key, while the second movement be in the subdominant. In Schubert's
Sonata the second movement is in C-sharp minor and not the anticipated E-flat major.

1839
The texture of Chopin's piano music synthesizes melody and accompaniment, that is, if a
melody is present. Transitions from phrase to phrase seem very natural, though, at times,
are drastic. There is subtlety to the driving force as he builds momentum. I think he
achieves this through the consistency of L.H. patterns matched with a wide range of
notes. The Sonata No. 2 in B-flat minor is a display of many elements that are normally
emphasized individually throughout one of Chopin's character pieces. Even compared to
his midsized forms, e.g. the scherzo or ballade, this Sonata contains great variety among
the themes. The first movement is a sizable one with repeats and abides strictly to sonataallegro form aside from ignoring the first theme on the recapitulation. Then comes a fiery
scherzo and somber trio. The famous third movement's funeral march is split by a very
stirring song-without-words effect. The fourth movement is marked presto and flies by as
nonstop, single note per hand, octaves unfold (dare I say) aimlessly.

The movements, individually, offer great reward for performer and listener but there has
always been reservation as to whether Chopin had an overall landscape for the piece.
Perhaps, he was trying to close the gap between his output of small and large forms
without adjusting his composition technique. I think he just didn't care. The key
signature's consistency, early scherzo arrival and first movement ending in the parallel
major are eccentricities that make this Sonata Chopin's.

1853
Liszt set very high standards for the players of his Sonata. Though obvious virtuosity can
easily be identified when observing a performer of any piece, what is witnessed may not
always match the technical demands within the written score. Liszt's piano music often
demands an athletic approach that audiences love but is also matched by extreme
intellectual demands. In his B minor sonata, the level of thematic transformation that
occurs had been unprecedented. Understanding how the themes are capitalizing on the
emotional allowances make his style unique. This can only be achieved if the interpretive
difficulties have been sincerely tamed for a convincing performance.

The entire Sonata consists of one movement but there will always be arguments about the
existence of smaller units within it, thus, creating a four-movement work. In fact, greater
evidence is in favor of the one movement containing an exposition, development and
recapitulation and acting as an all-inclusive single movement Sonata in Sonata-allegro
form. Though the key is B minor, it is vague until the third theme enters at measure 14.
Two more themes are introduced much further into the piece. These five themes go
through transformation at the genius hands of Liszt creating this repertory landmark of
expression and drama.

1853
The immediate standout of the Brahms Sonata in F minor is its size. Five movements was
not a normal procedure in composing a piano sonata but it does serve well to justly
intimidate immature pianists from taking on the piece. Like all music of Brahms, this
sonata requires finesse and aggressiveness to execute. His music may seem bipolar at
times, however the overall unity he achieves in larger works is quite settling. This Sonata
has a bombastic beginning with brief blasts of dotted rhythms that span a wide range, it is
then complemented by a very lyrical second theme. The first movement is in the
traditional sonata-allegro form. The second movement is slow and borrows the second
theme of the first movement. A scherzo follows with energy in the same manner as the
first theme of the first movement, as is the trio like the second theme. Before the final
movement exists an intermezzo and is an unexpected element to the piano sonata.
Though Brahms had great success with this type of character piece and the five
movement structure had gained acceptance in orchestral foundations, the improvisational
forth movement may not have been necessary considering its theme was already
introduced in the second movement, however it does balance the overall momentum of
the sonata. The final movement is in ternary form with a coda. It's expressive vibe and
variable energy level seems to be the offspring of the previous movements. The unity
throughout the sonata is incredibly satisfying and no part seems random or redundant.

Text referenced: Gordon, A History of Keyboard Literature