This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations (string strio, quartet, quintet, sextet, etc.; piano trio, quartet, quintet, sextet, etc.), among others.
A sub-title is a subsidiary name given to a work by the composer, and considered part of its formal title, such as:
A nickname is a name that is not part of the title given by the composer, but has come to be popularly associated with the work, such as:
A non-numeric title is a formal title that departs from the usual sequential numbering of works of the same type, such as:
Many classical compositions belong to a numbered series of works of a similar type by the same composer. For example, Beethoven wrote 9 symphonies, 10 violin sonatas, 32 piano sonatas, 5 piano concertos, 16 string quartets, 7 piano trios and other works, all of which are numbered sequentially within their genres and generally referred to by their sequence numbers, keys and opus numbers. For example, the 6th of his violin sonatas is referred to as: Violin Sonata No. 6 in A major, Op. 30, No. 1.
However, some of these works were also given descriptive sub-titles by Beethoven himself: for example, he sub-titled the 3rd Symphony "Eroica", and the 6th Symphony "Pastoral".
Others were given nicknames by publishers or others: for example, the Piano Sonata No. 14 is called "Moonlight" and the Piano Trio No. 7 is known as the "Archduke".
In other cases, a composer gives a work a title without any number, even though he may have written other works of that type with numbers. For example, Tchaikovsky wrote 6 numbered symphonies, but he also wrote the unnumbered Manfred Symphony between the 4th and 5th symphonies. A listing of all Tchaikovsky's symphonies would be incomplete without mention of the Manfred Symphony.
Works such as Vaughan Williams's first three symphonies ( A Sea Symphony , A London Symphony and A Pastoral Symphony ) fit into more than one camp. These are true titles, as Vaughan Williams commenced the numbering of his symphonies only from his 4th Symphony. The first three symphonies were, however, retrospectively given numbers by cataloguers. Hence, A Sea Symphony, for example, is often referred to as his "Symphony No. 1", with the original title being relegated to a sub-title, although that was never Vaughan Williams's own intention or practice.
There are vast numbers of other named compositions that do not qualify for this list. Symphonic poems, concert overtures, suites, variations, operas, ballets, most vocal and choral music, and miscellaneous other works are normally given titles that exclude numbers. Examples of such works would include:
The year 1791 in music involved some significant events.
Sonata rondo form is a musical form often used during the Classical and Romantic music eras. As the name implies, it is a blend of sonata and rondo forms.
Cyclic form is a technique of musical construction, involving multiple sections or movements, in which a theme, melody, or thematic material occurs in more than one movement as a unifying device. Sometimes a theme may occur at the beginning and end ; other times a theme occurs in a different guise in every part.
E major is a major scale based on E, consisting of the pitches E, F♯, G♯, A, B, C♯, and D♯. Its key signature has four sharps. Its relative minor is C-sharp minor and its parallel minor is E minor. Its enharmonic equivalent, F-flat major, has six flats and the double-flat B, which makes that key less convenient to use.
C minor is a minor scale based on C, consisting of the pitches C, D, E♭, F, G, A♭, and B♭. Its key signature consists of three flats. Its relative major is E♭ major and its parallel major is C major.
D major is a major scale based on D, consisting of the pitches D, E, F♯, G, A, B, and C♯. Its key signature has two sharps. The D major scale is:
B-flat major is a major scale based on B♭, with pitches B♭, C, D, E♭, F, G, and A. Its key signature has two flats. Its relative minor is G minor and its parallel minor is B-flat minor.
E-flat major is a major scale based on E♭, consisting of the pitches E♭, F, G, A♭, B♭, C, and D. Its key signature has three flats. Its relative minor is C minor, and its parallel minor is E♭ minor,.
G minor is a minor scale based on G, consisting of the pitches G, A, B♭, C, D, E♭, and F. Its key signature has two flats. Its relative major is B-flat major and its parallel major is G major.
D minor is a minor scale based on D, consisting of the pitches D, E, F, G, A, B♭, and C. Its key signature has one flat. Its relative major is F major and its parallel major is D major.
E minor is a minor scale based on E, consisting of the pitches E, F♯, G, A, B, C, and D. Its key signature has one sharp. Its relative major is G major and its parallel major is E major.
Homotonal (same-tonality) is a technical musical term that describes the tonal structure of multi-movement compositions. It was introduced into musicology by Hans Keller. According to Keller's definition and usage, a multi-movement composition is 'homotonal' if all of its movements have the same tonic (keynote).