Sonata for Solo Violin | |
---|---|
by Sergei Prokofiev | |
Key | D major |
Opus | 115 |
Genre | Sonata |
Style | Neoclassical |
Composed | 1947 |
Published | 1952 |
Movements | Three |
Scoring | Unaccompanied violin or violins (in unison) |
The Sonata for Solo Violin in D major, Opus 115, is a three-movement work for unaccompanied violin composed by Sergei Prokofiev in 1947. It was commissioned by the Soviet Union's Committee of Arts Affairs as a pedagogical work for talented violin students. [1] It is therefore a non-virtuosic piece, and was originally designed to be played not by one soloist but by multiple young performers in unison. [2] It was not performed until 10 July 1959 - six years after Prokofiev's death - by Ruggiero Ricci at the Moscow Conservatory. [1]
The three movements of the sonata are as follows:
The work is composed in Classical style and its melodies are largely diatonic. The first movement is in sonata form, the second movement is a theme with five variations, and the third movement has characteristics of a mazurka. [2] [1]
Sergei Sergeyevich Prokofiev was a Russian composer, pianist, and conductor who later worked in the Soviet Union. As the creator of acknowledged masterpieces across numerous music genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard pieces as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet—from which "Dance of the Knights" is taken—and Peter and the Wolf. Of the established forms and genres in which he worked, he created—excluding juvenilia—seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, a symphony-concerto for cello and orchestra, and nine completed piano sonatas.
Sonata, in music, literally means a piece played as opposed to a cantata, a piece sung. The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance. Sonata is a vague term, with varying meanings depending on the context and time period. By the early 19th century, it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue—as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though the musical style of sonatas has changed since the Classical era, most 20th- and 21st-century sonatas still maintain the same structure.
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