HIGH DEFINITION PIANO ANTHOLOGY

Sonatina Op. 19/20 n. 1


 

Dussek, Jan Ladislav (1760 - 1812)



Sonatina in G Maj. Op. 19 / 20 n. 1

 

           
  Sonatina in G Maj. Op. 19 / 20 n. 1  
           
  Piano:
Tullio Forlenza
           
 

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To consult different editions of this work go to:

JAN LADISLAV DUSSEK - 6 Sonatinas for Piano, Op. 19 / 20 - IMSLP

 

HISTORICAL NOTES

This Sonatina in G Maj. Op. 19 / 20 is the first of a group of six sonatinas, originally written for piano with flute accompaniment, published in 1793 in London by Longman & Broderip

 

CHARACTERISTICS OF THE PIECE

The Sonatina in G Maj. Op. 19/20 n. 1 consists of two movements:

1st Mov.: Allegro non tanto

2nd Mov.: Rondo. Allegretto. Tempo di Minuetto

The first movement of this charming sonatina begins with the presentation of two contrasting elements, the first is in a rhythmic pattern and somewhat majestic, the second is in a cantabile style with an accompaniment based on the typical formula for broken chords; The task of highlighting both the customary contrast between the characteristics of the two themes and the alternating tonalities (the first element is entirely in the tonality of G Maj. while the second ends in the dominant key of D Maj.) is entrusted to this couple of motifs, which are presented twice.

This is then followed by a central episode within which there is a brief modulation to the dominant, before the majestic initial element resumes once more. This time, however, it is not followed by the melodic episode already heard in the exposition, but by a similar new episode which adopts the same accompanying formula. A short coda concludes the first movement with the repetition of the rhythmic character of the first element in the finale.

AI B1I    AII B1II    C    AIII   DE

The second movement is a dance in three parts, the first of which is in G Maj., the second in G Min. and the third is the abbreviated reprise of the first part in G Maj. Within each part there are several short episodes evidencing a variety of characteristics of writing and expression. In the central part in particular, the different modulations and alternating of different tonal areas are evident, highlighting a climate of greater tension in the musical atmosphere in contrast with the expressive unity of the first and the final part .

AI    BI     AIIacc.

 

PERFORMANCE NOTES

The Sonatina in G Maj. Op 19 / 20 is a very well known piece and has often been included in piano anthologies for younger pianists. Its fame is quite likely due to the great elegance and pleasantness of the final minuet, which, from the point of view of composition, is very successful.

Although the first movement of the Sonatina does not present any particular complexity from a performance perspective, I have tried to pay close attention to the various elements it is composed of, evidencing its different expressive characteristics while also adopting a tempo that allows for a better rendering of all the themes without significant fluctuations in speed.

For the Minuet, however, I preferred a different pace, a very moderate Allegretto, so as to highlight the tempo in 3 (3/8 [3/♪]), typical of this type of dance. In the Minuet I carefully tried to recreate all the movements and styles specific to its particular rhetoric, the pleasant diversions, the indulgences in executing the appoggiature and the characteristic expressive gallantries, without depriving it of a light nostalgic atmosphere.

Tullio Forlenza

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