Grove's dictionary of music and musicians

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SONATA SONATINA 535
slow movements which are so modified as to
be little more than Intermezzi, or introductory
divisions appended to the last movement ; and
more strongly by a few cases where the distinct
lines of separation are quite done away with,
and the entire work becomes a chain of long
divisions representing broadly the old plan of
four distinct movements with kindred subjects
continuing throughout. Since Beethoven the
impetus to concentrate and individualise the
character of musical works has driven many
genuine composers to the adoption of forms
which are less hampered by any suspicion of
conventionality ; and even with sonatas they
seemed to have grasped the object in view with
less steadiness and eonsastency than in previous
times. Some have accepted the artifice of a
programme, others admit some doubtful traits
of theatrical origin ; others develop poetic and
aesthetic devices as their chief end and object,
and others still follow up the classical lines,
contenting themselves with the opportunities
afforded by new and more elaborately perfect
treatment of details, especially in music for
combinations of solo instruments. In the latter
case it is clear that the field is more open than
in sonatas for single instruments, since the
combination of such instruments as the pianoforte
and violin or pianoforte and violoncello
in large works has not been dealt with by the
great masters so thoroughly and exhaustively
as the solo sonata. But in any case it is apparent
that fresh works of high value on the
classical lines can hardly be produced without
increasing intellectualism. The origin and
reason of existence of abstract music are, at least
on one side, intellectual ; and though up to a
certain point the process of development tended
to reduce the intellectual effort by making the
structural outlines as clear and certain as possible,
when these were decisively settled tlie
current naturally set in the direction of complication.
The inevitable process of accumulating
one device of art upon another is shown in the
free range of modulation and harmony, and in
the inereasing variety and richness of detail
both in the subjects and in the subordinate
parts of works. In such cases the formal outlines
may cease to be strictly amenable to a definite
external theory ; but if they accord with broad
general principles, such as may be traced in the
history of abstract music so far, and if the total
effect is extrinsicaHy as well as intrinsically
complete and convincing, it appears inevitable
to admit the works to the rank of ' Sonatas.
The exact meaning of the term has in fact been
enforced with remarkable uniformity during the
whole period from the beginning to the present
day, and decisively in favour of what is called
abstract music. Fair examples of the successful
disregard of form in favour of programme or a
dramatic conception can hardly be found ; in
fact, in the best examples extant, programme
is no more than the addition of a name or a
story to an otherwise regular formal sonata
but on the other hand there is plenty of justification
of the finest kind for abstract works in
free and more original forms, and it rests with
composers to justify themselves by their works,
rather than for reasoning to decide finally where
the limit shall be. c. H. H. i.
SONATINA. This is a work in the same
form and of the same general character as a
sonata, but shorter, simpler, and slenderer. The
average form of the sonata appears to be the
most successful yet discovered for pure instrumental
works of large scope. It is admirably
adapted for the expression and development of
broad and noble ideas ;
and the distribution of
the various movements, and the clearness with
which the main sections and divisions of each
movement are marked out, give it a dignity and
solidity which seem most appropriate in such
circumstances. But the very clearness of the
outlines and the strength of contrast between
one division and another, make the form less
fit for works of smaller scope. As long as such
a work is laid out on a scale sufficiently large
to admit variety of treatment and freedom of
movement within the limits of these divisions,
there is fair chance of the work having musical
value proportionate to the composer's capacity ;
but if the limits are so narrow as to admit little
more than mere statement of the usual form,
and no more than the conventional order of
modulations, the possibilities of musical sense
and sentiment are reduced to a minimum, and
a want of positive nmsioal interest commonly
results. Consequently sonatinas form one of
the least satisfactory groups of musical products.
The composers who have produced the greatest
impression with short and concise movements
in modem times have uniformly avoided them,
and adopted something of a more free and lyrical
oast, in which there is a more appropriate kind
of unity, and more of freedom and individuality
in the general outlines. It might be quite
possible to group these small pieces sO' as to
present a very strong analogy to the sonata on
a small scale ; but it has not been attempted,
owing possibly to a feeling that certain hmitations
of style and character are generally accepted
in the musical world as appropriate for works
of the sonata class, and that it would be superfluous
to violate them.
The sonatina form has, however, proved
peculiarly convenient for the making of pieces
intended to be used in teaching. The familiar
outlines and the systematic distribution of the
principal harmonies afford the most favourable
opportunities for simple but useful fingerpassages,
for which the great masters have supplied
plentiful formulas ; and they furnish at
the same time excellent means of giving the
student a dignified and conscientious style, and
a clear insight into the art of phrasing and into