<div><br>See also: Daniel Jacobson, "Sonata Form as a Dramatic and Unifying Force in Mozart's Vocal Music," Mozart-Jahrbuch 1993.</div><div> </div><div>Nicole Biamonte</div><div>McGill University</div><div><br>
</div><div class="gmail_quote">On Sun, Oct 16, 2011 at 6:14 AM, Locke, Ralph <span dir="ltr"><<a href="mailto:rlocke@esm.rochester.edu">rlocke@esm.rochester.edu</a>></span> wrote:<br><blockquote style="margin: 0px 0px 0px 0.8ex; padding-left: 1ex; border-left-color: rgb(204, 204, 204); border-left-width: 1px; border-left-style: solid;" class="gmail_quote">
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<p><font size="2">The whole question of how _much_ sonata form influenced the structure of operatic numbers is a fascinating one.<br>
<br>
Charles Rosen has a chapter on "arias," as I recall, in his Sonata Forms book. Maybe only in the revised version, which not all libraries own.<br>
<br>
I used to use arias by Dittersdorf and Grétry to make this very point, in my undergrad Classic-Romantic music-history course here at Eastman. <br>
<br>
==<br>
Dittersdorf: Doktor und Apotheker, aria "Verliebte brauchen keine Zeugen" (which I initially found in the History of Music in Sound series of LPs that were produced to coordinate with the Oxford History of Music)<br>
<br>
Grétry: Richard Coeur de Lion, aria "Si l'univers entier m'oublie" (ditto--which suggests to me that maybe they were discussed in regard to sonata form in the respective volume of OHM, or why else would two s-f arias have ended up in the anthology?).<br>
==<br>
<br>
As I recall, the three main sections of music coordinate directly with the strophic divisions of the text (though differently in the two arias).<br>
<br>
I don't recall if there is a discussion of this kind of repertoire (opera arias and ensembles) in Hepokoski/Darcy book on Sonata Theory.<br>
<br>
The topic surely invites further study!<br>
Ralph Locke<br>
<br>
Ralph P. Locke<br>
Professor of Musicology<br>
26 Gibbs St.<br>
Rochester NY 14604-2599 USA<br>
Tel.: <a href="tel:585-274-1455" target="_blank" value="+15852741455">585-274-1455</a><br>
Fax: <a href="tel:585-274-1088" target="_blank" value="+15852741088">585-274-1088</a> ("for R. Locke")<br>
<a href="mailto:RLocke@esm.rochester.edu" target="_blank">RLocke@esm.rochester.edu</a></font></p><font size="2"><div><div></div><div class="h5"><br>
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-----Original Message-----<br>
From: <a href="mailto:smt-talk-bounces@lists.societymusictheory.org" target="_blank">smt-talk-bounces@lists.societymusictheory.org</a> on behalf of <a href="mailto:psilberman@ithaca.edu" target="_blank">psilberman@ithaca.edu</a><br>
Sent: Thu 10/13/2011 3:58 PM<br>
To: <a href="mailto:smt-talk@lists.societymusictheory.org" target="_blank">smt-talk@lists.societymusictheory.org</a><br>
Subject: [Smt-talk] vocal sonata forms<br>
<br>
I'm looking for compositions for voice written in sonata form - either solo voice(s)<br>
with accompaniment or choir with or without accompaniment. The only works I've<br>
been able to find so far are those listed in the Groves entry on sonata form: <br>
Mozart, "Ah taci ingiusto cora" from Don Giovanni; Haydn, "With Verdure Clad"<br>
from The Creation; Beethoven, Benedictus from Missa Solemnis; and Brahms, "Ihr<br>
habt nun Traurigkeit" from the German Requiem. Does anyone know of any more?<br>
<br>
Thanks!<br>
<br>
Peter Silberman<br>
Ithaca College<br>
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