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1997
- doi: 10.7202/1014787ar
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Canadian University Music Review ; vol. 17 no. 2 (1997)
All Rights Reserved © Canadian University Music Society / Société de musique des universités canadiennes, 1997
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Sonatina Sonatas--History and criticism Sonata--History and criticism Antithesis Opposites Contrariety Spinet (Piano) Grand piano Fortepiano Spinnet (Piano) Upright piano Pianoforte Concert grand (Piano) Paws Hands PawCiter ce document
Glenn Colton, « Completion and Antithesis in Piano Sonata No. 6 by S.C. Eckhardt-Gramatté », Canadian University Music Review / Revue de musique des universités canadiennes, ID : 10.7202/1014787ar
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Résumé
The Piano Sonata no. 6 by S.C. Eckhardt-Gramatté evolved as a composite work spanning two distinct phases of the composer's career. The first movement (1928), for left hand alone, is representative of the neo-romanticism of her early works, while the atonal second movement (1952), for right hand, typifies the composer's later style. As a synthesis of the first two movements, the finale re-interprets these conflicting tonal and stylistic paradigms, contextually transforming the preceding movements and imbuing each with new meaning. This process is closely analogous to a concept Harold Bloom describes in poetic terms as tessera, or "completion and antithesis."