Scan 232
The American history and encyclopedia of music, 1908
6 lines. Read by computer on 11 September 2026. No printed page number was found. See the scan on archive.org.
1funeral march; from this the sonata presumably derived its title. Its form of course is only introductory to the first movement of the sonata proper, which begins after the introduction comes to a half close; and after pausing on the dominant of its key, with the last tone suspended, as it were, withholding the expectant blow, the wild, tumultuous onslaught of the first movement begins, a "Molto Allegro e con brio," very rapid, and with fire.
3As before stated, this is a very rapid movement in C minor in double time (Alla breve in sonata form). Its first theme begins with a staccato upward flight of four measures and downward movement in full chords of the same number of measures, then all repeated, but closing with downward moving arpeggios, after which the same principal theme in two measure repetitions is used in modulatory ways to lead without episode to its second theme. Its accompaniment is throughout, with the exception of four measures in the middle, made up of its bass part in vibrato notes, that is, the octave in the left hand is repeated like a shake or trill.
5Its second theme, in the major key of the third step of the scale, or E flat major, is divided into three parts or divisions; the first part a short theme of four notes, repeated an octave higher, its last note held the second time like a call, which also is repeated. This four measure phrase is repeated on the fourth tone of this key or its dominant. Then using this same short phrase the composer builds up a sprightly, flowery part of thirty-eight measures, after which he moves into the second part of this theme of twelve measures, a long note of nearly two measures repeated, then a sudden upward movement of the melody on the basis of the scale, with an orchestral chord vibrato as accompaniment, the bass moving downward and in contrary motion, producing a very effective climax. This is repeated, thereby coming to its third, or closing part, consisting of a running figure. After this as closing coda or codetta are added four measures of the first theme with modulatory chords to the working-out part.
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