Sonata No.8 D-Dur - Cimarosa, Domenico - PTNA Piano Music Encyclopedia

Cimarosa, Domenico : Sonata No.8 D-Dur

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Work Overview

Music ID : 7029

Instrumentation：Piano Solo　
Genre：sonata
Total Playing Time：1 min 30 sec
Copyright：Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: June 17, 2024

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This is an optimistic sonata that should be played with a lively and light tempo. The interest of the piece emerges by maintaining a wide range of dynamic contrasts. While there are no specific points of caution, it is crucial to convey the rhythm accurately to the listener. It is a common occurrence, even among skilled performers, that the tempo tends to accelerate when the music suddenly shifts to quarter-note chords, as seen in measures 10-11. Please play measures 10-11 precisely without altering the tempo from measure 9.

Next, regarding measure 12: this is the only measure where there is no sound on the downbeat of the first beat. It is important for the performer to make the listener feel that the music entered on the upbeat of the first beat. To achieve this, while it is naturally important for the performer to feel the downbeat of the first beat, it is also possible to make the listener perceive the beat divisions by adding subtle accents to the sounds on the downbeats of the second and third beats (E on the second beat, A on the third beat), to an extent that they are not overtly noticeable. By making the listener recognize the second and third beats, it becomes clear that the first beat entered on the upbeat.

Next, regarding measures 21-23: this is a subjective matter, and I would like to explore it together with you. Many performers play this section energetically with staccato or semi-staccato, but does this section not evoke the image of a sudden choir beginning? In other words, one possibility is to let the music flow horizontally and polyphonically, rather than vertically. In such a case, instead of cutting off the notes, use the pedal to smoothly connect the chords horizontally, allowing the moving voices within to be heard. Please consider this as an option.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: January 16, 2025

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Form

The piece is in binary form.

A-Exposition

Theme (measures 1-4)
Development (measures 5-7)
Conclusion (measures 8-12)

B-Development

Theme Development (measures 13-15)
Transition (measures 16-18)
Conclusion (measure 18, beat 3 to measure 24)

In the development section, the structure where a transitional passage is placed before the conclusion is also observed in Bach's Inventions. While in Bach's Inventions the theme is often recapitulated at the conclusion, this is not observed in the present work.

The main key is D major. The theme, from measures 1 to 4, features a sense of thickness (richness) and harmonic brightness in the upper voice of the right hand through chords and double stops, while the lower voice of the left hand is played with light, rhythmic sixteenth-note movements. A characteristic of the theme as a whole is that the note values are short and the melodic line is not long, resulting in a rhythmic atmosphere rather than a broadly singing one. Furthermore, this sixteenth-note motif in the lower voice is subsequently developed in altered forms in measure 8 and measures 16-18.

Measures 5 (upbeat) to 7 constitute the development of the theme, where a modulation to the dominant key (A major) occurs.

From measure 8, after a repetitive progression of sixteenth notes, a cadence in the dominant key is reached. Measures 11-12 feature a short harmonic cadence. This harmonic cadence is structured as Tonic → Subdominant → Dominant → Tonic, and the peak of harmonic tension actually occurs on the second beat of measure 12. As the melody in measure 12 generally descends, it is a common expressive technique for descending lines to generally decrescendo. However, considering that a lengthy harmonic cadence unfolds from measure 21 onwards, it might be worthwhile to consider expressing the harmonic progression in measure 12 in some way.

From measures 13 to 15, the theme motif is developed. From measure 15, the music returns to the tonic key of D major. Considering the pattern of the figuration in measure 16, one could articulate a phrase from beat 1 to the 'e' on the downbeat of beat 3, and consider the section from the second 'h' on beat 3 to the end of beat 4 as a single unit.

From measure 17 to the second beat of measure 18, a dominant pedal point (sustained note) continues, increasing tension. From the third beat of measure 18, the concluding passage begins.

A lengthy harmonic cadence is placed over three measures, from measure 22 to 24. This is a triple cadence, and the chord on the first beat of measure 23 is a VI chord containing the appoggiatura 'a'. This means a deceptive cadence is formed from measure 22 to the beginning of measure 23. If these harmonic changes are understood and expressed, this harmonic cadence will become even more vibrant.

Writer: Kumamoto, Ryohei