The Solo Piano Sonata in the United States Since 1945: A Survey Page: 3
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3
its appointed course."5 Apparently other writers shared
this feeling, for Charles Soullier in his Nouveau
Dictionnaire de usique Illustr wrote: "La sonate est
morte avec le dix-huitieme siecle qui en a tant product"6
--the sonata is dead along with the Eighteenth Century that
produced so many of them.
Thus, the sonata as it entered the twentieth century
carried with it an assortment of structural implications,
gathered from a long evolutionary process, and a rather grim
prediction of a not too successful future. The sounding of
the death bell for the sonata, however, appears to have been
a premature judgment, and the question proposed by J. S.
Shedlock in the late 1800's--"Shall we be able to say 'La
sonate est mortel Vive la Sonate!' Time will tell"7 --is
receiving an affirmative answer from a large number of
modern composers.
In some ways a contemporary enigma, the sonata today
has no specific definition. At times it succeeds the late
Romantic sonata as a one-movement, highly unified composi-
tion. Composers of the twentieth century have, in fact,
shown a preference for this type.8 In other cases, the
5Shedlock, p. 208.
6Ii.,p. 220.
71bid.
8Karl Eschman, Changing Forms in Modern Music (Boston,
1945), p. 142.
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Edge, Rebecca Jane. The Solo Piano Sonata in the United States Since 1945: A Survey, thesis, May 1971; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc663739/m1/7/: accessed May 25, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .