FORM AND STYLEIN ELGAR’s SONATA FOR VIOLIN AND PIANO

Abstract

The Sonata for violin and piano, op. 82, composed in 1918 by E. Elgar – a unique piece in this genre among the composer’s creation, has the traditional structure of a tripartite sonata; I. Allegro, II. Andante, III. Allegro non troppo. The dramaturgy of this cycle, similarly to other traditional pieces, comprises three aspects of human existence: action, contemplation and transformation, gradually revealed throughout the musical narration. Each part, original in its concept, ensemble of themes and form, reveals a certain artistic message. The musical language plays a particular role in the development of this message, whose originality manifests itself melodically and harmonically, through the rich and diverse texture, and last but not least, in the various instances in which the two instruments enter. All the means of expression used by Elgar in this Violin Sonata denote the features of an individual style of a composer who „doesn’t belong to any contemporary avant-garde”, being deeply rooted both in the British national and European traditions: a post-romantic style, integrated in classical patterns.

Keywords

• sonata cycle
• e. elgar
• sonata for violin and piano
• musical style