Back to index NoteWorthy Composer Scriptorium

Sonata for Piano No. 13 (Opus 47)

Music Menu

Scripto Search
What's New
Recommendations
Monthly Chart


Classical A - B
C - G   H - L
M - R   S - Z

Anthems
Bach
Beethoven
Beethoven (Tina B)
Christmas
Ethnic
Hamilton
Haydn
Humour
MacEanruig
Mendelssohn
Messiah
Mozart
Planets (Tina B)
Cornish
Ragtime
Rock
Schubert
Joplin Rags (Tina B)
Tin Pan Alley
Verdi
March Compo
Polka Compo
In Memoriam

These pieces (in Noteworthy Composer format) are for private use only. You may download them for your own personal use.
You may NOT market them for monetary gain. You may NOT use the scores to give a public performance unless you have the permission of the copyright holder/user who submitted the file.
You will find the contact details in this file. If you are having difficulties, please contact for further advice.
For more information on copyright, please read this.

Would you like to recommend this NoteWorthy submission to others?
Then click on the recommend icon at the foot of this page.
For more details about recommending, click here.


File:schups13.zip (August 1999) 16 kB
Full name of work:Sonata for Piano No. 13 (Opus 47)
Composer:Schulze, Arthur W. (1937-), USA
Music category:classical romantic
Instruments:piano
Name of file creator:Arthur W. Schulze
e-mail address:schulze "at" byelectric "dot" com
Running time:00:16:06
Comments:Sonata for Piano No. 13:

The sonata is essentially classical in tone. The first movement is in sonata form, with hints of the influence of Mozart's C Minor Piano Concerto and Brahms' Fourth Symphony.
The second movement evokes a bit of the spirit of an early Beethoven. It uses a tune of the utmost simplicity which gradually increases in momentum.
The third movement is loosely in sonata form. (I think the influence of the last movement of Brahms' Fourth can be heard here.) The rising notes of the last three measures of the first movement of the sonata become an increasingly prominent motif in the third movement.
Although the mood is for the most part affirming, this last movement ends on a rather disconcerting note of uncertaintly and ambiguity.