REFLECTION OF THE CLASSICAL TRADITIONS IN SONATA MODERNE FOR ACCORDION OP.2 BY CARMELO PINO
This article reviews the Sonata Moderne for accordion op.2 signed by the American composer Carmelo Pino that is considered the first creation of this kind in the USA. The whole cycle of the Sonata reveals a harmonious balance in the structure of the musical discourse determined by the proportionalit...
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| Format: | Article |
| Language: | deu |
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Notograf Prim
2018-12-01
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| Series: | Studiul Artelor şi Culturologie: Istorie, Teorie, Practică |
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| Online Access: | http://revista.amtap.md/wp-content/files_mf/155533251410calmis.pdf |
| Summary: | This article reviews the Sonata Moderne for accordion op.2 signed by the American composer Carmelo Pino that is considered the first creation of this kind in the USA. The whole cycle of the Sonata reveals a harmonious balance in the structure of the musical discourse determined by the proportionality of the melody, the perfect symmetry of the ordered rhythm, the clear harmony and the transparent texture. The unity of the cyclical form of the sonata is ensured not only by the dramatic-timbal specificity, but also by the essence of the intonational-themed organization of the musical material. Here we refer to the presence of a complex of intonational migratory formulas that strengthen the entire construction of the creation. The thematic unit, the proportionality of the elements of language and the architectural balance, being framed in the perfection of the forms (the allegro form of sonata in part I, the big tripartite one with episode in the second part and rondo in the end) undoubtedly determines clearly, despite the name, the closeness of Sonata Moderne for accordion op.2 to the classical traditions of European musical art. |
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| ISSN: | 2345-1408 2345-1831 |