The article is devoted to the analysis of the Sonata for violin and piano in A major by César Franck, one of the most significant works of the 19th-century chamber repertoire. The study examines the features of cyclic form, thematic development, and dramaturgy of the composition. Special attention is given to the philosophical content of the work, symbolic aspects of musical language, and the influence of Bach’s tradition. The paper also addresses important performance issues related to the interpretation of the sonata. the Sonata in A major for violin and piano by César Franck is one of the most monumental chamber works of the Romantic era and undoubtedly a pinnacle of the violin repertoire. This composition has consistently attracted the world’s greatest musicians, and when one observes the impressive list of performers who have turned to this sonata, a natural question arises: what accounts for its particular appeal? In this article, we attempt to delve more deeply into the musical fabric of this work, created by the great Belgian composer of German origin, who spent most of his life in France – César Franck. In addition, certain performance aspects will be addressed, which may prove useful for young professionals who decide to engage with this sonata.
| Mualliflar | Иван Сайков |
|---|---|
| Jurnal | Миллий маданият |
| Nashr sanasi | 2026-03-28 |
| Jild | 2 |
| Son | 1 |
| Betlar | 175-189 |
| DOI | 10.64681/d64j3g39 |
DOI: 10.64681/d64j3g39 · Maqolaning asl sahifasi
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