Classics Uncovered: How do you read the titles of classical works?
Whereas contemporary music often has creative titles, this is not the case for the vast majority of classical works. This is because, at the time, little importance was attached to whether names were catchy or memorable; instead, titles were seen as functional labels, a kind of passport that made each piece unique and identifiable. What’s more, the way these titles are constructed can actually serve as a useful tool, once you know what everything means.
Let’s take another look at the title we mentioned earlier: Piano Sonata No. 14, Op. 27, No. 2 in C-sharp minor, Adagio sostenuto. What exactly does this tell us? Let’s take a closer look at its different building blocks.
Form: Piano Sonata
This is the most fundamental part of the title, as it describes the musical structure. Well-known forms in classical music include:
- Symphony – A large-scale work for a full orchestra
- Concerto – A piece for a solo instrument (such as piano, violin or cello) accompanied by an orchestra
- Sonata – A work for a solo instrument (such as piano) or for a solo instrument with piano accompaniment
- String Quartet – A work written for four string instruments (two violins, a viola and a cello)
- Étude – A short, technically challenging piece, often intended as an exercise for the performer
- Nocturne – An atmospheric, dreamy piece, often inspired by the night
So, if a piece has Piano Sonata in its title, you can expect the piano to take the solo role.
Number: No. 14
After the form, a number is often given. This is because a composer frequently published multiple works in the same form. A well-known example is Beethoven’s Symphony No. 5. The number indicates that it is the fifth symphony Beethoven composed and published.
Opus or catalogue number: Op. 27, No. 2
Op. in the title stands for the Latin word opus, meaning “work”. It refers to the publication in which the piece was issued. This piano sonata is therefore part of the composer’s 27th publication. Not every composer, however, organised their works so precisely. In many cases, this was done later by musicologists, often resulting in a more reliable and complete catalogue. Unlike an opus number, such catalogues are almost always arranged chronologically, ordering works by the date they were composed rather than the date they were published. Publication often took place years later, which can give a distorted picture of where in a composer’s career a work was actually written. For these newer catalogues, composers (or cataloguers) assigned their own distinctive code, such as:
- BWV (Bach-Werke-Verzeichnis) – for the works of J.S. Bach
- K or KV (Köchel-Verzeichnis) – for the works of Mozart
- D (Deutsch-Verzeichnis) – for the works of Schubert
- B (Burghauser catalogue) – for the works of Dvořák
- S (Searle catalogue) – for the works of Liszt
- RV (Ryom-Verzeichnis) – for the works of Vivaldi
- Hob. (Hoboken-Verzeichnis) – for the works of Haydn
Bach’s famous Toccata and Fugue in D minor is therefore also referred to as BWV 565: the 565th entry in the official Bach-Werke-Verzeichnis of Johann Sebastian Bach’s works.
But this building block consists of more than just an opus or catalogue number – it also includes another number. This is because not every opus necessarily contains only one piece. Beethoven’s Opus 27, for example, also includes Piano Sonata No. 13. You could almost think of it as an album containing multiple tracks!
Key: C-sharp minor
And then there’s the key: in this case, C-sharp minor. This is mainly a technical specification for musicians, as it can give an indication of the piece’s mood. The piano sonata we’re dissecting in this article is written in C-sharp minor. C-sharp means that the tonic note is C raised by a semitone. What speaks most to the mood, however, is the minor. Most works in a minor key have a melancholic, dramatic and serious character. This is in contrast to pieces written in a major key, which tend to sound cheerful, bright and triumphant. The fact that this piano sonata is written in C-sharp minor therefore tells you that it contains a certain degree of drama and melancholy.
Movements: Adagio Sostenuto
The final part of the title is not always used, but it indicates which movement of a classical work you are referring to. A symphony or sonata almost always consists of several separate pieces of music played one after the other. Adagio sostenuto, for example, refers only to the first and most famous movement of the Moonlight Sonata, essentially a chapter of the sonata. Each chapter has its own distinct atmosphere: one may be fast and exciting, the next perhaps romantic and stately. The movements are also composed in such a way that they sound like complete pieces in their own right. Sometimes, however, a movement ends on an open, questioning note – a sort of musical cliffhanger that makes you curious about the next chapter. Together, all the movements form the complete story.
In general, the movements of a classical work are indicated using Italian tempo and character markings, which once again give you an idea of what to expect from a particular movement. Common terms include:
- Adagio – Slow and calm
- Allegro – Fast and lively
- Andante – At a walking pace
- Scherzo – Energetic and playful
- Presto – Very fast
- Finale – The last movement
Attending a concert featuring a work with multiple movements? Then it’s good to know that the audience only applauds once all the movements have been played and “the whole story has been told.” Not sure? Simply wait until the rest of the audience begins to clap, or until the conductor turns to face the audience – then you can’t go wrong!
The moment of truth
Now that you know how to break down classical titles, it’s time to put your skills to the test with works that will be performed in Muziekgebouw Eindhoven in the coming season. Can you work out the titles – and perhaps even recognise which composer they belong to?