FORMAL CONFLUENCES IN THE ARCHITECTURE OF THE SONATINA FOR PIANO AND VIOLIN BY DINU LIPATTI

Abstract

The architecture of the Sonatina for Piano and Violin by Dinu Lipatti (1933) includes sections that refer to other (pre)classical formal patterns: the first part includes a treatment in the polyphonicimitative spirit of an invention, and the other two parts join in a theme with variations. A quasi-cyclicity unites the themes of the overall work. Moreover, the sonatina stands out through the concentration of the form and language, through the thematic and architectonic precision and clarity, following the path opened a decade ago by Marţian Negrea, with his Sonatina for Piano (1922).