Sonata II in B-flat Major for Violin and Piano
I. Allegro moderato
II. Andante amoroso
III. Allegro vivo
The form of the first movement of Sonata II in B-flat Major, Allegro moderato, is sonata-allegro form. The exposition has three thematic areas with a short keyboard cadenza before the recapitulation. The phrases are symmetrical, and the melodic lines have a downward curve. There are phrase repetitions for emphasis in the exposition. Accents occur on beats two and four.
The second movement, Andante amoroso, in F Major, is in binary form, with sixth chords and sequences. The keyboard plays the first eight measures, and then the violin repeats the melody while the keyboard accompanies.
The third movement, Allegro vivo, returns to B-flat Major and has a complex ternary form ABA with a coda. The A section has an internal form of aba, and the B section has an internal form of aba and cdc. The return of A rearranges the violin and melodic material.
The sonatas are a fascinating and intriguing addition in the study of women composers of the eighteenth century such as Elizabeth Turner, Elizabeth Hardin, Jane Freer, Elizabeth Weichsell Billington, Cecilia Barthélemon, Maria Hester Park, Marianne Martinez, Anna Bon, and Elisabetta de Gambarini. (All available from HMP.) Unfortunately, these women were forgotten and overlooked by music historians in the succeeding years. Every woman composer that is recovered and every new edition that is published provides another link in the history of eighteenth-century women composers.