The sonatina is a lighter and easier form of the sonata. The concept of the sonata grew from the Baroque times. In the Baroque times, a sonata had several contrasting movements and from this emerged a balanced form that was a reflection of Greek and Roman architecture with its balance and structure. The term Classical was a reference to a revival of appreciation for classical balance and perfection. The sonata form embodied a variety of beautiful material but all housed in a balanced form.
The first movement of a sonatina is fairly intellectual and reasonably fast. The following second movement is gentle and more reflective and the last movement is brighter, more light-hearted and is the fastest of the three movements. The first movement of the sonatina usually follows sonata form by containing an exposition and recapitulation however the development section is sometimes not present or is not particularly long.
According to James and James Bastien in their First Sonatina Book published in 1984, the first movement will usually contain two main themes which are presented in the tonic key and/or a contrasting key. The second movement they state is often written in three-part song and that the third movement is often in rondo form.
Kabalevsky from Alamy.com
By Peter Copmann - bruun-rasmussen.dk, Public Domain, https://commons.wikimedia.org/w/index.php?curid=76419837
Often sonatinas of the Classical period contain scale, broken chord passages and Alberti Bass patterns, balance between the hands is required, the player must think about how to play with elegant phrasing and the study of sonatinas helps with finger dexterity and agility. Many of the first sonatinas written by composers such as Clementi and Kuhlau were mostly written for teaching purposes. Clementi’s Op. 36 set of sonatinas are very well known. Clementi was a great advocate for the piano and his composed specifically for the instrument. The six sonatinas in Op. 36 become progressively harder throughout the set.
James and Jane Bastien’s 1984 First Sonatina Album discusses some practice suggestions such as playing hands separately to establish the basic hand motions. In regards to memorising the piece, it is advised to analyse the form of each of the movements and to know the key of all of the sections of the sonatina.
In the Bastien book are a number of well-known sonatinas and an introduction is given to all of them. Throughout they have helpfully indicated where the themes are present in the music.
Sonatina in C, William Duncombe - this piece is well-known and has on occasions been part of the ABRSM Grade 1 syllabus. According to the Bastiens, William Duncombe came from a musical and literary family.
Thomas Attwood by Unknown author - http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/rcmu/large/wmrii_rcmu_pphc000002_large.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=42199433
Sonatina in G, Thomas Atwood - again, another well-known piece. Thomas Atwood (1765 - 1838) was an English organist and composer and he studied with Mozart from 1785 - 1787). He became the organist in 1796 at St Paul’s Cathedral and he was a friend of Mendelssohn. This piece is currently in the ABRSM Grade 2 syllabus (2021 - 2022) and there are some excellent footnotes in the exam book. This piece is taken from a set of four sonatinas.
Fritz Spindler, from Alamy.com
Sonatina Op. 157, No. 1, Fritz Spindler - Fritz Spindler, a German composer, teacher and performer lived in Dresden and he wrote many sonatinas for his pupils. The second movement of this sonatina is a tarantella.
Sonatina in G, Beethoven - a very well-known piece.
Sonatina Op. 39. No.1, Frank Lynes - Frank Lynes, who lived from 1853 to 1913, was an American organist and composer and he became a church organist in Boston. Most of his compositions were for students.
Muzio Clementi by Archivio Storico Ricordi, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=92265269
Sonatina Op. 36 No. 1, Muzio Clementi - Mozart and Clementi had a competition to see who was the better pianist. Clementi, it was thought, had the better technique but Mozart was a better musician. Clementi wrote the book, The Art of Playing on the Piano-Forte, which he used for teaching his students, as did Chopin. And, in addition to having a composing, teaching and performing career, he established a successful piano making and publishing company.
Sonatina Op. 27, No. 11, Kabaelvsky - has been part of the ABRSM syllabus at Grade 4 level.
Sonatina in C, Tobias Haslinger - Tobias Haslinger who died in 1842 was a friend of Beethoven and he was best-known as a music publisher.
Sonatina in F, Beethoven - this first movement of this piece is in the current Grade ABRSM syllabus.