19 "Leichte"
Piano Sonata No. 21 "Waldstein"
Piano Sonata No. 23 "Appassionata"
Piano Sonata No. 29 "Hammerklavier"
Piano Sonata No. 32 in C minor, Op. 111
Violin Sonata No. 5 "Spring"
Violin Sonata No. 9 "Kreutzer"
Cello Sonata No. 1 in F major Op. 5
Cello Sonata No. 2 in G minor Op. 5
Cello Sonata No. 3 in A major Op. 69
Johannes Brahms
Cello Sonata No. 1
Cello Sonata No. 2
Clarinet Sonatas No. 1 and No.2
Violin Sonata No. 1
Violin Sonata No. 2
Violin Sonata No. 3
Johannes Brahms, Albert Dietrich, and Robert Schumann
F-A-E Sonata
Frédéric Chopin
Piano Sonata No. 2 in B♭ minor
Piano Sonata No. 3 in B minor
Paul Dukas
Piano Sonata in E-flat minor (1900)
George Enescu
Sonata No. 1 for violin and piano in D major, Op. 2 (1897)
Sonata No. 2 for violin and piano in F minor, Op. 6 (1899)
Edvard Grieg
Three sonatas for Violin and Piano
Franz Liszt
Sonata after a Reading of Dante (Fantasia Quasi Sonata)
Sonata in B minor
Robert Schumann
Violin Sonata No. 1 in A minor, Op. 105

20th-century and contemporary (c. 1910–present)
Samuel Barber
Cello Sonata Op. 6
Piano Sonata Op. 26 (1949)
Jean Barraqué
Piano Sonata (1950–52)
Béla Bartók
Sonata for Two Pianos and Percussion
Sonata for Piano (1926)
Sonata for Solo Violin
Sonata No. 1 for Violin and Piano
Sonata No. 2 for Violin and Piano
Alban Berg
Sonata for Piano, Op. 1
Leonard Bernstein
Sonata for Clarinet and Piano
Pierre Boulez
Piano Sonata No. 1
Piano Sonata No. 2
Piano Sonata No. 3
Benjamin Britten
Sonata for Cello and Piano, Op. 65
John Cage
Sonata for Unaccompanied Clarinet
Sonatas and Interludes for Prepared Piano (1946–48)
Claude Debussy
Sonata No. 1, for cello and piano (1915)
Sonata No. 2, for flute, viola and harp (1915)
Sonata No. 3, for violin and piano (1916–1917)
George Enescu
Sonata No.
History
Baroque
In the works of Arcangelo Corelli and his contemporaries, two broad classes of sonata were established, and were first described by Sébastien de Brossard in his Dictionaire de musique (third edition, Amsterdam, ca. 1710): the sonata da chiesa (that is, suitable for use in church), which was the type "rightly known as Sonatas", and the sonata da camera (proper for use at court), which consists of a prelude followed by a succession of dances, all in the same key. : 21, 40  Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality.The sonata da chiesa, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile slow movement, and a lively finale in some binary form suggesting affinity with the dance-tunes of the suite. This scheme, however, was not very clearly defined, until the works of Arcangelo Corelli when it became the essential sonata and persisted as a tradition of Italian violin music. The sonata da camera consisted almost entirely of idealized dance-tunes. On the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed.