Question: The first movement of the most vast and dramatic of Dimitry Kabalevsky's three sonatas has been compared to a symphony that was dedicated by is composer to what city?  

Context paragraphs:
Sonatas and Partitas for Solo Violin (Bach): The sonatas and partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach.  They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time.  The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in dance-form movements.

Piano sonata: A piano sonata is a sonata written for a solo piano.  Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement (Scarlatti, Liszt, Scriabin, Medtner), two movements (Haydn), five (Brahms' Third Piano Sonata) or even more movements.  The first movement is generally composed in sonata form.

Violin Sonata No. 32 (Mozart): Violin Sonata No. 32 in B-flat major (K. 454) was composed by Wolfgang Amadeus Mozart in Vienna on April 21, 1784.  It was published by Christoph Torricella in a group of three sonatas (together with the piano sonatas K. 284 and K. 333).

Piano Sonata No. 2 (Kabalevsky): Dmitry Kabalevsky's Piano Sonata No. 2 in E flat major, Op. 45 was composed in 1945 and dedicated to Emil Gilels.  It is the most vast and dramatic of Kabalevsky's three sonatas.  A War Sonata such as Sergei Prokofiev's trilogy, its first movement has been compared to that of Dmitri Shostakovich's Symphony No. 7.

Héroïde funèbre (Liszt): Héroïde funèbre , S. 102, is a symphonic poem written by Franz Liszt in 1850 and published in 1857 as No. 8.  The work originated as the first movement of a planned "Revolutionary Symphony" inspired by the July Revolution.  Liszt pays homage in this programmatic symphonic poem to the soldiers and men that died fighting in revolutionary efforts.  The composition of this piece was started in 1830 as a brief sketch for a full symphony, but was dropped by Liszt in the continuing of other works.  However, in 1848, there was an uprising in Liszt's home country of Hungary.  One of Liszt's friends was killed during this revolution, which caused Liszt to revisit his now 20 year old sketch of the Revolutionary Symphony, shortening it and forming the first movement into the commemorative Héroïde funèbre.  Liszt said of the program, "In these successive wars and carnages, sinister sports, whatever be the colours of the flags which rise proudly and boldly against each other, on both sides they float soaked with heroic blood and inexhaustible tears.  It is for Art to throw her ennobling veil over the tomb of the brave, to encircle with her golden halo the dead and dying, that they may be the envy of the living."

Piano Sonata No. 12 (Mozart): The Piano Sonata No. 12 in F major by Wolfgang Amadeus Mozart, K. 332/300k, was written at the same time as the Piano Sonata, K. 330, and Piano Sonata, K. 331 ("Alla turca"), Mozart numbering them as a set from one to three.  They were once believed to have been written in the late 1770s in Paris, but it is now thought more likely that they date from 1783, by which time Mozart had moved to Vienna.  Some believe that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife, Constanze to his father, Leopold.  All three sonatas were published in Vienna in 1784.

Symphony No. 7 (Shostakovich): Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60 (titled Leningrad), was written c. 1939–40.  Initially dedicated to the life and deeds of Vladimir Lenin, Shostakovich decided instead to dedicate the symphony to the city of Leningrad on its completion in December 1941.  The work remains one of Shostakovich's best-known compositions.

Piano Sonata No. 3 (Brahms): The Piano Sonata No. 3 in F minor, Op. 5 of Johannes Brahms was written in 1853 and published the following year.  The sonata is unusually large, consisting of five movements, as opposed to the traditional three or four.  When he wrote this piano sonata, the genre was seen by many to be past its heyday.  Brahms, enamored of Beethoven and the classical style, composed Piano Sonata No. 3 with a masterful combination of free Romantic spirit and strict classical architecture.  As a further testament to Brahms' affinity for Beethoven, the Piano Sonata is infused with the instantly recognizable motive from Beethoven's Symphony No. 5 during the first, third, and fourth movements.  Composed in Düsseldorf, it marks the end of his cycle of three sonatas, and was presented to Robert Schumann in November of that year; it was the last work that Brahms submitted to Schumann for commentary.  Brahms was barely 20 years old at its composition.  The piece is dedicated to Countess Ida von Hohenthal of Leipzig.

Fitzwilliam Sonatas: Fitzwilliam Sonatas is the name first given by Thurston Dart to an arrangement he made, based on two recorder sonatas by George Frideric Handel, which he recast as a group of three sonatas.  The term was applied by later editors to the original two sonatas as Handel wrote them, and was also expanded to encompass several other sonatas for various instruments included in the Handel autograph manuscripts held by the Fitzwilliam Museum in Cambridge.

Maestoso: Maestoso (] ) is an Italian musical term and is used to direct performers to play a certain passage of music in a stately, dignified and majestic fashion (sometimes march-like) or, it is used to describe music as such.  Maestoso also is associated with the advent of Classicism, Romanticism, and the newer forms of Neo-Classicism and Neo-Romanticism.  The interpretation of "Maestoso" is varied by the conductor depending upon the overall style in which the piece is written.  Used as more of an interpretive choice, this term is not always associated with a specific tempo or tempo range.  The term is commonly used in relatively slow pieces, but there are many examples - such as the first movement of Mozart's Flute Concerto no. 1 - in which a faster tempo can be played in such maestoso.  Common examples of maestoso tempo include Elgar's "Land of Hope and Glory", the first movement of Mozart's Piano Concerto No. 21, the first movement of both Anton Bruckner's "Symphony No. 6" and Beethoven's "Symphony No. 9", as well as Chopin's Polonaise in A flat major, Op. 53.  The 1st movement of Brahms first Piano Concerto is another example.

Supporting paragraphs: Piano Sonata No. 2 (Kabalevsky) Symphony No. 7 (Shostakovich)
Answer: Leningrad