[Illustration: Example 55 continued.]
The thematic factors are small, but none is omitted; every essential component is represented.
For a more extended and fully developed example of the sonata-allegro form, see Beethoven, pianoforte sonata, op. 14, No. 2, first movement; number the 200 measures, and verify all the details according to the following analysis (figures in parenthesis refer as usual to the measures):—
Principal Theme, Part I, period-form (1-8). Part II (9- ), dissolved (about 14) into Transition ( -25).
Subordinate Theme, Part I, period, extended (26-36). Part II, period, probably (37-41-47).
Codetta I, period, extended (48-58).
Codetta II, Small phrase, extended (59-63). Here the Exposition closes, with the customary double-bar and repetition marks.
Development, Section I (64-73), from Principal theme. Section 2 (74-80), from Subordinate theme. Section 3 (81-98), from Principal theme. Section 4 (99-107), closely resembling the Principal theme, but in a remote key. This section practically ends the Development, inasmuch as it culminates upon the dominant of the original key. Section 5 (107-115), establishment of the dominant. Section 6 (115-124), the Re-transition. The Recapitulation begins with the
Principal Theme, Part I, period (125-132). Part II, group of phrases, longer than before (133-152).
Subordinate Theme, as before, but in the principal key (153-174).
Codetta (I), as before, but slightly extended (175-187). The second codetta is omitted.
Coda, phrase, repeated and extended (188-200).
RELATION TO THE THREE-PART SONG-FORM.—In a former chapter (XIII) the Three-Part form was defined as the type of perfect structural design, upon which every larger (or higher) form is based. Nowhere is the connection more striking, and the process of natural evolution out of this germ more directly apparent, than in the sonata-allegro design. See the diagram on page 124. The Exposition corresponds to the First Part, so expanded as to comprise the two themes and codetta, fused into one larger division; the "statement" of a more comprehensive thematic group than the ordinary Part contains, but no more, for all that, than the usual initial "statement." The Development corresponds to the Second Part (proportionately expanded), and the Recapitulation to the Third Part, or recurrence and confirmation of the "statement."
Any Three-Part Song-form, the moment that its First Part expands and divides into the semblance of two fairly distinct thematic sections, becomes what might be called a miniature sonata-allegro form. Many Three-Part Song-forms are so broad, and many sonata-allegros so diminutive, that it is here again often difficult to determine the line of demarcation between them. Example 55 (cited because of its comparative brevity) is scarcely more than such a broadly expanded Three-Part Song-form. An example which approaches much more nearly the unmistakable Three-Part song, may be found in Mozart, sonata No. 12, Menuetto:—
Part I, section one (embryo of a principal theme), measures 1-10, period, extended; section two (embryo of a subordinate theme) measures 11-18, period, in different key.
Part II, group of three phrases, measures 19-30.
Part III, section one, as before, measures 31-40; section two, as before, but in the principal key, measures 41-48.
This is, of course, a Three-Part Song-form; but the essential features of the Sonata-allegro are unquestionably present, in miniature.
See also, Beethoven, sonata, op. 101, first movement; certainly a sonata-allegro design, but diminutive.
The superiority of the sonata-allegro form over all other musical designs, is amply vindicated by the breadth of its thematic basis, the straightforwardness and continuity of its structural purpose, the perfection of its thematic arrangement, and the unexcelled provision which it affords for unity, contrast, corroboration, balance, and whatever else a thoroughly satisfactory structural design seems to demand. Hence, while brief triumphs of apparent "originality" may be achieved by simply running counter to this and similar designs, it seems scarcely possible that any musical form could be contrived that would surpass the sonata-allegro, the last and highest of the forms of composition.
LESSON 17.—Analyze the following examples, as usual, carefully defining all the details of the form, according to the general plan adopted in our text:—
Beethoven, pianoforte sonatas; op. 2, No. 1, first movement (diminutive, but very complete and perfect).
Op. 2, No. 2, first movement.
Op. 10, No. 3, Largo.
Op. 22, first movement (four or five codettas).
Op. 14, No. 1, first movement.
Op. 22. Adagio.
Op. 27, No. 2, last movement.
Op. 28, first movement.
Op. 31, No. 1, first movement.
Op. 31, No. 3, first movement (the last 2 1/2 measures of the Exposition are a transitional Interlude, which leads back into the repetition, and on into the Development).
Same sonata, Scherzo.
Op. 31, No. 2, last movement (coda contains the entire principal theme).
Op. 78, first movement (diminutive).
Op. 79, first movement.
Op. 90, first movement, (no "double-bar").
Op. 57, first movement.
Same sonata, last movement.
Mozart, sonatas: No. 7, first movement.
No. 3, first movement. No. 4, first movement; also Andante.
No. 8, first movement. No. 5, first movement.
No. 10, first movement. No. 6, first movement.
No. 1, Andante. No. 6, last movement.
Mendelssohn, pianoforte Caprice, op. 33, No. 2 (brief introduction).
Sonata, op. 6, first movement.
Op. 7, No. 7.
Fantasia, op. 28, last movement.
Schubert, pianoforte sonatas: op. 143, first movement.
Op. 42, first movement.
Op. 120, first movement.
Op. 147, first movement (in the Recapitulation, the principal theme is transposed).
Op. 164, first movement (the same).
Beethoven, symphony, No. 5, first movement.
Symphony, No. 1, first Allegro; also the second movement; and the Finale.