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.