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(b.)
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FIGURE XXXIV.
This development, however, is hardly more than an extension of the original phrase. For the purposes of sonata-form something more radical and far reaching, something more like new creation is necessary. Without going into detail[24] we may be content with pointing out the essential principle of this more radical development. Analysis shows that it always depends on the selection of certain salient characteristics of the original themes and representation of them under new guises, or under new conditions.
Just as a novelist develops his characters by letting their fundamental peculiarities manifest themselves in all sorts of ways and among all kinds of circumstances, meanwhile paying but scant attention to their more accidental or superficial traits, so the composer of a sonata seizes upon whatever is individual in his themes—a strong rhythm, a peculiar turn of phrase, a striking bit of harmony—and repeats and insists upon it tirelessly, with whatever variation of minor details his ingenuity may suggest. An examination of this process of generation in the works of Haydn and Mozart will make these important points clear. In Figure XXXV (a), is shown a brief quotation from the beginning of the first movement of Haydn's Symphony in D-major. Although this theme has no pronounced rhythmic figures the four repeated notes in measure 3 are unusual in a simple melody of this type, and Haydn chooses them (with the first two notes in the next measure) as the first subject of his development section.
