In this movement of C. P. E. Bach, despite its many crudities, there is taken a long step toward the establishment of modern sonata-form. The main divisions of the form, exposition, development, and recapitulation, appear clearly; solid harmonic structure is attained by the sequence of duality, plurality, and unity; there are two contrasting themes, though the second is rudimentary; the general principle of development of themes through insistence on salient features is illustrated; and the whole movement is written in a style well suited to the piano, and emancipated from the influence of polyphony and of the short dance and song forms.
In the next chapter we shall see how Haydn and Mozart proceeded to build more elaborate structures on the foundation thus laid by C. P. E. Bach.
SUGGESTIONS FOR COLLATERAL READING.
Dickinson: "The Study of the History of Music," Chapter XIV. Grove: "Dictionary of Music," articles on "Bach, Philip Emanuel," "Sonata," "Form." C. H. H. Parry: "Evolution of the Art of Music," Chapters VII and IX (Appleton). "Oxford History of Music," Volume IV.
FOOTNOTES:
[22] It will be noted that there are three names for this one type of structure: "Sonata-form," "First-movement form," and "Developed ternary form."
[23] No. 1 in the edition by Peters, Leipzig.
[24] See Hadow's "Sonata-Form" (Novello) Chapter VII, for a discussion of the various methods of theme-development.