Development of the Symphony - Sonata Form

Question 1

What are the 3 sections of sonata form?

Answer 1

Exposition, Development and Recapitulation

Question 2

What additional sections could be added to sonata form?

Answer 2

Introductions and Codas

Question 3

What is the function of an exposition?

Answer 3

To introduce the listener the to 2 main themes of the movement

Question 4

What are the names of the themes in the exposition?

Answer 4

First and Second Subject

Question 5

What is the function of the ‘transition’ section?

Answer 5

To modulate from the first subject tonality to the second subject tonality

Question 6

What is the function of the codetta/coda?

Answer 6

To bring the section to an end. It is usually confirms the key of the section that precedes it. In the exposition, this will be the key of the second subject and in the recapitulation it will be the tonic key.

Question 7

What is the ‘character/personality’ of the first and second subjects?

Answer 7

The first subject is usually very serious and will engage the listener. The second subject, in the Classical (Early and Mature) was often similar in scope to the first (or would be monothematic). In the Romantic period, the second subject became more lyrical, emotive, contrasting and sometimes slower.

Question 8

What is monothematicism?

Answer 8

When the first and second subjects are the same theme.

Question 9

What is the inherent problem with monothematicism?

Answer 9

In the recapitulation, because it’s all in the tonic key, the second subject will be identical to the first so it’s a direct repeat which could become monotonous if not handled correctly.

Question 10

What is the function/purpose of a development section?

Answer 10

The development section will develop any material that has been introduced in the exposition

Question 11

What are the features of a development section?

Answer 11

A development section will often fragment, sequence and develop different melodic fragments of previous heard material and play these through many different keys/tonal centres.

Question 12

What is a ‘linking passage’?

Answer 12

In the development, there will need to be a linking passage to prepare for the return to the recapitulation. This will usually involve a dominant pedal of the tonic key.

Question 13

What is the function of a recapitulation?

Answer 13

To perform the material of the exposition again. However, this must all be in the tonic key - there is no modulation to another key for the second subject.

Question 14

What is ‘modified sonata form’?

Answer 14

A form that is similar to sonata form, but modified in some ways. Usually, there is a section from traditional sonata form removed (the development section a lot of the time)

Question 15

What is sonata rondo form?

Answer 15

A fusion of both sonata and rondo form. The most common sonata form structure is ABA-C-ABA with the C being the development and the first subject being played twice.

Question 16

What is a ‘tonal region’ with respect to sonata form?

Answer 16

The internal tonal plan of a sonata form composition. So, in effect, where the modulations occur within a sonata form movement.

Question 17

What are the expected tonal regions of a sonata form composition?

Answer 17

• Major - First Subject (Tonic) - Second Subject (Dominant) - Recapitulation (All Tonic)
• Minor - First Subject (Tonic) - Second Subject (Relative Major) - Recapitulation (All Tonic)

Question 18

How does Stamitz use sonata form in his Symphony in D (Op.3, No.2)?

Answer 18

• He uses a prototype sonata form in his first movement.

Question 19

How did Stamitz’ sonata form use differ from later versions?

Answer 19

• There was no fragmentation in the development - the themes were played in different keys, in full.
• There was no ‘double return’ to the tonic for the recapitulation - the development section had the return of the tonic key earlier than expected.

Question 20

How did Haydn use sonata form in his Symphony No.104?

Answer 20

• The symphony has 2 sonata form movements - I and IV
• Both movements are monothematic (use same first and second subject themes)

Question 21

What are the non-standard features of sonata form used in movement I of Haydn’s Symphony No.104?

Answer 21

• Includes a introduction in D minor
• Hints at another key in the coda of recapitulation (A Major) momentarily and then cancels it.
• The development section is split into 4 ‘processes’ that describe how the material is handled.
• Because he deals with monothematicism, Haydn uses Fig. Y for most of development and then Fig. X for recapitulation.

Question 22

What are the non-standard features of movement 4 in Haydn’s Symphony No.104?

Answer 22

• Inclusion of folk themes - Croatian with drones and ‘stamping’ rhythms (Fig.X)
• He has 2 second subjects (S2a and S2b)
• First subject doesn’t have a harmonic basis - it’s implied by the melody.
• Second subject (S2b) moves to B minor (a little unusual)
• Unlike Mvt.1 the development has fully designated sections to previously heard themes.
• A 70-bar coda - quite long for the time!
• Move to a ‘sturm und drang’ D minor section in the coda.

Question 23

How does Mendelssohn use sonata form in his ‘Italian’ Symphony?

Answer 23

• He uses sonata form in movement 1
• He uses a modified sonata form in movement 2 (sometimes called ‘slow movement sonata form’)
• He uses sonata form in the finale

Question 24

What unique features are part of movement 1 sonata form in Mendelssohn’s Italian Symphony?

Answer 24

• There is a third subject (S3) introduced in the development section
• There is a “false reprise” in C Major included in the development that implies a return to the recapitulation but it doesn’t materialise.
• There is an additional development section at the end of the recapitulation.
• Coda is 77 bars long - again quite long for the time.

Question 25

What unique features are part of movement 2 sonata form in Mendelssohn’s Italian Symphony?

Answer 25

He uses modified sonata form in the ‘slow movement sonata form’ version - 2 ideas introduced like an exposition section, but no formal development section.

Question 26

What unique features are part of movement 4 sonata form in Mendelssohn’s Italian Symphony?

Answer 26

• Uses Italian folk themes (Salterello and Tarantella)
• The development section just continues to develop - there’s no real return of the recapitulation.
• He introduces a minor version of the S1 theme from movement 1 to give a sense of link across the entire symphony.

Question 27

How does Beethoven use sonata form in his Symphony No. 9?

Answer 27

• First movement uses sonata form
• Second movement, although in Scherzo form, uses a sonata form basis for the scherzo section.

Question 28

What unique features are part of movement 1 sonata form in Beethoven’s Symphony No.9?

Answer 28

• There is no repeat of the exposition (was common at the time)
• The recapitulation has a D Major variation of the first subject, instead of the expected D minor
• The movement has a massive coda section which lasts nearly a quarter of the entire movement.

Question 29

What unique features are part of movement 2 sonata form in Beethoven’s Symphony No.9?

Answer 29

• The scherzo is effectively a complete sonata form
• The first subject begins with a fugue in D minor
• The second subject modulates to an unusual key of C Major
• There is a short development section exploring other ideas.
• The recapitulation further develops exposition themes including added timpani solos

Question 30

How does Berlioz use sonata form in his Symphonie Fantastiqe?

Answer 30

He uses a modified version of sonata form in the first movement

Question 31

What unique features are present in movement 1 sonata form of Berlioz’ Symphonie Fantastique?

Answer 31

• Use of modified version of sonata form.
• There is a much larger introduction (71 bars!), which establishes the key centre (C Major) for the first subject.
• The first subject is introduced in b.71-133, transition from b.133-150 and second subject (150-166 - a very short second subject!)
• The development second develops both subjects and includes a section of ascending/descending chromatic scale leading to a dramatic 4 bars of silence.
• The recapitulation is just a series of development sections playing with former material

Question 32

How does Mahler use sonata form in his Symphony No.2 ‘Resurrection’?

Answer 32

There is use of a modified sonata form in movement I

Question 33

What are the unique features of sonata form in movement 1 of Mahler’s ‘Resurrection’ Symphony?

Answer 33

• It is in modified sonata form
• The exposition appears again before the recapitulation with variations and new material.
• The second subject is highly contrasting to the opening stormy first subject – a common feature of later symphonies.
• The development introduces new themes that would be expanded later, such as the Dies Irae theme.

Question 34

How does Tchaikovsky use sonata form in his Symphony No.6 ‘Pathetique’

Answer 34

He uses variations of sonata form in movement I, III and IV.

Question 35

What are the unique features of sonata form in movement 1 of Tchaikovsky’s Symphony No.6?

Answer 35

• Includes introduction that utilises fragments of the first subject in E minor (Subdominant key of Tonic)
• There are significant changes in tempi, moods and keys throughout this movement. More so than Haydn/Mendelssohn.
• The Second Subject is more lyrical and emotive than the first – typical in this time period in D Major – relative major (common)
• The recapitulation is unusual as it doesn’t really return to the exposition material until the second subject – the first subject is integrated into the end of the development section.
• The coda enters quite quickly after the second subject recapitulation and is in the parallel tonic major (B Major)

Question 36

What are the unique features of sonata form in movement 3 of Tchaikovsky’s Symphony No.6?

Answer 36

• Sonatina form- Sonata without the development.
• Is a scherzo in 12/8 before moving to a march-like section 4/4
• Between the exposition and the recapitulation, there is no development section – only 2 bars of fragmentary retransition. The opening theme reappears emboldened, and after flourishes of scales traded between the strings and woodwind, the secondary subject returns triumphantly in G major.
• The movement ends with a deceptive finale, once again featuring downward scales. There is a lot of bombast and brass writing in the closing sections.

Question 37

What are the unique features of sonata form in movement 4 of Tchaikovsky’s Symphony No.6?

Answer 37

• Sonata Rondo Form (ABA-C-AB)
• In a heart wrench sad slower finale – this is not the expected norm of a finale.
• The opening of the movement begins on a G# half-diminished 7th (unusual start)
• A calmer second subject in D major builds up to a full orchestral section pushing to a Neapolitan C major.
• The second subject is transformed in a dramatic return to B minor before the first subject returns.
• Development is turbulent with prominent use of trombones.
• The First subject returns - agitated- through use of an F# pedal.
• The final B section dies away slowly in a totally tragic end for the movement.
• Not a ‘From Darkness to Light’ symphony - ends B minor.