Essay
Discuss how symphonic composers of the Western Classical Tradition have taken different approaches to the use of sonata form?
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An essay depicting how sonata form was used by different composers
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Discuss how symphonic composers of the Western Classical Tradition havetaken different approaches to the use of sonata form. You must refer to the first
movements of both set works and also to other relevant symphonies, from both
the Classical and Romantic eras. (15 marks)
Sonata form become the most important structure for composing in the classical era. It
helped the composers to organise their music into different sections. In the Romantic
era exploration and freedom was a key theme, whilst the classical era focused on
balance. It consists of three sections, the exposition section in which the main material is
introduced. It includes 3 sections within the exposition. Subject 1 is in the tonic key, then
the transition passage helps to modulate to the second subject which is in a key related
to the tonic. For instance, this could be the dominant or the relative key. Then there is
the development section after the exposition, which is where the original material is
developed, and new material can be introduced. This section can be used to explore
new keys but most of the time it ends with dominant preparation for the return to the
tonic key in the final section, the recapitulation. The recapitulation is the final section of
Sonata form and reminds us of the original material. Like the exposition, it has three
sections, subject one which is in the tonic key, a transition passage which unlike the
transition of the exposition, stays in the tonic key. The recapitulation also has a second
subject which stays in the tonic key, unlike the exposition where subject 2 is in a key
related to the tonic.
In Haydn symphony 104, there is a 16-bar adagio introduction which presents the unison
tutti fanfare motif in bars 1 and 2, which is brought back in bar 7, however this time it is
in the key of F major, since the music has modulated through the use of C naturals and a
perfect cadence. The exposition section, which “exposes” the main thematic material,
begins at bar 17 and lasts until bar 123. This section is allegro and therefore contrast the
tempo, yet it also contrasts the key and harmony as it modulates to D major. Bars 50 –
64 are the transition passage, which is followed by the second subject, which is subject
one but in the key of A major. This created the monothematic aspect of this symphony.
Monothematic means to construct a composition around a single theme. The Codetta,
meaning ‘little coda’, begins at bar 99 and continues to bar 123, which is when the
development section begins and last until bar 192. This starts with a development of
bars 3 and 4 of subject 1 but using techniques such as imitation and varied instruments.
Some other variations that take place in the development section are contrasts in
texture, for example in bars 145 – 155 the texture is lightened to just strings.
Syncopation in bar 164 helps to increase the pace and the. The recapitulation section
begins at bar 193 and last until bar 221 where the second movement begins. The
purpose of this section in sonata form is to remind us of the main material. It includes
some variation, for example bars 208 – 219 are a repeat of bars 32 – 34, however when
the violin part returns in bar 216, it is played an octave.
Movement one of Mendelssohn’s ‘Italian’ Symphony, which consists of four movements,
is described as ‘allegro vivace’ and is in A major. It starts with a 209-bar exposition.
Subject 1 of the exposition lasts from bar 1 – 66, followed by a transition section and
then the second subject. The transition section (bridge passage) features antiphony
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