Home page / Doctoral dissertation
Ioannis Fulias, Slow movements
in sonata forms in the classic era. A contribution to the evolution of genres
and structural types through the works of Haydn, Mozart, and Beethoven (with an
extensive survey of the theoretical evolution of sonata forms from 18th to 20th
centuries), Doctoral dissertation (National and Kapodistrian University of Athens /
Department of Musical Studies), Athens 2005 [2 volumes, xvi + 781 pages].
ÉùÜííçò Öïýëéáò, ÁñãÜ ìÝñç óå ìïñöÝò óïíÜôáò óôçí êëáóóéêÞ ðåñßïäï. ÓõìâïëÞ óôçí åîÝëéîç ôùí åéäþí êáé ôùí äïìéêþí ôýðùí ìÝóá áðü ôá Ýñãá ôùí Haydn, Mozart êáé Beethoven (ìå åêôåíÞ åðéóêüðçóç ôçò èåùñçôéêÞò åîÝëéîçò ôùí ìïñöþí óïíÜôáò áðü ôïí 18ï Ýùò ôïí 20ü áéþíá), ÄéäáêôïñéêÞ äéáôñéâÞ (ÔìÞìá Ìïõóéêþí Óðïõäþí ôïõ Åèíéêïý êáé Êáðïäéóôñéáêïý Ðáíåðéóôçìßïõ Áèçíþí), ÁèÞíá 2005 [2 ôüìïé, xvi + 781 óåëßäåò].
Preface – Table of contents [in Greek / p. i-xvi / 437 ÊÂ]
Introduction [in Greek / p. 1-18 / 289 ÊÂ]
Chapter 1: The repertoire and the position of a slow movement in this
The
repertoire put under investigation – A chronological classification of the
repertoire [in
Greek / p. 19-40 / 367 ÊÂ]
The repertoire put
under investigation
Symphonies –
Concertos – Chamber music without keyboard / piano – Chamber music with
keyboard / piano – Keyboard / piano sonatas
A chronological
classification of the repertoire
I. Joseph Haydn:
1st period (ca 1750-1760/1761) – 2nd period (1761-1765) – 3rd period
(1766-1772) – 4th period (1773-1781) – 5th period (1782-1790) – 6th period
(1791-1803)
II. Wolfgang
Amadeus Mozart: 1st period (1761-1768) – 2nd period (1769-1774) – 3rd period
(1775-1780) – 4th period (1781-1785) – 5th period (1786-1791)
III. Ludwig van
Beethoven: 1st period (1782-1792) – 2nd period (1793-1802) – 3rd period
(1802-1814) – 4th period (1815-1826)
The
position of a slow movement in the whole work [in Greek / p.
41-75 / 547 ÊÂ]
A. The genre of
symphony
B. The genre of
concerto
C¹. Chamber
music genres for string instruments
C². Chamber music genres
for string and wind instruments or for wind instruments only
C³. Chamber music
genres with a keyboard / piano part
D. The genre of
keyboard / piano sonata
Conclusions
Symphonies –
Concertos – Chamber music without keyboard / piano – Chamber music with
keyboard / piano – Keyboard / piano sonatas – Works without a slow movement or
with more than one
Appendix 1: The tonality of a slow
movement – Appendix 2: An analytical approach of the phenomenon of the direct
connection of a slow movement with the following one [in Greek / p. 76-92 / 333 ÊÂ]
The tonality of a
slow movement
Johann Joachim
Quantz’ and Joseph Riepel’s accounts – Haydn (up to 1790) and Mozart – Haydn
(after 1790) and Beethoven – Conclusions
An analytical
approach of the phenomenon of the direct connection of a slow movement with the
following one
A critical
reconstruction of Lewis Lockwood’s typology – Haydn – Mozart – Beethoven –
Conclusions
Chapter 2: Sonata forms and their theoretical evolution
The different sonata types [in Greek / p. 93-99 / 223 ÊÂ]
The first three sonata types in 18th-century writings on
music theory (from Scheibe to Koch) [in Greek / p. 99-125 / 569 ÊÂ]
Johann Adolph
Scheibe
Johann Joachim Quantz
Joseph Riepel
Binary sonata type –
Ternary sonata type
Deutsche Encyclopädie (1778)
Georg
Joseph Vogler
Johann
Gottlieb Portmann
Heinrich
Christoph Koch
Text – General observations
– Exposition – Development – Recapitulation
– Total plan of the ternary sonata type – Binary sonata type
The first three sonata types in
18th-century writings on music theory (from Galeazzi to Kollmann) [in Greek / p. 125-143 / 421 ÊÂ]
Francesco
Galeazzi
Text – Harmonic plan
of the ternary sonata type – Thematic formation of the Exposition – Thematic formation of the Development – Thematic formation of the Recapitulation – Binary sonata type
Johann
Friedrich Daube
August
Kollmann
The
first three sonata types in 19th-century writings on music theory [in Greek / p. 143-178 / 557 ÊÂ]
Jérôme-Joseph
de Momigny
Antonín
Reicha
Traité de mélodie – Traité de haute
composition musicale (text) – Harmonic plan of
the ternary sonata type – Thematic formation of the three parts – Binary sonata type
and sonata without development
Heinrich
Birnbach
Ternary sonata type
– Harmonic plan – Thematic formation of the three parts – Binary sonata type
and sonata without development – “Mittelsatz” and “Ausführung”
Carl Czerny
Thematic formation –
Harmonic plan
Adolf Bernhard Marx
The “sonata form”
in Marx’s theoretical system – Exposition
– Development – Recapitulation – The “sonatina form” (sonata without development)
Johann Christian Lobe
Minor theorists in the mid 19th century
Hippolyte-Raymond Colet, Gabriel
Gauthier – Peter Singer, Ernst Friedrich Richter, Benedict
Widmann, Arrey von Dommer
Ebenezer
Prout
Binary sonata type –
Ternary sonata type – Sonata without development
and “sonatina form”
The first three sonata types in
20th-century writings on music theory (from Riemann to Caplin) [in Greek / p.
179-202 / 401 ÊÂ]
Hugo Riemann
Alfred
Richter and Hugo Leichtentritt
Percy Goetschius
The “sonatina form”
(sonata without development) and its derivatives
– Ternary sonata type
Wilhelm Fischer
Helena Marks and William Henry Hadow
Rudolf von Tobel
Ternary sonata type
– Sonata without development
Arnold Schönberg, Wolfgang Stockmeier, Wallace Berry, Ellis Bonoff
Kohs, and Clemens Kühn
Ternary sonata type
– Exposition – Development – Recapitulation – Coda – Binary
sonata type and sonata without development
Erwin Ratz and William Earl Caplin
Two remarks by Ratz
– The ternary sonata type in Caplin – The sonata without development in Caplin
The first three sonata types in
20th-century writings on music theory (from Ratner to Hepokoski) [in Greek / p.
203-234 / 511 ÊÂ]
Leonard Gilbert Ratner
The harmonic plan of
sonata form comes to the fore – Ternary sonata type – Binary sonata type and sonata without
development
Jens Peter Larsen
William
Stein Newman
Rey Morgan Longyear
Binary sonata type –
The “three-key exposition” – Peculiarities of the minor mode
Klaus
Ferdinand Heimes
László
Somfai
The distinction of the
three sonata types – Ternary sonata type
Charles Rosen
Binary sonata type –
Ternary sonata type – Exposition – Development – Recapitulation – Coda – Other
“sonata types” and sonata without development
James Hepokoski
The ternary sonata
type and the limits of the “sonata principle” – The different sonata types
The first three sonata types in
20th-century writings on music theory (Further evidence about the binary sonata type – Ternary and binary
aspects of the basic sonata type) [in Greek / p. 235-245 / 242 ÊÂ]
Further evidence about the binary sonata
type
The evolutional model
from binary to ternary sonata type (Wallace Berry,
Siegmund Levarie and Ernst Levy) and the “suite
form” (Carl Dahlhaus, Clemens Kühn, Wolfgang Gersthofer) – Jürgen Hunkemöller – James Webster –
Nicholas Cook
Ternary and binary aspects of the basic sonata type
The unproductive controversy
about the priority of the thematic or the harmonic elements of form – Other standpoints
on the “dynamics” of sonata form
The fourth sonata type (“sonata-rondo form”) [in Greek / p.
245-262 / 323 ÊÂ]
Rondeau, rondo, and mixtures with sonata elements
Rondo-sonata and sonata-rondo in 19th-century sources
Johann Christian
Lobe – Adolf Bernhard Marx – Carl Czerny – Ebenezer Prout
The basic rondo-sonata and sonata-rondo types in 20th-century writings
The rondo-sonata
type A
B A C A B A – The sonata-rondo form
A critical investigation and evaluation of other theoretical proposals
for mixtures of rondo and sonata elements
Summary – Coexistence of “couplet” and development
in sonata-rondo and rondo-sonata forms – The five-part form A B A B A – Rondo-sonata
type A B A C B Á and sonata-rondo
with “reversed recapitulation” – Rondeau-sonata type A B A C A D A B A – Other isolated
and controversial cases
The fifth sonata type (“sonata-concerto
form”) and its three
subtypes [in Greek / p. 263-300 / 571 ÊÂ]
The evolution from the baroque “ritornello form” to the pre-classical and
classical “concerto form”
The “concerto form” in music theory of the second half of 18th century
Johann Joachim
Quantz – Joseph Riepel – Jakob Wilhelm Lustig and Johann Georg Sulzer / Johann
Philipp Kirnberger – Georg Joseph Vogler – Heinrich Christoph Koch – Francesco
Galeazzi – August Kollmann
The “sonata-concerto form” in music theory of the 19th century
Carl Czerny – Adolf Bernhard Marx
– Otto Jahn – Ebenezer Prout
The “sonata-concerto form” in music theory of the 20th century
Donald Francis
Tovey, Hugo Leichtentritt, Percy Goetschius, Wilhelm Fischer – Friedrich Blume,
Rudolf von Tobel, Cuthbert Morton Girdlestone, Howard Chandler Robbins Landon,
Edwin J. Simon and others – Arthur Hutchings, Jutta Ruile-Dronke – Charles
Rosen, Leonard Ratner – Konrad Küster – Michael Thomas Roeder, William
Caplin – Marion Brück, James Webster
The three “sonata-concerto” types available for slow movements
Herbert Neurath, Rudolf
von Tobel – Cuthbert Morton Girdlestone, Howard Chandler Robbins Landon, Hans
Tischler – Klaus Weising – Marion Brück – Jutta Ruile-Dronke, Andreas
Odenkirchen, Konrad Küster, Michael Thomas Roeder, Chappell White
Conclusions [in Greek / p. 301-314 / 219 ÊÂ]
General tendencies in music theory of the 18th, 19th, and 20th centuries
Ternary sonata form
General features – Harmonic plan – Thematic
formation
Binary sonata form
Sonata form without development
Sonata-rondo form
Sonata-concerto form
Ternary
sonata-concerto form – Binary sonata-concerto form – Sonata-concerto form without development
Chapter 3: Slow movements in sonata forms by Haydn,
Mozart, and Beethoven
I. Joseph Haydn
Joseph
Haydn’s early period (works
by 1760 / 1761) [in Greek / p. 315-349 / 550 ÊÂ]
Keyboard / piano sonatas
Hob. XVI: 1 / WU 10
– Hob. XVI:
6 / WU 13 – Hob. XVI: 2 / WU 11 – Hob. XVI: 16 / WU deest – Hob. XVI: 12 / WU
12 – Hob. XVI: Es2 / WU 17
Chamber works with keyboard / piano
Hob. XV: 41 – Hob. XV:
37 – Hob. XIV: 11
String trios and quartets
Hob. V: A2 – opus 1
no. 3 / Hob. III: 3 – “opus 1 no. 0” / Hob. II: 6 – opus 1 no. 2 / Hob. III: 2
– opus 1 no. 4 / Hob. III: 4 – Hob. V: C4 – opus 1 no. 6 / Hob. III: 6 – opus 1
no. 1 / Hob. III: 1
Concertos
Hob. XVIII: 1 – Hob.
XVIII: 2
Symphonies
Hob. I: 1 – Hob. I:
2 – Hob. I: 15 (III) – Hob. I: 3 – Hob. I: 27 – Hob. I: 107 – Hob. I: 10 – Hob.
I: 32 – Hob. I: 33 – Hob. I: 37 – Hob. I: 11 – Hob. I: 5 – Hob. I: 4
Conclusions
In general – Exposition – Development – Recapitulation
– Coda – Binary sonata
form – Sonata-concerto form
Haydn’s
first years in Eszterházys’ service (1761-1765) [in Greek / p. 349-382 / 476 ÊÂ]
Binary sonata forms in chamber works
Hob. V: 15 – Hob. V: 19 – Hob. V: 1 – Hob. V: 2
Ternary sonata forms in chamber works
opus 2 no. 1 / Hob.
III: 7 – opus 2 no. 2 / Hob. III: 8 – opus 2 no. 4 / Hob. III: 10 – Hob. V: 21 – Hob. V: 13
– Hob. V: 3 – Hob. V: 4 – Hob. V: 10 – Hob. V: 12
Keyboard / piano sonatas
Hob. XVI: 3 / WU 14
– Hob. XVI: 47bis / WU 19
Concertos
Hob. VIIa: 1 – Hob.
VIIb: 1 – Hob. VIId: 3
Symphonies with concerto features
Hob. I: 36 – Hob.
I: 30 – Hob. I: 24 – Hob. I: 7 – Hob. I: 6 – Hob. I: 31 – Hob. I: 8 – Hob. I:
13 – Hob. I: 72 (II)
Symphonies without concerto features
Hob. I: 14 – Hob. I:
9 – Hob. I: 18 – Hob. I: 17 – Hob. I: 20 – Hob. I: 19 – Hob. I: 108 – Hob. I:
12 – Hob. I: 40 – Hob. I: 22 – Hob. I: 23 – Hob. I: 34 – Hob. I: 16 – Hob. I:
39 – Hob. I: 29 – Hob. I: 28
Conclusions
In general – Exposition – Development – Recapitulation
– Coda – Binary sonata
form – Sonata-concerto form
Haydn’s third compositional period (1766-1772)
[in Greek / p. 382-429 / 664 ÊÂ]
Binary sonata forms
Hob. XIV: 13 – Hob.
XIV: 12 – Hob.
XVIII: 3 – Hob. XVIII: 6 – Hob. VIIa: 4 – Hob. I: 58 – Hob. I: 59 – opus 9 no. 5 /
Hob. III: 23 (III) – Hob. XVI: 46 / WU 31 – Hob. XVI: 20 / WU 33 – Hob. I: 44 – opus 17 no.
4 / Hob. III: 28 – opus 20 no. 6 / Hob. III: 36 – opus 20 no. 3 / Hob. III: 33 – opus 17 no. 6 / Hob. III: 30
Ternary sonata forms
Hob. XIV: C1 – Hob.
XVIII: F2 – Hob.
XVI: 11 / WU 5 – Hob. XVI: 45 / WU 29 – Hob. XVI: 19 / WU 30 – Hob. I: 35 – Hob. I: 26
– Hob. I: 38 – Hob. I: 41 – Hob. I: 49 – Hob. I: 48 – Hob. I: 52 – Hob. I: 65 –
Hob. I: 42 – Hob. I: 43 – Hob. I: 45 (II) – Hob. I: 46 – opus 9 no. 4 / Hob. III:
22 – opus 9 no. 1 / Hob. III: 19 – opus 9 no. 6 / Hob. III: 24 – opus 17 no. 1
/ Hob. III: 25 – opus 17 no. 2 / Hob. III: 26 – opus 17 no. 3 / Hob. III: 27
(III) – opus 20 no. 1 / Hob. III: 31 – opus 20 no. 5 / Hob. III: 35
Sonata forms without development
Hob. VIIa: 3 – Hob.
XVIII: 4 – opus 9 no. 3 / Hob. III: 21 – opus 17 no. 5 / Hob. III: 29
Peculiar sonata forms
opus 9 no. 2 / Hob.
III: 20 – Hob. I: 45 (V) – opus 20 no. 2 / Hob. III: 32
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Binary sonata form – Sonata form without development – Sonata-concerto form
Haydn’s evolution towards
the mature classic era (1773-1781) [in Greek / p.
429-449 / 341 ÊÂ]
Ternary sonata forms
Hob. XVI: 21 / WU
36 – Hob. XVI:
22 / WU 37 – Hob. XVI: 24 / WU 39 – Hob. I: 50 – Hob. I: 51 – Hob. I:
60 (II) – Hob. I: 60 (V) – Hob. I: 54 – Hob. I: 56 – Hob. I: 68 – Hob. I: 66 – Hob.
I: 67 – Hob. I: 69 – Hob. I: 61 – Hob. XVI: 29 / WU 44 – Hob. XVI: 38 / WU 51 – Hob.
XVI: 33 / WU 34 – Hob. I: 62 – opus 33 no. 1 / Hob. III: 37 – opus 33 no. 6 /
Hob. III: 42
Binary sonata forms
Hob. XVI: 23 / WU 38 – Hob. XVI:
35 / WU 48 – Hob. XVI: 39 / WU 52
Sonata forms without development
opus 33 no. 3 /
Hob. III: 39 – opus 33 no. 5 / Hob. III: 41
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Binary sonata form – Sonata form without development
Haydn’s last years in Eszterháza (1782-1790) [in Greek / p. 449-474 / 397 ÊÂ]
Ternary sonata forms
Hob. I: 78 – Hob. XVI: 34 / WU 53 – Hob.
XVIII: 11 – Hob. I: 80 – opus 42 / Hob. III: 43 (I) – Hob. XV: 7 (II) – Hob. XV: 9 – Hob.
I: 87 – Hob. I: 83 – Hob. I: 86 – opus 50 no. 6 / Hob. III: 49 – opus 54 no. 1
/ Hob. III: 58 – Hob. XV: 12 – Hob. XV: 16
Binary sonata form
Hob. XV: 5
Sonata forms without development
Hob. VIIh: 2 – opus
50 no. 2 / Hob. III: 45 – opus 50 no. 5 / Hob. III: 48 – opus 55 no. 1 / Hob.
III: 60
Sonata-rondo form
Hob. VIIh: 1
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Binary sonata form – Sonata form without development – Sonata-concerto form
Haydn’s late work (1791-1803) [in Greek / p.
474-498 / 402 ÊÂ]
Sonata forms without development
Hob. I: 105 – opus
76 no. 4 / Hob. III: 78
Sonata-rondo form
Hob. XVI: 51 / WU
61
Ternary sonata forms
Hob. I: 98 – Hob. I:
99 – opus 71 no. 2 / Hob. III: 70 – opus 74 no. 1 / Hob. III: 72 – Hob. I: 102 and
Hob. XV: 26 – Hob. XV: 19 (II) – Hob. XV: 22 – Hob. XV: 23 (II) – Hob. XVI: 50 / WU 60 –
Hob. XV:
28 – opus 76 no. 1 / Hob. III: 75 – opus 76 no. 5 / Hob. III: 79 – opus 77 no.
1 / Hob. III:
81
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Sonata
form without development – Sonata-concerto form
II. Wolfgang Amadeus
Mozart
Wolfgang
Amadeus Mozart’s early works (1761-1768) [in Greek / p. 499-511 / 248 ÊÂ]
Binary sonata forms
KV 6 – KV 15 – KV
16 – KV 26 – KV 27 – KV 30 – KV 42a / 76 – KV 43 – KV 48
Ternary sonata forms
KV 7 – KV 9 – KV 10
– KV 11 – KV 12 – KV 13 – KV 19 – KV 19a – KV 45a – KV 45b
Conclusions
In general – Exposition – Development – Recapitulation – Binary sonata form
Mozart’s years of adolescence (1769-1774) [in Greek / p.
511-553 / 595 ÊÂ]
Symphonies of 1770 and the first string quartet
KV 73l / 81 – KV
73f / 80 – KV 73m / 97 – KV 73n / 95 – KV 73q / 84 – KV 74
Symphonies of 1771
KV 111b / 96 – KV
75 – KV 75b / 110 – KV 112 – KV 114
Symphonies and the string quartets – divertimenti of 1772
KV 73 – KV 124 – KV
128 – KV 129 – KV 130 – KV 132 – KV 132 (alternative slow movement) – KV 133 – KV
134 – KV 125a / 136 – KV 125b / 137 – KV 125c / 138
The first set of string quartets (1772-1773)
KV 134a / 155 – KV
134b / 156 – KV 134b / 156 (alternative slow movement) – KV 157 – KV 158 – KV
159 – KV 159a / 160
The second set of string quartets and the first string quintet (1773)
KV 168 – KV 169 – KV
170 (III) – KV 171 (III) – KV 172 – KV 174
Symphonies of 1773
KV 141a / 161 &
163 – KV 162 – KV 162b / 181 – KV 161a / 184 – KV 161b / 199 – KV 173dB / 183
Symphonies of 1774
KV 186a / 201 – KV
186b / 202 – KV 189k / 200
Keyboard / piano sonatas for four hands
KV 123a / 381 – KV
186c / 358
Concertos
KV 207 – KV 175 – KV 186e / 191 –
KV 186E / 190
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Binary sonata form – Sonata form without development – Sonata-concerto form
Mozart’s maturing period before his
definitive departure from Salzburg (1775-1780) [in Greek / p. 553-590 / 535 ÊÂ]
Symphonies, chamber works and keyboard / piano sonatas
KV 213a / 204 – KV
196c / 292 – KV 189d / 279 – KV 189e / 280 – KV 189f / 281 – KV 189h / 283 – KV
189g / 282 – KV 254 – KV 293c / 303 – KV 300a / 297 – KV 300a / 297 (alternative slow
movement)
– KV 300d / 310 – KV 300l / 306 – KV 285a – KV 319 – KV 320 – KV 338
Concertos
KV 211 – KV 216 – KV
219 – KV 261 – KV 218 – KV 238 – KV 242 – KV 246 – KV 271 – KV 285c / 313 – KV
285e / 315 – KV 285d / 314 – KV 297c / 299 – KV 320d / 364
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Binary sonata form – Sonata form without development – Sonata-concerto form
Mozart’s first years in Vienna (1781-1785) [in Greek / p.
590-628 / 578 ÊÂ]
Ternary sonata forms
KV 375a / 448 – KV
374f / 380 – KV 373a / 379 (I) – KV 385c / 403 – KV 385e / 402 – KV 386c / 407
– KV 385 – KV 425 – KV 421b / 428 – KV 423 – KV 315c / 333 – KV 452 – KV 454
Sonata forms without development
KV 300k / 332 – KV
387 – KV 458 – KV 465 – KV 478
Concertos
KV 385p / 414 – KV
453 – KV 387a / 413 – KV 387b / 415 – KV 459 – KV 449 – KV 467
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Sonata
form without development – Sonata-concerto form
Mozart’s late creative period
(1786-1791) [in Greek / p. 628-658 / 474 ÊÂ]
Works of 1786
KV 493 – KV 496 – KV
497 – KV 498 – KV 499 – KV 503 – KV 504
Works of 1787
KV 515 – KV 516 – KV 522 – KV 526
Works of 1788
KV 516b / 406 – KV
533 & 494 – KV 543 – KV 548 – KV 550 – KV 551 – KV 563 (II)
Works of 1790
KV 589 – KV 590 – KV
593
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Sonata
form without development – Sonata-concerto form
III. Ludwig van Beethoven
Ludwig van Beethoven’s early works (Bonn, 1782-1792) [in Greek / p.
659-666 / 185 ÊÂ]
Binary sonata forms
WoO 47 no. 2 – WoO
4 – WoO 36 no. 2
Ternary sonata forms
WoO 47 no. 1 – WoO
36 no. 1 (I) – WoO 37 (II)
Conclusions
In general – Exposition – Development and Recapitulation – Binary sonata form – Sonata-concerto
form
Beethoven’s “first creative period” (Vienna, 1793-1802) [in Greek / p.
666-703 / 554 ÊÂ]
Works of the “first” period
opus 3 (II) – opus
3 (IV) – opus 4 – opus 1 no. 2 – opus 2 no. 1 – opus 10 no. 1 – opus 8 (II) – opus
49 no. 1 – opus 9 no. 1 – opus 9 no. 2 – opus 9 no. 3 – opus 10 no. 3 – opus 19
– WoO 51 – opus 18 no. 3 – opus 18 no. 1 – opus 18 no. 4 – opus 21 – opus 20 (II)
– opus 22 – opus 23 – opus 29 – opus 36
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Sonata form without development – Sonata-concerto form
Beethoven’s
mature and late work (Vienna, 1802-1814 and 1815-1826) [in Greek / p. 703-734 / 492 ÊÂ]
Works of the “second” period
opus 31 no. 2 – opus
31 no. 3 – opus 59 no. 1 – opus 59 no. 2 – opus 59 no. 3 – opus 60 – opus 68 – opus
70 no. 1 – opus 81a – opus 93
Works of the “third” period
opus 106 – opus 130
(III)
Conclusions
In general – Exposition – Development – Recapitulation – Coda – Sonata form without development
IV. Conclusions [in Greek / p.
735-766 / 448 ÊÂ]
Statistical data
Sonata forms and their application in slow movements of the classic era
Ternary sonata form
Overall features – Harmonic plan of the exposition – Harmonic plan of the development – Harmonic plan of the recapitulation and of the coda – Thematic formation of the exposition – Thematic formation of the development – Thematic formation of the recapitulation – Thematic formation of the coda
Binary sonata form
Overall features – Second
macrostructural unity (part) – Coda
Sonata form without development
Overall features – Exposition and retransition – Recapitulation – Coda
Sonata-rondo form
Peculiar sonata forms
Sonata-concerto forms
Ternary
sonata-concerto form – Binary sonata-concerto form – Sonata-concerto form without development – Peculiar sonata-concerto
forms – Solo unities (parts) – The gradual decay of the sonata-concerto forms
Bibliography [in Greek / p. 767-781 / 184 ÊÂ]
© Ioannis Fulias