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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].

Ιωάννης Φούλιας, Αργά μέρη σε μορφές σονάτας στην κλασσική περίοδο. Συμβολή στην εξέλιξη των ειδών και των δομικών τύπων μέσα από τα έργα των Haydn, Mozart και Beethoven (με εκτενή επισκόπηση της θεωρητικής εξέλιξης των μορφών σονάτας από τον 18ο έως τον 20ό αιώνα), Διδακτορική διατριβή (Τμήμα Μουσικών Σπουδών του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών), Αθήνα 2005 [2 τόμοι, xvi + 781 σελίδες].

Preface – Table of contents [in Greek / p. i-xvi / 437 ΚΒ]

Introduction [in Greek / p. 1-18 / 289 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

The first three sonata types in 18th-century writings on music theory (from Scheibe to Koch) [in Greek / p. 99-125 / 569 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 Α 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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

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 ΚΒ]

 

© Ioannis Fulias