Ioannis
Fulias, “Sonata forms
and their theoretical evolution: The different sonata types – 18th-century
theorists (I)”, Polyphonia 8, Athens 2006, p.
36-57.
This
first part of an extensive survey of the theoretical evolution of sonata forms
from 18th to 20th centuries opens with a brief systematisation of the main
structural types of sonata, which are the ternary sonata form, the binary
sonata form, the sonata form without development, the sonata-rondo form, and
the sonata-concerto form that is further divided in three subtypes (ternary,
binary, and without development). Some middle 18th-century evidences, like
these by J. A. Scheibe and J. J. Quantz, seem to refer exclusively to the
binary sonata type, outlining mainly the harmonic contour of a piece and
providing secondarily allusions about its thematic substance. Clearer is the
contribution of J. Riepel, whose practical orientation confirms and enriches
significantly our knowledge for the binary sonata form of his era, whilst the
same theorist mentions for the first time ever the ternary sonata form, too. Up
to about 1790, however, scant new information about thematic and tonal
possibilities of sonata forms is added by theorists such as G. J. Vogler and J.
G. Portmann.
© Ioannis
Fulias