Short and Concise Analysis of Mozart's Twenty-Two Pianoforte Sonatas
Book Details
Author(s)Janet Salsbury
ISBN / ASIN1495968472
ISBN-139781495968471
AvailabilityUsually ships in 24 hours
Sales Rank1,300,218
MarketplaceUnited States 🇺🇸
Description
A knowledge of the Sonata Form is necessary to an UNDERSTANDING of FORM in ALL music. This book gives a clear explanation of the Sonata Form together with a detailed analysis of the Form, with musical examples of each one of the 22 Sonatas of Mozart.
The UNDERSTANDING that this book creates, opens up the whole field of Musical Form.
* * * *
An excerpt from the first chapter:
SONATA FORM.
Also called:
(1) First-Movement Form,
(2) Symphony Form,
(3) Sonata-Allegro Form, (all so named because the First Movements of Sonatas, Symphonies, etc., are most frequently constructed on this particular design), and
(4) formerly called Binary Form, because the movement is founded on two subjects.
Sonata Form consists of three parts:
(1) A. Enunciation or Exposition.
(2) B. Free Fantasia or Development, and
(3) A2. Recapitulation.
The Enunciation, or Part I., consists of two Subjects, — a Principal or 1st Subject invariably in the tonic key; and a Second Subject, the key of which up to the time of Beethoven was almost invariably in the Dominant when the movement was in a major key, or in the relative major when the movement was in a minor key. Beethoven, and composers since his time, have taken more liberty in the choice of key. These two subjects, not being in the same key, are generally connected by means of a passage known as the Transition, Connecting Episode or Bridge Passage. The Transition may consist of new matter or be formed from part of the Principal Subject.
The Development, or Part II. of a Sonata, consists:
(1) of the development of ideas in the Enunciation, thus presenting them in different aspects to those already given, or
(2) of an entirely new episode, or
(3) of both Thematic Development and Episodical Matter.
Professor Prout in his 'Applied Forms,' says "With Mozart's Sonata movements in general more Episode and less Thematic treatment will mostly be found in the Free Fantasia than with either Haydn or Beethoven."
The UNDERSTANDING that this book creates, opens up the whole field of Musical Form.
* * * *
An excerpt from the first chapter:
SONATA FORM.
Also called:
(1) First-Movement Form,
(2) Symphony Form,
(3) Sonata-Allegro Form, (all so named because the First Movements of Sonatas, Symphonies, etc., are most frequently constructed on this particular design), and
(4) formerly called Binary Form, because the movement is founded on two subjects.
Sonata Form consists of three parts:
(1) A. Enunciation or Exposition.
(2) B. Free Fantasia or Development, and
(3) A2. Recapitulation.
The Enunciation, or Part I., consists of two Subjects, — a Principal or 1st Subject invariably in the tonic key; and a Second Subject, the key of which up to the time of Beethoven was almost invariably in the Dominant when the movement was in a major key, or in the relative major when the movement was in a minor key. Beethoven, and composers since his time, have taken more liberty in the choice of key. These two subjects, not being in the same key, are generally connected by means of a passage known as the Transition, Connecting Episode or Bridge Passage. The Transition may consist of new matter or be formed from part of the Principal Subject.
The Development, or Part II. of a Sonata, consists:
(1) of the development of ideas in the Enunciation, thus presenting them in different aspects to those already given, or
(2) of an entirely new episode, or
(3) of both Thematic Development and Episodical Matter.
Professor Prout in his 'Applied Forms,' says "With Mozart's Sonata movements in general more Episode and less Thematic treatment will mostly be found in the Free Fantasia than with either Haydn or Beethoven."
