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Recapitulation. Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 58-80 Play ⓘ. [1] In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition.
Early examples of sonata form resemble two-reprise continuous ternary form. [1] Sonata form, optional features in parentheses [2]. The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation.
It is considered a somewhat relaxed and discursive form. Thus, it is unsuited to an opening movement (typically the musically tightest and most intellectually rigorous movement in a Classical work). It is, exceptionally, used in the opening Andante movement of Haydn's D-major piano sonata Hob.
The movement contains shades of the second movement of Mahler's Symphony No. 2, in the distortion of a traditional dance into a bitter and sarcastic one. Traditional chord sequences are altered into near-unrecognizable variations, turning the rustic yet gradually decaying C major introductory ländler into a vicious whole-tone waltz , saturated ...
Sonata Theory, in contrast, reserves the term "recapitulation" for instances in which the beginning of a rotation coincides with the return of the tonic key. Thus, the arrival of S in the middle of a Type 2 second rotation functions as a "tonal resolution" but not as the beginning of a recapitulation, because it does not initiate a new rotation.
The first movement is in sonata form and common time: it has a repeated exposition with two subject groups, a development section, a recapitulation and a coda. [2] The movement opens with repeated pianissimo chords in a straightforward but anxious rhythm, devoid of melody for two bars:
Later in the first movement, the composer specifies that the soloist should play the music that is written out in the score, and not add a cadenza on one's own. Beethoven famously included a cadenza-like solo for oboe in the recapitulation section of the first movement of his Symphony No. 5.
Though it has virtually no polyphony, Borodin has sustained this piece with attractive melodies motivically interrelated, a large-scale sense of rhythm, effective orchestration in the revised version, and idiosyncratic use of harmony and modulation, particularly in the recapitulation. This masterly first movement is a considerable advance over ...