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Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
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 has been used widely since the middle of the 18th century (the early Classical period ).
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.
A notable source of confusion is the term 'sonata': as a genre, it denotes a multi-movement composition for one or more solo instruments, while in structural terms, 'sonata form' refers to a specific three-part structure (exposition, development, recapitulation) frequently used within individual movements of larger works.
In the field of music theory, the term Sonata Cycle refers to the layout of a multi-movement work where the movements are recognizably in the forms of the tradition of classical music. It differs from the term cyclic form in that there is no unifying motive or theme used in all the movements.
Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." [8] These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space.
Sonata form also was not designed to accommodate the emotionally charged statements that Tchaikovsky wanted to make. In this, he was far from alone—it was a major preoccupation of the Romantic age, to the point that the validity of the symphony was questioned seriously and alternatives to it were actually devised.
Exposition Haydn's Sonata in G major, Hob. XVI: G1, I, mm. 1-28 Play ⓘ. [1] In musical form and analysis, exposition is the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied.