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Exceptions to the recapitulation form include Mozart and Haydn works that often begin with the second subject group when the first subject group has been elaborated at length in the development. If a theme from the second subject group has been elaborated at length in the development in a resolving key such as the tonic major or minor or the ...
A major. In sonata form without development. Unusually, the second subject group is in the subdominant key of D major. [1] (III. Scherzo: Allegro vivace - Trio, D. 570) D major (IV. Allegro, D. 570) F-sharp minor. Fragment (breaks off at the end of the development)
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.
The development section itself is another sonata form with its own tonal relations. The first subject is in A minor, while the second proceeds from A ♭ major to C major in the exposition and from F major to A major in the recapitulation. The development section of this inner sonata form is highly chromatic. [3]
In some compositions, a principal subject is announced and then a second melody, sometimes called a countersubject or secondary theme, may occur. When one of the sections in the exposition of a sonata-form movement consists of several themes or other material, defined by function and (usually) their tonality, rather than by melodic ...
Sonata form is one of the most influential ideas in the history of Western classical music.Since the establishment of the practice by composers like C.P.E. Bach, Haydn, Mozart, Beethoven, and Schubert and the codification of this practice into teaching and theory, the practice of writing works in sonata form has changed considerably.
Charles Rosen and others analyse the first movement as being in sonata form, in which the two opening sections form the first and second subjects, and bars 66 to the end as a coda. [20] Richard Rosenberg confirms the three-part structure of sonata form, but cannot identify any thematic duality within the exposition.
The sonata opens in a 2 4 time Adagio with a short, simple motif of three chords, at first forming an interrupted cadence, over which are written the three syllables Le-be-wohl ("Fare-thee-well"). This motif is the basis upon which both the first and the second subject groups are drawn.