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Present‐day sonata theory scholarship increasingly draws on a typology of sonata forms that consists of five interrelated types, placing particular emphasis on the double return and thematic rotation. The present article aims at scrutinising a variety of formal phenomena in the Classical...
In his analysis of the first movement of Beethoven's Piano Concerto No. 3, Op. 37, Donald Francis Tovey dismissed Beethoven's decision to modulate for the second theme in the movement's opening tutti as an ‘error’ that gives the impression of a symphonic exposition rather than a concerto...
Schubert's early string quartets reveal a tendency towards bi‐rotational designs combining elements of type 1 (lacking a development section) and type 2 (beginning their second rotation off‐tonic) sonata form. Examples of the practice are found in first movements, slow movements and finales and...
One of the most striking aspects of Mendelssohn's scherzi is his unusual propensity for sonata form in this movement type. Yet in referencing sonata construction, the composer frequently appears to be playing against its norms, taking delight in confounding expectations in the movement's formal...
In a small number of sonata forms scattered across the nineteenth century, the development is followed immediately by a return of the subordinate theme, the main theme coming back only later or not at all. How to interpret these forms – often casually referred to as sonata forms with ‘reversed...
Hepokoski and Darcy's sonata theory subdivides the sonata universe into five basic types. These include not only the familiar sonata without development (type 1), ‘textbook’ sonata (type 3), sonata‐rondo hybrid (type 4) and concerto form (type 5), but also the somewhat less familiar...
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