Chapter

The Type 5 Sonata

James Hepokoski and Warren Darcy

in Elements of Sonata Theory

Published in print August 2006 | ISBN: 9780195146400
Published online October 2011 | e-ISBN: 9780199850983 | DOI: http://dx.doi.org/10.1093/acprof:oso/9780195146400.003.0022
The Type 5 Sonata

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Mozart began an S2 by having the soloist seize upon the final figure of R2, reiterate it as a germinal idea, and lead it into new modular directions. While many concerto developments are chiefly episodic or extend a figure from the end of R2 into S2, a few others return to variants of R1:\P near the opening of S2. This kind of procedure conveys an adoption of the standard procedures in Type 2 and Type 3 sonatas by suggesting the onset of developmental rotation. Although infrequent in other types of sonatas, fully rotational developments are virtually nonexistent in Mozart's Type 5s, but they do occasionally appear in Beethoven's more self-consciously symphonic concertos. Most common in Mozart's and Beethoven's concertos are the half-rotational S2s, although these development spaces are restricted only to P and TR.

Keywords: soloist; Mozart; Beethoven; concertos; sonatas; developments; adoption

Chapter.  21082 words.  Illustrated.

Subjects: Music Theory and Analysis

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