Fields of Resonance

Joseph Kerman

in Returning Cycles

Published by University of California Press

Published in print March 2001 | ISBN: 9780520225640
Published online May 2012 | e-ISBN: 9780520925786 | DOI:
Fields of Resonance

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The G that opens the finale of the B♭-Major Sonata does not simply mark a new beginning. Its resonance stirs a memory, highly specific even though subliminal, of the first movement's second phrase, its first response to its own beginning. By the time it returns as the theme of the finale, a rich and elaborate web of associations has been gathered from all the intervening music. When the G recalls that first response, summoning it into self-definition as a theme, it establishes the thematic identity of the finale with roots that run deeply throughout the entire sonata. Equally pervasive roots underlie the much more explicit return of the opening phrase of th0065 A-Major Sonata's first movement in its finale. Here the original phrase returns, in cancrizans, as the concluding phrase, in what Charles Rosen has called “only a framing device.” The finale of the C-Minor Sonata also contains a block of musical material that returns, in clearly recognizable form, from an earlier movement. This chapter examines the returns of these three musical blocks.

Keywords: Schubert; B♭-Major Sonata; finale; resonance; A-Major Sonata; C-Minor Sonata

Chapter.  6320 words.  Illustrated.

Subjects: Musicology and Music History

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