Organic Form and the Binary Repeat

Broyles, Michael

doi:10.1093/mq/lxvi.3.339

Cited by 27 publications

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“…The greater dramatic impact of the later quartets results in part from differences between early and later sonata forms. Of course, this may also be put the other way around ± differences (of phrase rhythm and formal organisation) between early sonata forms and later forms might be said to result from composers' interest in providing greater dramatic impact (see Broyles 1980 andRosen 1983). Op.…”

Section: Techniques Of Recomposition In the Earliest Quartetsmentioning

confidence: 99%

Recapitulation Recomposition in the Sonata‐Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique

Larson¹

2003

Music Analysis

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Section: Techniques Of Recomposition In the Earliest Quartetsmentioning

confidence: 99%

Recapitulation Recomposition in the Sonata‐Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique

Larson¹

2003

Music Analysis

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“…An indicated repetition of the development-recapitulation "half of a sonata form was uncommon in general by 1800, extremely rare by 1825. 12 More significantly, in Schubert's output specifically, only a few such notated repetitions are found elsewhere, and only among his earliest works. There are just two instances among the earliest string quartets (D. 18, mvt.…”

Section: Thomas a Dennymentioning

confidence: 99%

Schubert as self‐critic: The problematic case of the unfinished sonata in C major, D. 840∗

Denny

1988

Journal of Musicological Research

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The String Quartets of Joseph Haydn

Grave¹,

Grave²

2006

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Encompassing sixty-eight works composed over a span of more than four decades, Haydn's quartet oeuvre contributed to the establishment, solidification, and refinement of late 18th-century chamber-music practices, notably by furnishing superlative models of idiomatic ensemble technique (involving textural diversity and continuous change in relationship among the instruments), style (highlighting the play of formal conventions and musical customs associated with folk music, popular dance, opera, concerto, and other genres), and compositional process (featuring motivic elaboration, harmonic novelty, and narrative intrigue). Conventions Haydn adapted for quartet use include those of sonata form, the minuet-trio complex, variation, rondo, and fugue. In addition, he established norms of his own for the sequence of movements in a quartet and for the design of the opus groups, each of which encompasses a particular constellation of variety and consistency in form, style, and ensemble technique. Examination of the opus groups reveals insights into the circumstances under which they were written, the musical resources on which they drew, their innovations, their points of connection with other opus groups, their manifestations of both change and continuity in outlook and style, and their reflections of Haydn's artistic personality — in particular his penchant for novelty in sonority, theme, metrical play, phraseology, and large-scale structure; his gift for musical irony in drawing connections between seemingly unrelated ideas; and his irrepressible musical wit and humor, typically involving strokes of surprise, thwarted expectation, and the whimsical juxtaposition of incongruous elements.

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Organic Form and the Binary Repeat

Cited by 27 publications

References 0 publications

Recapitulation Recomposition in the Sonata‐Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique

Recapitulation Recomposition in the Sonata‐Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique

Schubert as self‐critic: The problematic case of the unfinished sonata in C major, D. 840∗

The String Quartets of Joseph Haydn

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