Two-Dimensional Sonata Form

Moortele, Steven Vande

doi:10.11116/9789461660145

Cited by 19 publications

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“…An in-tempo introduction 8 (mm. [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18], played only by the piano, grounds C-sharp minor through a static dominant pedal and a fortissimo HC (m. 15), using the mazurka's introductory theme.…”

Section: Duo In C-sharp Minor S 127mentioning

confidence: 99%

“…9-32). 12 The abrupt halt in the thematic restatement thwarts any recapitulatory process. The second movement is a triple variation-i.e., each statement transforms the three different themes independently (see Table 3).…”

Section: Duo In C-sharp Minor S 127mentioning

confidence: 99%

“…These tighter formal constructions present a better saturation of two-dimensional techniques in a single movement that is absent from Duo.Malediction begins with an in-tempo introduction harmonized as an evaded cadential progression (mm [1][2][3][4][5][6][7][8][9][11][12][13][14][15][16], unable to resolve to its proper tonic by a fermata (m. 16). The harmonic progression pulls toward the dominant, which arrives at m. 7 as a dominant six-five chord and unfolds to root position in m. 11.The dominant is abruptly interrupted in m. 16 by a fermata, frustrating any cadential resolution.…”

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Franz Liszt’s Early Formal Excursions

Solis¹

2023

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Franz Liszt reformulated the Classical sonata form by coalescing the structures of a single movement and a multimovement cycle into a two-dimensional sonata form. Most of his mature sonatas are constructed following this structure’s principles (e.g., the Piano Concertos in E-flat, S. 124, and in A, S. 125; the Piano Sonata in b, S. 178; and the symphonic poems Ce qu’on entend sur la montagne, S. 95, Tasso: Lamento e Trionfo, S. 96, Les preludes, S. 97, and Die Ideale, S. 106). As the first two-dimensional sonata, De Profundis: Psaume Instrumental marks Liszt’s early maturity, when he established the combination of formal paradigms necessary for the creation of this form. By conceptualizing and framing the required two-dimensional strategies (i.e., thematic transformation, frequent shifts in the musical discourse, progressive formal loosening, and formal incompleteness) in Liszt’s earliest Classical sonata forms (Duo, S. 127 and Malediction, S. 121), this study traces the compositional advent of the two-dimensional sonata produced in the 1830s. These analyses link the works of Liszt’s youth with his mature repertoire, a task so far neglected by the scholarly literature.

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Section: Duo In C-sharp Minor S 127mentioning

confidence: 99%

Section: Duo In C-sharp Minor S 127mentioning

confidence: 99%

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Franz Liszt’s Early Formal Excursions

Solis¹

2023

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How Sonata Forms

Greenberg

2022

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How Sonata Forms presents the case for a bottom-up view of musical form, particularly sonata form. Instead of the traditional, holistic view, which views form as a whole that conditions its parts, How Sonata Forms asks whether we can assume less: could form have arisen on its own, through the chance meeting of elements? And could the initial appearance of those elements have had nothing to do with sonata form? Relying on an extensive corpus study, How Sonata Forms demonstrates that such a chance meeting of elements was not only possible, but also plausible. Moreover, under such assumptions, traditional challenges to sonata theory, such as its flexibility in practice and unclear historical limits, become obvious properties of the sonata-form system. Without holistic assumptions, a wide variety of interactions between hitherto local formal elements may arise. When formal elements are compatible with one another, the result of their interaction is the emergence of higher-level formal elements, the highest level of which is form itself. When formal elements contradict or rival one another, form becomes unstable. Change occurs, and some formal elements disappear, while others prevail. The resulting view of form is as a dynamic system, which is frequently more of a compromise and a challenge than a convenience for the composer. The recognition that form is constantly in flux requires that we adopt a diachronic outlook, one in which change is part and parcel of the vocabulary of the study of form.

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2022

How Sonata Forms

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Two-Dimensional Sonata Form

Cited by 19 publications

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Franz Liszt’s Early Formal Excursions

Franz Liszt’s Early Formal Excursions

How Sonata Forms

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