The Sonata:
These idealized visions of musical forms show their presence in the Classical and Romantic period symphony known as the Sonata. The predominance of this symphony form owes to the contributions to A.B.Marx, a music theorist from the 19th century.
Opening with an exposition, the sonata presents its primary main theme, in a tonic key, leading to a second theme/group through a transition, which is presented in a dissimilar character or key area. Exposition can also be sometimes made to follow a starting introduction, allowing the listener to prepare for what is to follow. Tonal and thematic conflicts are worked out in what is known as the development. Using a variety of keys, with tonal tensions brought to a musical high point, resolving the conflict in the recapitulation allows the first theme to stand out as the winner. Following is a second theme in the same tonal key as the first, or a short coda. Also known as the tail, it vigorously backs up the tonic key, providing a sturdy tempo.
Sonata forms were composed long before their actual, formal codification. Although it is not easy to find compositions with strict sonata codes, interesting combinations occur as musicians struggle to interpret the restraints in the sonata.
History:
Without making comparisons to his predecessors, Mozart’s 41 symphonies with the inclusion of their undeniably high quality are a marvel, with an actual total accounted to between 55 and 71 (depending on the varied definitions of symphony). Towards his end, Symphony 40 was a piece composed that stood out from the rest of Mozart’s work.
May 12th, 2012


