Sonata form |

sonata form – the most developed non-cyclic. instr. music. Typical for the first parts of the sonata-symphony. cycles (hence the often used name sonata allegro). Usually consists of exposition, development, reprise and coda. The origin and development of S. t. were associated with the approval of the principles of harmony-functions. thinking as the leading factors of shaping. Gradual history. S.’s formation f. led in the last third of the 18th century. to finish. crystallization of its strict compositions. norms in the works of the Viennese classics – J. Haydn, W. A. ​​Mozart and L. Beethoven. The regularities of S. f., which developed in this era, were prepared in the music of dec. styles, and in the post-Beethoven period received further diverse development. The whole history of S. t. can be considered as a successive change of its three historical and stylistic. options. Their conditional names: old, classical and post-Beethoven S. f. mature classic S. f. It is characterized by the unity of three fundamental principles. Historically, the earliest of them is the extension to a structure of tonal functions that is large in terms of time. relations T – D; D – T. In connection with this, a kind of “rhyme” of endings arises, since the material presented for the first time in a dominant or parallel key sounds secondarily in the main one (D – T; R – T). The second principle is continuous music. development (“dynamic conjugation,” according to Yu. N. Tyulin; although he attributed this definition only to the exposition of S. f., it can be extended to the entire S. f.); this means that each subsequent moment of muses. development is generated by the antecedent, just as the effect follows from the cause. The third principle is a comparison of at least two figuratively thematic. spheres, the ratio of which can range from a slight difference to antagonistic. contrast. The emergence of the second thematic spheres is necessarily combined with the introduction of a new tonality and is carried out with the help of a gradual transition. Thus, the third principle is closely related to the two previous ones.

Ancient S. f. During the 17th century and the first two thirds of the 18th century. gradual crystallization of S. took place f. Her composition. the principles were prepared in fugue and ancient two-part form. From the fugue stem such features of the fugue as the transition to a dominant key in the opening section, the appearance of other keys in the middle, and the return of the main key to the conclusion. sections of the form. The developmental nature of the interludes of the fugue prepared the development of S. f. From the old two-part form, the old S. f. inherited her composition. two-partness with a tonal plan T – (P) D, (P) D – T, as well as continuous development emanating from the initial impulse – thematic. kernels. Characteristic for the old two-part form of cadence – on dominant harmony (in minor – on the dominant of parallel major) at the end of the first part and on the tonic at the end of the second – served as a composition. a support of ancient S. f.

The decisive difference between the ancient S. f. from the old two-part was that when the tonality of the dominant in the first part of the S. f. a new theme appeared. material instead of general forms of movement – dec. passenger turns. Both during the crystallization of the theme and in its absence, the first part took shape as a succession of two sections. The first of them is ch. party, setting out the initial thematic. material in ch. tonality, the second – side and final parts, setting out a new thematic. material in a secondary dominant or (in minor works) parallel key.

The second part of the old S. f. created in two versions. In the first all thematic. The exposition material was repeated, but with an inverse tonal ratio – the main part was presented in the dominant key, and the secondary and final – in the main key. In the second variant, at the beginning of the second section, a development arose (with more or less active tonal development), in which the thematic was used. exposure material. The development turned into a reprise, which began directly with a side part, set out in the main key.

Ancient S. f. found in many works of J. S. Bach and other composers of his era. It is widely and versatilely used in D. Scarlatti’s sonatas for clavier.

In the most developed sonatas by Scarlatti, the themes of the main, secondary and final parts flow from one another, the sections within the exposition are clearly demarcated. Some of Scarlatti’s sonatas are located at the very boundary separating the old samples from those created by the composers of the Viennese classic. schools. Main the difference between the latter and the ancient S. f. lies in the crystallization of clearly defined individualized themes. A great influence on the emergence of this classic. thematicism was provided by the opera aria with its typical varieties.

Classical S. f. In S. f. Viennese classics (classical) have three clearly demarcated sections – exposition, development and reprise; the latter is adjacent to the coda. The exposition consists of four subsections united in pairs. This is the main and connecting, side and final parties.

The main part is the presentation of the first theme in the main key, which creates the initial impulse, which means. degree determining the nature and direction of further development; typical forms are the period or its first sentence. The connecting part is a transitional section that modulates into a dominant, parallel or other key that replaces them. In addition, in the connecting part, a gradual intonation preparation of the second theme is carried out. In the connecting part, an independent, but unfinished intermediate theme may arise; a section usually ends with a lead to a side part. Since the side part combines the functions of development with the presentation of a new topic, it is, as a rule, less stable in terms of composition and imagery. Toward the end, a turning point occurs in its development, a figurative shift, often associated with a breakthrough in the intonations of the main or connecting part. A side part as a subsection of the exposition may include not one theme, but two or more. Their form is preim. period (often extended). Since the turn to a new key and a new thematic. sphere creates a known disequilibrium, DOS. the task of the final installment is to lead the development to relates. balance, slow it down and complete with a temporary stop. Conclude. a part may include a presentation of a new theme, but may also be based on common final cadence turns. It is written in the key of a side part, which is thus fixes. The figurative ratio of the main. elements of the exposition – the main and side parties can be different, but compelling art. results in some form of contrast between these two exposure “points”. The most common ratio of active effectiveness (main party) and lyric. concentration (side party). The conjugation of these figurative spheres became very common and found its concentrated expression in the 19th century, for example. in symph. the work of P. I. Tchaikovsky. Exposition in classical S. f. originally repeated completely and without changes, which was indicated by the signs ||::||. Only Beethoven, starting with the Appassionata sonata (op. 53, 1804), in some cases refuses to repeat the exposition for the sake of continuity of development and dramaturgy. overall tension.

The exposition is followed by the second major section of S. f. — development. It is actively developing thematic. material presented in the exposition – any of its topics, any thematic. turnover. Development may also include a new topic, which is called an episode in development. In some cases (ch. arr. in the finale of sonata cycles), such an episode is quite developed and can even replace development. The form of the whole in these cases is called a sonata with an episode instead of a development. An important role in the development is played by tonal development, directed away from the main key. The scope of development development and its length can be very different. If Haydn and Mozart’s development usually did not exceed the exposition in length, then Beethoven in the first part of the Heroic Symphony (1803) created a development much larger than the exposition, in which a very tense drama is carried out. development leading to a powerful center. climax. The sonata development consists of three sections of unequal length – a short introductory construction, osn. section (actual development) and predicate – construction, preparing the return of the main key in the recapitulation. One of the main techniques in the predicate – the transfer of a state of intense expectation, usually created by the means of harmony, in particular, the dominant organ point. Thanks to this, the transition from development to reprise is made without stopping in the deployment of the form.

Reprise is the third major section of S. f. – reduces the tonal difference of the exposition to unity (this time the side and final parts are presented in the main key or approaching it). Since the connecting part must lead to a new key, it usually undergoes some kind of processing.

In total, all three major sections of S. t. – exposition, development and reprise – form a 3-part composition of the A1BA2 type.

In addition to the three sections described, there is often an introduction and a coda. The introduction can be built on its own theme, preparing the music of the main part, either directly or in contrast. In con. 18 – beg. 19th centuries a detailed introduction becomes a typical feature of program overtures (for opera, tragedy or independent ones). The sizes of the introduction are different – from widely deployed Constructions to brief replicas, the meaning of which is a call for attention. The code continues the process of inhibition, which began in the conclusion. reprise parts. Starting with Beethoven, it is often very advanced, consisting of a development section and the actual coda. In the department cases (for example, in the first part of Beethoven’s Appassionata) the code is so great that the S. f. becomes no longer 3-, but 4-part.

S. f. developed as a form of the first part of the sonata cycle, and sometimes the final part of the cycle, for which a fast tempo (allegro) is characteristic. It is also used in many opera overtures and program overtures to dramas. plays (Egmont and Beethoven’s Coriolanus).

A special role is played by the incomplete S. f., which consists of two sections – exposition and reprise. This kind of sonata without development at a fast pace is most often used in opera overtures (for example, in the overture to Mozart’s Marriage of Figaro); but the main the field of its application is the slow (usually the second) part of the sonata cycle, which, however, can also be written in full S. f. (with development). Especially often S. f. in both versions, Mozart used it for the slow parts of his sonatas and symphonies.

There is also a variant of S. f. with a mirror reprise, in which both main. sections of the exposition follow in the reverse order – first the side part, then the main part (Mozart, Sonata for piano in D-dur, K.-V. 311, part 1).

Post-Beethovenskaya S. f. In the 19th century S. f. evolved significantly. Depending on the features of the style, genre, worldview of the composer, many different styles arose. composition options. Principles of construction of S. f. undergo beings. changes. Tonal ratios become more free. Distant tonalities are compared in the exposition, sometimes there is no complete tonal unity in the reprise, perhaps even an increase in the tonal difference between the two parties, which is smoothed out only at the end of the reprise and in the coda (A.P. Borodin, Bogatyr Symphony, part 1). The continuity of the unfolding of the form either weakens somewhat (F. Schubert, E. Grieg) or, on the contrary, increases, combined with the strengthening of the role of intense developmental development, penetrating into all sections of the form. Figurative contrast osn. that is sometimes very intensified, which leads to the opposition of tempos and genres. In S. f. elements of programmatic, operatic dramaturgy penetrate, causing an increase in the figurative independence of its constituent sections, separating them into more closed constructions (R. Schumann, F. Liszt). Dr. the trend – the penetration of the folk-song and folk-dance genre into thematism – is especially pronounced in the work of Russian composers – M. I. Glinka, N. A. Rimsky-Korsakov. As a result of mutual influences of non-software and software instr. music, the impact of opera art-va there is a stratification of a single classical. S. f. into dramatic, epic, lyrical and genre inclinations.

S. f. in the 19th century separated from the cyclic forms – many are created independently. products using its compositions. norms.

In the 20th century in some styles of S. f. loses its meaning. So, in atonal music, due to the disappearance of tonal relationships, it becomes impossible to implement its most important principles. In other styles, it is preserved in general terms, but combined with other principles of shaping.

In the work of major composers of the 20th century. there is a number of individualized variants of S. t. Thus, Mahler’s symphonies are characterized by the growth of all parts, including the first, written in S. f. The function of the main party is sometimes performed not by one theme, but by a holistic thematic. complex; the exposition can be variantly repeated (3rd symphony). In development, a number of independent ones often arise. episodes. Honegger’s symphonies are distinguished by the penetration of development into all sections of the S. f. In the 1st movement of the 3rd and the finale of the 5th symphonies, the entire S. f. turns into a continuous development deployment, due to which the reprise becomes a specially organized section of development. For S. f. Prokofiev is typical of the opposite trend – towards classical clarity and harmony. In his S. f. an important role is played by clear boundaries between thematic. sections. In Shostakovich’s exposition S. f. there is usually a continuous development of the main and side parties, a figurative contrast between to-rymi b.ch. smoothed. Binder and close. parties are independent. sections are often missing. Main the conflict arises in the development, the development of which leads to a powerful climactic proclamation of the theme of the main party. The side part in the reprise sounds, after the general decline in tension, as if in a “farewell” aspect and merges with the coda into one dramatic-holistic construction.

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V. P. Bobrovsky