scholarly journals Learning Sonata Form Structure on Mozart’s String Quartets

2019 ◽  
Vol 2 (1) ◽  
pp. 82-96
Author(s):  
Pierre Allegraud ◽  
Louis Bigo ◽  
Laurent Feisthauer ◽  
Mathieu Giraud ◽  
Richard Groult ◽  
...  
Keyword(s):  
String Quartets ◽  
Sonata Form

Ernest Bloch's Second String Quartet

Tempo ◽  
1959 ◽  
pp. 11-16
Author(s):  
Frederick Rimmer
Keyword(s):  
String Quartet ◽  
String Quartets ◽  
The Other ◽  
Sonata Form ◽  
Musical Expression ◽  
The Right

The four string quartets* of Bloch are a convenient medium for assessing both the strength and weakness of his unusual talent, revealing, as they do, an imperfect endowment of those processes of thought and feeling from which, in the right amalgam, a masterpiece of musical expression can emerge. Only the second quartet represents him at his best. It is one of the few works where inspiration and emotion are under the control of the intellect. There are weaknesses in the other quartets largely brought about by preoccupation with cyclic procedures—a notorious and dangerous expedient for a composer unable by nature to accept the traditional usages and disciplines of sonata form.

The Reinstatement of Polyphony in Musical Construction: Fugal Finales in Haydn's Op. 20 String Quartets

2010 ◽  
Vol 27 (1) ◽  
pp. 55-83 ◽  
Author(s):  
James Grier
Keyword(s):  
String Quartet ◽  
String Quartets ◽  
Western Civilization ◽  
Sonata Form ◽  
Advanced Study

The title, borrowed from Paul Henry Lang's description of Haydn's op. 20 string quartets in Music in Western Civilization, characterizes Haydn's endeavor to create more independent partwriting in the string quartet. First, Haydn's fugal practice is noteworthy particularly for the construction of the fugal exposition and his treatment of multiple subjects, the question of what constitutes a regular countersubject, and the treatment of redundant entries. Second, the chief strategy in these movements is the invention of invertible counterpoint in three voices. Haydn writes a double fugue (with a regular countersubject), as well as a triple and quadruple fugue, in which the principal issue is the ability of each subject (including the double fugue's countersubject) to serve as any voice——top, middle or bottom——in a texture of invertible counterpoint. The expertise he attained with these works then allows him to exploit the technique in later quartets, principally in the development sections of sonata-form movements. There, he uses invertible counterpoint to establish the independence of each voice, and to create longer passages unarticulated by cadences, sections distinct from the more clearly articulated periodic expositions and recapitulations. The three fugal finales of op. 20, therefore, constitute Haydn's advanced study not so much in fugal procedure as in the practice of invertible counterpoint.

scholarly journals TREATMENT OF RECAPITULATION OF THE FIRST MOVEMENTS IN THE SONATA FORM OF BEETHOVEN’S STRING QUARTETS OP. 18

2021 ◽  
pp. 105
Author(s):  
Danijela Zdravić-Mihailović
Keyword(s):  
String Quartet ◽  
Wolfgang Amadeus Mozart ◽  
String Quartets ◽  
Joseph Haydn ◽  
Sonata Form ◽  
New Treatment ◽  
Analysis Point

The paper focuses on the function of recapitulation in the sonata form relying on the example of the first movements of Beethoven's string quartets Op. 18 No. 1–6. With regard to the fact that recapitulation is commonly described as a restatement of the exposition with tonal alterations of the second theme and the closing section, analytical deliberations most often do not go beyond recording such alterations. However, some analysis point to the new role of the recapitulation exactly on account of the essence of the undertaken alterations, i.e. on account of the idea that the composer wants to accomplish at the level of sonata form through recapitulation. The research is conceived as a continuation of the previous studies (Zdravić Mihailović 2006, 2007a, 2007b, 2015a, 2015b). These studies focused on the genre of string quartet of Franz Joseph Haydn and Wolfgang Amadeus Mozart, where recapitulation was proven to be a remarkable phenomenon as its role was not merely to restate the exposition’s content with the usual tonal alterations. On the contrary, it can be a place of a new treatment of the sections of the exposition, and gives it some completely specific features.

scholarly journals Schubert’s Development of Harmonic Motives in his Early String Quartets

2018 ◽  
Vol 24 (3) ◽  
Author(s):  
Brian C. Black
Keyword(s):  
String Quartets ◽  
Dynamic Force ◽  
Sonata Form ◽  
Structural Problems ◽  
Insight Into

This essay looks at Schubert’s handling of harmonic motives in the first movements of four of his early string quartets dating from the period of approximately 1811 until late 1814, when he was fourteen to seventeen years old. Despite their many structural problems, these pieces provide an insight into Schubert’s development as a composer of sonata form. Even in the earliest of the examples studied, the young composer attempts to draw affective and structural consequences across the form from the first harmonic event of the music, which thus functions motivically in the unfolding of the movement. As his approach becomes increasingly flexible over the period under discussion, such harmonic motives become a dynamic force in the form, influencing tonal relations and modulatory strategies as well as looking forward to certain aspects of his mature three-key expositions.

Sonata Form in the Orchestral Works of Liszt: The Revolutionary Reconsidered

1984 ◽  
Vol 8 (2) ◽  
pp. 142-152 ◽  
Author(s):  
Richard Kaplan ◽  
Franz Liszt
Keyword(s):  
Sonata Form ◽  
Orchestral Works

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo
Keyword(s):  
Twentieth Century ◽  
String Quartets ◽  
Musical Theatre ◽  
Turn Of The Century ◽  
Going Public ◽  
Spanish Music ◽  
Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

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