Sonata form

1
Sonata form

• Haydn Symphony no. 26 in D minor
• Lamentatione movement 1

2
Background
Sturm und Drang
Plain song
The symphony
3
Sonata form
Basic principles
Exposition
Development
Recapitulation
Symmetry is at the heart of the structure
Duality is at the heart of the concept
Symmetry dramatic opposition
4
Form
Exposition
1st subject bars 1 - 16
2nd subject bars 17 42 Codetta 43 - 44
1st subject bars 45 - 64
2nd subject bars 65 - 79
Development
2nd subject bars 100 125 Coda 126 - 133
1st subject bars 80 - 99
Recapitulation
5
Form tonality
Exposition
1st subject D minor
2nd subject F major
Tonic minor
Relative major
1st subject F major
2nd subject A minor
Development
Relative major
Dominant minor
2nd subject D major
1st subject D minor
Recapitulation
Tonic minor
Tonic major
6
The exposition
Second subject
First subject
Introduction
no introduction
Relative keys
F major
D minor
Homophonic
Two part counterpoint
Bars 17 42 Codetta bars 43 - 44
Bars 1 - 16
7
First subject
Sparse two-part texture heightens dramatic impact
Aspects of friction
The melody is syncopated
The melody is syncopated
The orchestra is tutti
The bass walks moves in contrary motion to the
melody
The harmony is implied
8
Second subject
The second subject is the antithesis of the first
The texture is homophonic
The harmonic language is simple
The rhythmic language is simple
9
Second subject
The Evangelist is brash and sounds like a fanfare
Christ is serene, conjunct rhythmically simple
10
Second subject
The Evangelist is yet more brash, forcing a
modulation to the subdominant
The 3 bar phrase is unusual
The Jews theme is fairly innocuous
11
Second subject
Major 7th
Major 7th
Add the dissonant violin heterophonic counter
melody
Minor 7th
Minor 7th
and the rushing semiquavers
12
The cycle of fifths

• Haydns early symphonies were in the Sturm und
  Drang style
• Music in this style was highly dramatic and
  emotionally charged
• Haydn uses an implied cycle of fifths, where the
  bass note not the chord is moving at the distance
  of a fifth as many of the chords are in inversion
• Study the first note in each bar

13
Christ
Development of Christ theme
Bars 65 - 79
A minor (dominant minor)
E (dominant) pedal
14
Recapitulation
1st Subject
Tonic minor
2nd Subject
Tonic major
Why?
Allowing the climax of the work
The loudest part of the symphony
Horns can at last play in the key
D major is a very bright key