Historical and Formal Aspects of the Sonata Form

Definition & History

 

The term Sonata refers to a cyclical instrumental piece preceded by several movements. It is somewhat ambiguous, with a variety of meanings depending on context and period. Another related term is Sonatina, which refers to the diminutive of the sonata form, that is, a shorter piece.

During the Baroque period, a great initiator of the genre, Arcangelo Corelli, and his contemporaries spread the genre throughout the European music scene.

 

Two types of sonatas were written during the period, Sonatas da chiesa (mainly intended for the church) and Sonatas da camera (suitable for the Courts or non-ecclesiastical settings), and this particularly consisted of alternating an initial prelude followed by different dances of the time all in the same tonality. This variant of the Sonata is entirely related to another genre widely used in the Baroque, such as the dance suite.

The instrumentation used for both types of sonatas was commonly supported by one or two solo instruments such as violins, oboes, or flutes accompanied by continuo or figured bass, developing the harmonies dictated in the bass line.

 

• The da Chiesa Sonata generally consisted of an initial slow movement followed by an allegro fugue, another slow movement and finally, a fast movement in binary form suggesting the occasional dance. This structure was not fully defined until the works written by Arcangelo Corelli and Antonio Vivaldi; these became the genre’s pillars during this time.

 

• The Sonata da camera consisted mainly of the succession of different dances from all over Europe (Allemandas, Courantes, Gigas).

It is essential to mention the sonatas that the German composer Johann Sebastián Bach destined for a single solo instrument, the violin, creating jewels for this instrument since it exploits its technical and expressive level. Some of these were arranged for the harpsichord, an example of Sonata BWV 964 which is an arrangement of Sonata Nr. two for violin BWV 1003: 

 

The definition of Sonata is also applied to the series of pieces that the Italian composer Domenico Scarlatti intended for the keyboard. With more than 500 examples, the composer structured these mostly in a single movement in a binary way and both parts with an evident contrasting level. Originally these sonatas were published as Essercizi per il gravicemablo (harpsichord exercises). The same thematic idea (monothematic) will shape each of these pieces. Sometimes times can vary during the same movement. Frequently these sonatas display a tremendous technical level, turning them into highly virtuoso pieces since the use of unusual harmonies and technical aspects had not been treated so often during the time.

Trio sonatas also coexisted, and in Vivaldi’s hand, we can find a parallel with the concerti that the same composer wrote.

Even when Bach and Handel wrote in the traditional forms and baroque style until they reached the highest levels of perfection, a new musical current arose that aimed at melodic clarity and the transparency of forms. The so-called Classicism is defined between 1750 and 1800. In the Baroque, contrasts dominated the opposition of the soloist to the “tutti” (the entire orchestra) in the Concerto for soloist or Concerto grosso.

Little by little, the composers looked for a way to balance all the different components of the orchestra to the maximum -especially the strings that, at the beginning of the 18th century, constituted its fundamental base-against the typical contrasts of the baroque. A simpler, more fluid musical language was sought that depended on a single musical idea as a means of expression.

Gradually, the orchestra increased its size and incorporated new woodwind and brass instruments as technical innovations allowed them a greater expressive capacity and ease of handling. Composers used them to provoke melodic contrasts and produce tension with the texture changes.

Likewise, the baroque harpsichord gives way to the piano-forte, which will take over in the important keyboard repertoire written in classicism and cultivated by all composers in sonatas, concertos, and piano trios and quintets. On the other hand, composers tended to use more intelligible and clear formal language based on the use of regions of contrast and bithematism. This contrast is a contrast of themes, that is, of easily recognizable melodies throughout the work, and not a contrast of baroque sound timbres.

Faced with a theme written in the tone of the Tonic and with its own characteristics, another theme was opposed, generally written in the tone of the Dominant, and that contrasted with the first, and this is what we have called bithematism. The organization of the times is still frequently in the middle of the century: Allegro-Adagio-Allegro, and authors such as Sammartini or Carl Phillip Emmanuel Bach organized the themes in a singular way, which would later be called the Sonata form. The Sonata is the great form par excellence of classicism since this form will be used for most of the instrumental genres of this time. Although that name was later used to refer to pieces with several movements, such as Beethoven’s Piano Sonatas, its structural form applies to a single movement.

 

 

Formal Aspects

 

The Sonata is a form made up of two parts (bipartite), easily distinguishable since the first one is generally repeated, and sometimes the last one is repeated as well.

 

At the beginning of the first part, called Exposition (sometimes preceded by a slow introduction) the composer presents the main ideas. This is, therefore, those themes that mark the general character and tempo of the work. Famous examples that we can remember are the first movement of Mozart’s Jupiter symphony and his 40th symphony.

After introducing this concluding main theme, a transitional section introduces the second theme, which contrasts with the first as it generally tends to be completely contrasting to the first theme, and is also more lyrical and calmer in character. After presenting the second theme, a small transition part leads to the cadence (fragment with the purpose of creating tension to conclude) with which the Exhibition ends, which, as we have said, is generally repeated.

 

The second part, called Development, usually begins with the first theme or not necessarily, played in the key of the dominant. But this time, the composer is going to explore the possibilities of the themes of the Exposition. He is going to fragment and rework them, creating new combinations and sequences and generally, tonal contacts and harmonic tensions will coexist equally. The tension of the work will increase considerably until it reaches a point of maximum tension, looking for a resolution or final climax.

 

After reaching that point, the return of the exhibition themes is prepared in their original form: Recapitulation. During this section, the same dramaturgy treated during the Exhibition will take place, with the difference that the second theme will be the same as the first in the tonality of the piece. It is now that, for the first time a tonal reconciliation is experienced.

In the longer works, after presenting the themes of the Exposition at the end of the Development, a part called Coda is usually included, which is a more or less free part where the composer rounds off the end of the work.

 

The great symphonists such as Haydn, Mozart or Beethoven each one of them developed the Sonata form according to their own interests and definition. It served more for the production of new works than for an in-depth understanding of the works of said composers. In short, the classical period is going to stand out from the rest for being a piece of objective music contained in emotions, refined, elegant, and courteous, where reason is above feelings. And so, it must be one of the easiest music for listeners to listen to, understand, enjoy and follow.