1 Prelims Analysis 2014 Lecture 6 Sonata Forms (II) Mozart, String Quintet in g minor K 516, Third Movement (Adagio) ‘Slow Movement’ Sonata Form ‘Slow movement sonata form’ follows the open tonal plan of rounded binary forms. It is normally through-composed i.e. with no double bar and dots marking any internal repeats. This suits the lyrical nature associated with the slow movement, a feature which tends to condition its first theme, so that the second theme by contrast may well be more ‘active’ in character. There is normally no development section, although processes of harmonic and thematic development through tonal exploration, fragmentation, sequence, textural variety and contrapuntal combination are often to be found in the second ‘model’ or restatment. Model I: Exposition Bars 1-13 (3): Theme I: E flat major (tonic) Bars 13(4) -18(2): Transition Bars 18 (3) Theme II: dominant minor then dominant major (Bar 27) Bars 33-37 Retransition to tonic Model II: Recapitulation (Restatement) Bars 38-50 (3) Theme I: tonic Bars 50 (4)- 55(2) Transition Bars 55 (3) - Theme II: tonic minor then major (Bar 66) Bar 74 (4) to end: Closing material in tonic (Coda) All components of II may be subject to ‘secondary development’ - a feature that also occurs in first movement sonata form (cf Haydn Op.42/1), where it is extra to the development section itself. In the case of K516/3 the chromatically inflected passage on the flat submediant (bars 61-65) is particularly noteworthy. For an example of a slow movement in fully worked out Sonata Form see Mozart, Adagio in b minor for Solo Piano (K.540)

Lecture 6 Sonata Forms (II) - University of Oxford · Prelims Analysis 2014 Lecture 6 Sonata Forms (II) Mozart, String Quintet in g minor K 516, Third Movement (Adagio) ‘Slow Movement’

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Prelims Analysis 2014

Lecture 6

Sonata Forms (II)

Mozart, String Quintet in g minor K 516, Third Movement (Adagio) ‘Slow Movement’ Sonata Form ‘Slow movement sonata form’ follows the open tonal plan of rounded binary forms. It is normally through-composed i.e. with no double bar and dots marking any internal repeats. This suits the lyrical nature associated with the slow movement, a feature which tends to condition its first theme, so that the second theme by contrast may well be more ‘active’ in character. There is normally no development section, although processes of harmonic and thematic development through tonal exploration, fragmentation, sequence, textural variety and contrapuntal combination are often to be found in the second ‘model’ or restatment. Model I: Exposition Bars 1-13 (3): Theme I: E flat major (tonic) Bars 13(4) -18(2): Transition Bars 18 (3) Theme II: dominant minor then dominant major (Bar 27) Bars 33-37 Retransition to tonic Model II: Recapitulation (Restatement) Bars 38-50 (3) Theme I: tonic Bars 50 (4)- 55(2) Transition Bars 55 (3) - Theme II: tonic minor then major (Bar 66) Bar 74 (4) to end: Closing material in tonic (Coda) All components of II may be subject to ‘secondary development’ - a feature that also occurs in first movement sonata form (cf Haydn Op.42/1), where it is extra to the development section itself. In the case of K516/3 the chromatically inflected passage on the flat submediant (bars 61-65) is particularly noteworthy. For an example of a slow movement in fully worked out Sonata Form see Mozart, Adagio in b minor for Solo Piano (K.540)