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Top > Musical Styles and Theory > Sonata Form > The Completion of Sonata Form by Haydn

This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

The Completion of Sonata Form by Haydn

The Wikipedia entry on "History of sonata form" states the following (translated by ChatGPT4o).

The practices of Haydn and Mozart form the foundation for the description of sonata form. Their works serve as models of the form and as sources for new works to devise sonata form itself. Discussions about sonata form extensively reference the practices of Haydn and Mozart.

Joseph Haydn, known as the “father of the symphony” and the "father of the string quartet," can also be seen as the father of sonata form as a means of structuring works. His string quartets and symphonies not only demonstrate the scope of the formʼs application but also how to exploit its dramatic potential. Haydn created transitions to the development section and recapitulation as moments of highest tension and dramatic interest. By incorporating every aspect of a workʼs harmony into the main theme, he enabled a broader outline of the work. This was no small innovation, creating a monophonic analogue corresponding to the polyphonic music of the fugue, providing potential seeds for composers to later produce diverse effects. Haydnʼs ability to create a variety of dramatic effects and tension was noted by his contemporaries, and his music increasingly became recognized as a standard against which other practices were evaluated.

Haydnʼs string quartet collection “Opus 33” shows the first examples of the characteristic use of sonata form. The composer himself stated that they were written based on completely new principles, marking a turning point in his technique.



I asked ChatGPT4o: "When and in what work did Haydn first use the completed sonata form?"

The work often mentioned as the first in which Haydn used the completed sonata form is the string quartets Op. 33, published in 1781. This collection clearly uses sonata form, with a distinct three-part structure of exposition, development, and recapitulation. This form was later adopted by many composers and became the standard structure of Classical music.

Haydnʼs piano sonatas also played an important role in the development of sonata form. In particular, the Piano Sonata No. 6 in C major, Hob. XVI:6, is an early example with a clear sonata form structure, with distinct exposition, development, and recapitulation sections.

Through these works, Haydn established the structure of sonata form, which had a significant impact on the subsequent history of music. This form was further developed by Mozart and Beethoven and became an essential element of classical music.



I asked ChatGPT4o: "When and from which symphony did Haydn first use the completed sonata form in a symphony?"

Haydn first used the completed sonata form in symphonies generally seen in his mid-period symphonies from the 1760s to the 1770s. Specifically, Symphony No. 44 in E minor “Trauer” and Symphony No. 45 in F-sharp minor “Farewell” are cited as examples. These works use a clear sonata form consisting of exposition, development, and recapitulation.

In particular, Symphony No. 44 in E minor “Trauer” (1768) uses sonata form in an established manner, characterized by structural clarity and thematic contrast. In the first movement, the main theme is presented in the exposition, developed in the development section, and reappears in the recapitulation, showing a typical sonata form structure.

Additionally, the string quartets Op. 33 from 1781 are often cited as examples of Haydnʼs mature sonata form, as they also use the completed form.

These works greatly influenced later composers like Mozart and Beethoven and contributed to the establishment of sonata form as the standard structure of Classical music.



I asked ChatGPT4o: "Does that mean Haydn used sonata form in symphonies before the string quartets Op. 33?"

Yes, Haydn used sonata form in symphonies before the string quartets Op. 33. Here are some early symphonies that used sonata form.

Symphony No. 44 in E minor “Trauer” (1768)

Symphony No. 45 in F-sharp minor “Farewell” (1772)

Symphony No. 31 in D major “Hornsignal” (1765)

Symphony No. 6 in D major “Le Matin” (1761)

As these examples show, Haydn began incorporating sonata form into symphonies from the mid to late 1770s. The string quartets Op. 33 were published in 1781, and before that, Haydn had been experimenting with sonata form. The establishment and development of this form were gradually achieved through Haydnʼs works, eventually becoming the standard form of Classical music.



I asked ChatGPT4o: "Then why is it often mentioned that the first work in which Haydn used the completed sonata form is the string quartets Op. 33, published in 1781?"

There are several reasons why Haydnʼs string quartets Op. 33 (1781) are often mentioned as the first use of the completed sonata form. This set is considered to represent the maturity of Haydnʼs compositional technique and the refinement of the sonata form structure. Here are the reasons explained.

Reasons

  1. Technical Maturity:

    • Haydnʼs string quartets Op. 33 are works from a period when his compositional technique had matured, with a clear three-part structure of exposition, development, and recapitulation, and skillful thematic contrast and development. This allowed the sonata form to be expressed in a more refined manner.

  2. Humor and Innovation:

    • The quartets in Op. 33 are also known as the “Russian Quartets,” where Haydn introduced new ideas and humorous elements. For example, the fourth movement of the second quartet includes a section called “The Joke,” featuring unexpected pauses and modulations.

  3. Clarification of Form:

    • In Op. 33, Haydn further clarified the sonata form and standardized its structure, making it a model for later composers. In particular, the contrast between the two themes in the exposition, the development of themes in the development section, and the reappearance of themes in the recapitulation are clearly demonstrated.

  4. Influence:

    • Op. 33 had a significant impact on Haydnʼs contemporaries and later composers. Notably, Mozart was impressed by these quartets and used them as a reference when composing his own string quartets, the “Haydn Quartets.”

Summary

Although Haydn used sonata form before the string quartets Op. 33, Op. 33 is often mentioned as the first work in which the completed sonata form was used because his technique had matured and the sonata form was expressed in a refined manner. This reflects Haydnʼs evolution in compositional technique and his role in establishing the form of Classical music.



I asked ChatGPT4o: "Was there something lacking in the sonata form in Symphony No. 6?"

Symphony No. 6 “Le Matin” was composed in 1761 and is one of Haydnʼs early works. This symphony is in the developmental stage of sonata form and differs in several respects from the later mature sonata form. Here are the reasons and characteristics explained.

Points Lacking

  1. Lack of Clear Three-Part Structure:

    • In Symphony No. 6, the three-part structure of exposition, development, and recapitulation is not yet fully established. The distinction between each part is not clear, so the structure lacks the clarity seen in later works.

  2. Short Development Section:

    • A characteristic of early sonata form is a short development section with little thematic development or transformation. In Symphony No. 6, the development section is relatively short, and the development of themes is limited.

  3. Lack of Thematic Contrast:

    • An important element of sonata form, the clear contrast between Theme A and Theme B, is not yet fully developed in Symphony No. 6. The lack of clear thematic contrast makes the form ambiguous.

Characteristics of Symphony No. 6

  1. Residual Baroque Elements:

    • Symphony No. 6 retains influences of Baroque music, with frequent use of Baroque counterpoint and ornamentation. This gives a different impression from the Classical sonata form.

  2. Programmatic Elements:

    • This symphony emphasizes programmatic elements, with a theme of “morning.” The focus is on depicting nature and specific scenes through music, making the formal structure secondary.

  3. Exploration of Multi-Movement Form:

    • During this period, Haydn was exploring multi-movement forms, and Symphony No. 6 is part of that exploration. The roles and interrelationships of each movement are not yet established, so the sonata form does not reach maturity.

Summary

Symphony No. 6 “Le Matin” is an early work by Haydn and is in the developmental stage of sonata form. The lack of clear three-part structure and thematic contrast distinguishes it from the later mature sonata form. However, this symphony played an important role in Haydnʼs exploration and development of sonata form.



I asked ChatGPT4o: "What kind of sonata form did Christian Bach use?"

Johann Christian Bach (J.C. Bach) used a sonata form based on the galant style of the late 18th century. His sonata form influenced later composers like Haydn and Mozart and laid the foundation for the standard form of Classical music. Here are the characteristics of the sonata form used by J.C. Bach.

Characteristics of Sonata Form

  1. Exposition:

    • Primary Theme: Presented at the beginning of the exposition in the tonic key, characterized by a concise and appealing melody.
    • Bridge: Used to transition from the primary theme to the secondary theme, usually modulating to the dominant key.
    • Secondary Theme: Presented in the dominant (or relative major) key, often with a contrasting character to the primary theme.
    • Closing Section: Concludes the exposition, harmonically stable, sometimes including repetitions.

  2. Development:

    • Motivic Development: Themes or motifs from the exposition are developed in various keys and harmonies.
    • Harmonic Exploration: Frequent key changes create tension and drama in the development section.
    • Climax: Often the most dramatic part appears in the middle of the development section.

  3. Recapitulation:

    • Restatement of the Primary Theme: Presented again in the tonic key.
    • Omission of Bridge: Sometimes omitted due to the influence of the development section.
    • Restatement of the Secondary Theme in the Tonic: Reappears in the tonic key instead of the dominant.
    • Closing Section: Concludes similarly to the closing section of the exposition.

Specific Examples of J.C. Bachʼs Sonata Form

Sonata in D Major Op. 5, No. 2:

Sonata in C Major Op. 17, No. 2:

Summary

J.C. Bachʼs sonata form features a clear three-part structure of exposition, development, and recapitulation, characterized by beautiful melodies and concise harmonies of the galant style. This influenced later composers like Haydn and Mozart, laying the foundation for the sonata form in Classical music. This form clarified musical structure and enabled rich expression through thematic contrast and development.



I asked ChatGPT4o: "What are the differences between the sonata form established by Haydn and the sonata form of Christian Bach?"

There are several important differences between the sonata form established by Haydn and the sonata form of Johann Christian Bach (J.C. Bach). Here are the characteristics and differences of each form explained.

Characteristics of J.C. Bachʼs Sonata Form

  1. Galant Style:

    • J.C. Bachʼs music is based on the galant style, characterized by concise and flowing melodies. It features many ornaments and simple, clear harmonies.

  2. Binary Form:

    • Many early works use binary form, with an exposition and recapitulation, each having independent sections. Although there is usually tonal contrast, the development section is relatively short.

  3. Monothematic Tendency:

    • J.C. Bachʼs sonata form often tends to be monothematic, using a consistent theme throughout the entire piece.

Characteristics of Haydnʼs Sonata Form

  1. Mature Sonata Form:

    • Haydn is known for completing the sonata form, clearly establishing the three-part structure of exposition, development, and recapitulation. This allowed for more complex and diverse expression.

  2. Contrasting Themes:

    • In Haydnʼs sonata form, the first and second themes are usually placed in contrast. The first theme is presented in the tonic, and the second theme in the dominant.

  3. Importance of the Development Section:

    • Haydnʼs development section is very important, with themes and motifs presented in various forms. This provides harmonic exploration and tonal changes, adding tension and drama to the music.

  4. Ingenuity in the Recapitulation:

    • In the recapitulation, the themes presented in the exposition reappear, but are unified in the tonic and often include new changes. This makes the form more intricate and balanced.

Summary of Differences

  1. Clarity of Form:

    • Haydnʼs sonata form has a clear three-part structure of exposition, development, and recapitulation, emphasizing thematic contrast. In contrast, J.C. Bachʼs sonata form often has binary form or simple structures, with a monothematic tendency.

  2. Complexity of the Development Section:

    • In Haydnʼs sonata form, the development section is very important, with rich thematic development and harmonic changes. J.C. Bachʼs development section is relatively short and simple.

  3. Thematic Contrast:

    • In Haydnʼs sonata form, the contrast between the first and second themes is clear, providing rich expressiveness to the music. J.C. Bachʼs sonata form is often monothematic, with less contrast.

These differences allowed Haydn to develop the sonata form into a more refined and complex structure, establishing it as the standard form of Classical music.



I asked ChatGPT4o: "In the previously mentioned ʼSonata in D Major Op. 5, No. 2ʼ and ʼSonata in C Major Op. 17, No. 2,ʼ they seem to be in complete sonata form. How do they differ from Haydnʼs ʼmature sonata formʼ?"

Johann Christian Bachʼs (J.C. Bach) Sonata in D Major Op. 5, No. 2 and Sonata in C Major Op. 17, No. 2 are fundamentally based on sonata form, but they differ in several respects from Haydnʼs “mature sonata form.” Here are the specific characteristics and differences explained.

Characteristics of J.C. Bachʼs Sonata Form

  1. Simple Development Section:

    • In J.C. Bachʼs sonata form, the development section is relatively short, with little thematic development or transformation. The treatment of themes is relatively simple, with little use of contrapuntal techniques or complex harmonic development.

  2. Monothematic Tendency:

    • Often, a single theme is used throughout the entire movement, with little emphasis on thematic contrast. The structure is characterized by a monothematic approach, with little use of multiple contrasting themes.

  3. Concise and Flowing Melodies:

    • The melodies are based on the concise and flowing galant style, with frequent use of ornaments. The harmonies are simple, with little complex key changes or modulations.

Characteristics of Haydnʼs Mature Sonata Form

  1. Complex and Long Development Section:

    • In Haydnʼs sonata form, the development section plays an important role, with themes and motifs from the exposition developed in various forms. There is rich harmonic change and tonal exploration, with the use of contrapuntal techniques.

  2. Contrasting Themes:

    • In Haydnʼs sonata form, the first and second themes are clearly contrasted in the exposition. The first theme is presented in the tonic, and the second theme in the dominant, with these themes reappearing in the tonic in the recapitulation.

  3. Clarity of Form:

    • Haydnʼs sonata form has a very clear three-part structure of exposition, development, and recapitulation, with each part having a distinct function. This makes the musical structure more intricate and balanced.

Specific Examples of Differences

J.C. Bachʼs Sonata in D Major Op. 5, No. 2:

Haydnʼs Symphony No. 44 in E minor “Trauer”:

These differences make Haydnʼs sonata form more complex and refined, enriching the musical expressiveness. J.C. Bachʼs sonata form is characterized by simple and flowing melodies, but differs from Haydnʼs mature sonata form in terms of the complexity of development and thematic contrast.



I asked ChatGPT4o: "Does Christian Bachʼs ʼsonata formʼ also have a second theme?"

Yes, Johann Christian Bachʼs (J.C. Bach) sonata form does include a second theme. However, its treatment and structure are simpler and differ in some respects from those of Haydn and later Classical composers.

Characteristics of J.C. Bachʼs Sonata Form

  1. Existence of a Second Theme:

    • In J.C. Bachʼs sonata form, there is a second theme. In the exposition, the first theme is presented in the tonic, followed by a transition (bridge) leading to the second theme in the dominant, creating tonal contrast.

  2. Degree of Contrast:

    • There is contrast between the first and second themes, but it is often not as clear and emphasized as in the works of Haydn and Mozart. In J.C. Bachʼs style, the emphasis is on flowing and concise melodies, so the contrast between themes is generally gentle.

  3. Treatment of the Development Section:

    • The development section is relatively short, with little thematic transformation or tonal exploration. It rarely shows the complex development seen in Haydn or Mozart, often limiting itself to simple motif development.

Specific Examples

Sonata in D Major Op. 5, No. 2:

Sonata in C Major Op. 17, No. 2:

Differences from Haydn

These differences reflect the simplicity and flowing nature of the galant style in J.C. Bachʼs sonata form, distinguishing it from Haydnʼs mature sonata form.



I asked ChatGPT4o: "Was sonata form used in Christian Bachʼs concertos in the same way as in Sonata Op. 5 and Sonata Op. 17?"

Yes, Johann Christian Bach (J.C. Bach) used his sonata form in his concertos as well. J.C. Bach employed a simple and flowing sonata form based on the galant style, and this influence is evident in his concertos. Here are the characteristics of sonata form in J.C. Bachʼs concertos explained.

Characteristics of Sonata Form in J.C. Bachʼs Concertos

  1. Exposition:

    • Orchestral Ritornello: In the exposition of a concerto, the orchestra first presents the theme. This is also known as ritornello form, with the theme presented in the tonic key.
    • Entry of the Solo Instrument: The solo instrument then enters, taking up the orchestral theme and developing its own theme. The solo instrument reintroduces the first theme, modulating to the dominant key.

  2. Development:

    • Development of Themes: Themes or motifs from the exposition are developed in various keys and harmonies. However, the development section is relatively short, often with a simple structure.
    • Use of Counterpoint: Counterpoint techniques may be used, but the progression is generally simple and harmonious.

  3. Recapitulation:

    • Restatement in the Tonic: Themes from the exposition are restated in the tonic key. The orchestra and solo instrument alternate in restating the themes.
    • Tonal Stability: The modulation from the dominant to the tonic is clearly shown, providing overall tonal stability.

Specific Examples

Keyboard Concerto in D Major Op. 7, No. 5:

Keyboard Concerto in C Major Op. 13, No. 1:

Summary

In J.C. Bachʼs concertos, the sonata form, similar to his Sonata Op. 5 and Op. 17, is based on the galant style, characterized by a simple and flowing structure. The orchestra and solo instrument alternate in presenting themes, with a relatively simple development section. Unlike the mature sonata form of Haydn or Mozart, there is less complex harmonic development or contrast, but the simplicity and clarity are characteristic of J.C. Bachʼs music.

[The discussion then shifts to ritornello form, which will be covered in a separate entry.]

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Created: 2024-12-28 09:31   Edited: 2025-04-11