Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky

by Steven Vande Moortele

Overview

Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin's theory of formal functions, and Hepokoski and Darcy's Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt; Richard Strauss's tone poems Don Juan and Ein Heldenleben; the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky's Second String Quartet.

Product Details

ISBN-13:	9789462704381
Publisher:	Leuven University Press
Publication date:	06/15/2024
Series:	Studies in Musical Form
Pages:	200
Product dimensions:	6.12(w) x 9.19(h) x (d)
Age Range:	18 Years

Table of Contents

Acknowledgements VII

Introduction 1

Chapter 1 Two-Dimensional Sonata Form: A Terminological and Conceptual Framework 11

Levels of form 11

Analogies between levels 15

Projection of hierarchies 20

Identification, interpolation, and exocyclic units 24

Integration, process, and tension 26

Further terminological considerations 28

Notes 31

Chapter 2 Liszt's B-minor Sonata 35

The locus romanticus of two-dimensional sonata form 35

The exposition of the overarching sonata form 39

Identification: first movement and exposition 44

Interpolation: the slow movement 48

Identification: scherzo-finale and recapitulation-coda 50

Notes 57

Chapter 3 Liszt: Tasso and Die Ideals 59

Two-dimensional sonata form in the second half of the nineteenth century 59

Form in Liszt's symphonic poems 60

Tasso: Lamento e trionfo (1847-54) 63

Die Ideate (1856-57) 71

Notes 78

Chapter 4 Strauss: Don Juan and Ein Heldenleben 81

Strauss and Liszt 81

Don Juan Op. 20 (1888-89) 93

Ein Heldenleben Op. 40 (1897-98) 93

Notes 99

Chapter 5 Schoenberg's Pelleas und Melisande 101

Before Pelleas 101

Pelleas und Melisande Op. 5 (1902-03) 102

Notes 123

Chapter 6 Schoenberg's First String Quartet 127

From program to absolute music 127

Issues of form in the overarching sonata form 131

Identification 138

Interpolation and integration 142

Overall form and tonal plan 149

Notes 156

Chapter 7 Schoenberg's First Chamber Symphony 159

Overview 159

Identification 162

Interpolation 167

Recapitulation, coda, and finale 173

Notes 177

Chapter 8 Zemlinsky's Second String Quartet 179

First approach 179

Identification 183

Interpolation185

Notes 193

Conclusion: The Significance of Two-Dimensional Sonata form 195

Appendix: Measure-Number Tables 203

Bibliography 207

Index of Names and Works 217