Altogether then, we see in such a movement as the present, Mozart taking the sonata-form a step in advance of where Haydn had left it, and while preserving its essential outline, filling it with the wealth of detail which his luxuriant fancy suggested. Later it will become clear that he was thus preparing it for the still further elaboration of an even greater master of construction--Beethoven.
_D. G. Mason: "Beethoven and His Forerunners," Chapters V and VI. C. H. H. Parry: "The Evolution of the Art of Music," Chapter XI. E. Dickinson: "The Study of the History of Music," Chapters XXIV and XXV._ _W. H. Hadow: "Sonata Form."_
[25] A symphony, as we have seen, is only a sonata, on a large scale, for orchestra.
[26] Even in Haydn, however, the second themes remain generally rather rudimentary (see the analysis of his "Surprise Symphony," later in this chapter). In many cases his second theme is hardly more than a variant of the first; as for example in the two pianoforte sonatas in E-flat major. In the first movement of his "Paukenwirbel" Symphony, however, there is a very distinct second theme, and in many other movements the student will note a marked tendency toward definition.
[27] Published for piano, two or four hands, by Peters, Leipzig. For convenience of reference number all measures, and parts of measures, consecutively. The numbers will run to 258.
[28] See Mason's "Beethoven and His Forerunners," page 218.
[29] Arrangement for piano, two hands, in the Peters edition. Number the measures throughout. There are three hundred and seven. The general structure will be seen at a glance in the appended tabular view.
[30] This is according to custom in movements written in minor keys. The second theme is in such cases usually put in the relative major instead of in the dominant. (See the chapter on "Folk-Song.")
In the classical sonata the usual arrangement of movements was as follows: (1) Allegro (in "Sonata-form"): (2) Adagio or Minuet: (3) Finale (usually a rondo).
Occasionally--as in Mozart's Piano Sonata in A-major--the slow movement, in the form of a theme and variations, was placed at the beginning, and in that case the order would be (1) Theme and Variations, (2) Minuet (3) Finale. The symphony, which, it must be remembered, was a sonata on a large scale--always began with a movement in sonata-form, and had four movements. Although the sonata was subject to many outside influences--most important of which were polyphony and the old overture and other operatic forms--its two main sources were dance tunes and folk-songs. The evolution of the dance tune through Bach's polyphonic gavottes, sarabandes, etc., has already been traced in Chapters IV, V, and VI, and the influence of the dance on the first movement in Chapters VIII and IX.