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Larry Folz

Graduate Review Class

Sonata Resubmission

During the Romantic period, composers began to feel boed in by the typical three or

four movement structure and cadences derived from the composition!s tonic "ey# $ %&' % $( )s a

result, composers began to stray from the typical form and compositional ideas that were closely

associated with the sonata of the Classical period( *his can be seen when analyzing pieces by

composers such as +ohannes rahms and Franz Liszt( $nstead of deriving the movement through

the tonal center of the piece by closely related "ey areas -circle of fifths., rahms and Liszt used

minor and ma/or thirds to decide upon arrival points for "ey centers(

*he practice of using new formulas for the movement throughout "ey centers can be

observed in rahms! 0iano 1uintet in F 2inor( *he composition begins in F minor with the

opening statement clearly set in F minor, but the second statement is in C3 minor, which is an

augmented fifth away( rahms also applies this concept to the recapitulation by reinstating the

second theme in F3 minor, as opposed to F minor( *he sharply contrasting harmonic sections

within the movements are certainly one of the ma/or changes that the sonata eperienced in the

Renaissance period(

Following the new changes that the sonata eperienced during the Romantic period, the

sonata would continue its separation from the sonata that was standardized during the Classical

 period( *he harmonic dissonance within the movements would continue to further itself from the

traditional tonic4dominant relationship, almost seeming li"e harmonic choices for pieces were

chosen at random( *his practice can be seen in Schoenberg!s String 1uartet no( 5( Schoenberg

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follows the four movement form but in the third and fourth movement he adds a soprano singer(

*his is certainly uncommon for the sonata because it is considered an instrumental genre( $n

addition to the obscurity of the added voice, Schoenberg composes the fourth movement with no

"ey signature and is considered to be atonal(

)ll of these eamples show that the sonata had eperienced radical changes throughout

the Classical, Romantic, and 2odern period( $t also shows how strong of a compositional device

it was for composers of the time, and that it was considered one of the normal performance

 practices of the day(