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A.B. MARX'S CONCEPT OF RONDO AND SONATA:
A CRITICAL EVALUATION OF HIS
EXPLANATIONS OF MUSICAL
FORM
THESIS
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Adelheid K. Lang, dipl.-pianist,
Erstes und Zweites Staatsexamen in Padagogik
Denton, Texas
July, 1993
3 19
1 to, 69
Lang, Adelheid K., A. B. Marx's Concept of Rondo and
Sonata: A Critical Evaluation of His Explanations of
Musical Form. Master of Music (Music Theory), July, 1993,
pp. 116, 14 figures, 15 musical examples, bibliography, 45
titles.
The third volume of A.B. Marx's theory treatise Die
Lehre von der musikalischen Komposition is discussed. His
definitions of rondo and sonata formal types are
demonstrated in the first chapter in addition to the manner
of their derivation through a developmental process
originating in the Liedform.
Musical examples chosen by Marx are examined in chapter
two. These examples, taken from Mozart's and Beethoven's
piano works, are evaluated in relation to Marx's definitions
of the various types of form.
The third chapter is concerned with the progression
from microstructure to macrostructure and the functional
interrelation of the parts to the whole. In addition,
Marx's opinion on musical form is compared with perspectives
of philosophers from his time period and the immediate past.
Denn alle Kraft dringt vorwarts in die Weite,Zu leben und zu wirken hier und dort;Dagegen engt und hemmt von jeder SeiteDer Strom der Welt und rei t uns mit sich fort:In diesem innern Sturm und Aulern Strei teVernimmt der Geist en schwer verstanden Wort:Von der Gewalt, die alle Wesen bindet,Befrei t der Mensch sich, der sich iiberwinde t.
Johann Wolfgang von Goethe
Copyright by
Adelheid Kunigunde Lang
1993
iii
ACKNOWLEDGEMENTS
Dr. Graham Phipps, my major professor and advisor, hasalways been helpful and supportive during the time of thecompletion of this thesis. It would be difficult to mentionthe variety of levels in their entirety on which he directedthe development of my studies in a perceptive and subtleway. It is my pleasure to thank him for his assistance andconstant encouragement as well as for his adroit guidance inaddition to his outstanding professional suggestions.
My further acknowledgement is directed toward thosemembers of the faculty at the University of North Texas whohelped me in various ways including Dr. Edward Baird, Dr.Gene Cho, Dr. John Covach, Dr. David Schrader, Dr. ThomasSovik, and Mr. Adam Wodnicki. In addition, I would like toexpress my sincere appreciation to Dr. Kevin Korsyn whosethorough advice was a constant source of support, and, inparticular, his insightful piano interpretations in additionto his detailed comments regarding my compositions were ofinestimate value for me.
It would be difficult to mention all people who haveencouraged me; the following list is far from beingcomplete: my students in Nurnberg and Schwabach who havewaited patiently for the completion of my work as well asthe Government of Bavaria/Germany and the Town of Schwabach-Nurnberg, in particular Mayor Hartwig Reimann, Dir. Bernt-Hellmut Horn, and Oberstudiendirektor Erich Kroner, whosepermission for sabbatical made these studies possible.
I can hardly find the words with which to express thedepth of my gratitude to my mother, Mrs. Margarete Lang, tomy aunt, Mrs. Betty Keilholz, and to my uncle, Mr. BennyKeilholz, who supported my studies by their devotion to meand my work, as well as to Mrs. Gunda Kirchdorfer who helpedme constantly during the one year of the completion of mystudies at the University of North Texas. They neverhesitated to give their constant encouragement.
Finally, I would like to express my appreciation toProf. Dr. Achim von Arnim, Barbara and Erich Appel, Prof.Dr. Hans Becker, Dr. Bernhard Billeter, Dr. RudolfBreitkopf, Oliver Colbentson, Peter Daum, Dr. HansGraetschel, Dr. Helmut Heiger, Dr. Fritz Hieber, ElizabethKingdon-Grunwald, Reinhold Kirchdorfer, Prof. RainerKretschmer, Adolfo and Ricardo Odnoposoff, Dr. Hilma Oehl,Heinz Prandl, Dorothee and Eva Schuh, Dr. Robert Seiler,Wolfgang Semig, and Matthias Steiner for their valuablesupport.
iv
TABLE OF CONTENTS
ACKNOWLEDGEMENTS iv
TABLE OF CONTENTS VLIST OF FIGURES AND EXAMPLES vi
INTRODUCTION 1
CHAPTER I. MARX'S TREATISE DIE LEBRE VON DER 7MUSIKALISCHEN KOMPOSITION, VOLUME IIIIntroduction--Marx's theory on form: His discussionof rondo and sonata forms and the development of oneform out of the other- -The smaller and greater rondoforms--The sonatina form--The sonata form
CHAPTER II. THE APPLICATION OF MARX'S IDEA ON FORM TOTHE MUSICAL EXAMPLES CITED BY A.B. MARX IN HISDISCUSSION OF RONDO AND SONATA FORMS AND THEIREVALUATION 29Musical examples for the smaller rondo forms--Thegreater rondo forms--sonatina--sonata
CHAPTER III. CONCLUSIONS 103The logical progression from one form to the next--the progressions from microstructure tomacrostructure--Marx's opinion on form and theperspectives of philosophers of his time
SELECTIVE BIBLIOGRAPHY 109
V
LIST OF FIGURES AND EXAMPLES
Figures
Figure 1
Figure 2
Figure 3
Figure 4
Figure 5
Figure 6
Figure 7
Figure 8
Figure 9
Figure 10
Figure 11
Figure 12
Figure 13
Figure 14
Example
Example
Example
Example
Example
Example
2-1
2-2
2-3
2-4
2-5e
Title
Dreiteilige Liedform
Marx's Concept of the First Rondo Form
Key Relations
Diagram
Third Rondo Form
Fifth Rondo Form
Overview of the Smaller and Greater RondoForms
Sonatina
Sonata Form
Overview of Sonatina- And Sonata Forms
Proportionality
Beethoven, Sonata A -Major, Op. 2, No. 2(phrase structure)
Beethoven, Sonata Al -Major, Op. 26(Modulation Plan)
Beethoven's G-Major Sonata, Op. 31/I(proportions)
Beethoven, Sonata in Eli-Major, Op. 27, I
Beethoven, Sonata in Eli-Major, Op. 27, II
Marx's Example
Marx's Example
Marx's Example
Marx's Example
vi
Page
8
10
10
11
12
15
17
19
20
25
38
43
70
95
29
31
32
33
34
35
Example
Example
Example
2-7
2-8
2-9
Example 2-10
Example 2-11
Example 2-12
Example 2-13
Example 2-14
Example 2-15
Marx's Example
Marx' s Example
Beethoven, Sonata in A-Major, Op. 2, I(Exposition, score)
Mozart, Rondo in A -Minor, K. 511/I(Hauptsatz and Seitensatz, score)
Beethoven's Sonata in C-major,Op. 53/III (score)
Beethoven's Sonata in A6-Major,Op. 26/finale (score)
Beethoven, Sonata in C-Minor(Pathstique), Op. 13/IV (score)
Mozart, Sonata in D-Major, K. 381(123a), for four hands (score,
primo part)
Beethoven, Sonata in G-Major,Op. 31, No. 1/I, Allegrovivace (score)
vii
36
37
40-42
45-51
56-69
73-77
81-87
90-92
96-104
INTRODUCTION
"The number of forms is unlimited."1 This statement by
Adolf Bernhard Marx represents his understanding that the
form of a piece is not governed by an established canon.
For him, form was "the way in which the content of a work - -
the composer's conception, feeling, idea - - "2 is expressed.
He takes compositions by such composers as Ludwig van
Beethoven and Wolfgang Amadeus Mozart and employs them as
models that represent well-rounded entities themselves; for
him, "'form' was almost synonymous with whole." 3 Based upon
Marx's opinion, pieces may share similar forms, but these
forms are not based upon obligatory compositional
procedures. His belief was that form and content are
inseparably intertwined; moreover, an underlying idea--
allowing for the combination of parts into a unified whole--
is evident because of the existence of the shared similar
forms. Thus, Marx rejected the notion that form is a
"'convention'";4 rather, forms are abstract traditional
A.B. Marx, Die Lehre von der musikalischen Komposition(1837-1847), cited in Ian Bent, "Analysis," The New GroveDictionary of Music and Musicians, 20 vols., ed. StanleySadie (London: Macmillan Publishers Ltd., 1980), I, 351.
2Bent, "Analysis," 351.
3Bent, "Analysis," 351.
4Marx in Bent, "Analysis," 351.
1
2
organizational patterns that may be discovered by the
analyst.
A.W. Schlegel (1767-1845) had a similar understanding
to that of Marx in reference to the ways in which nature and
art are related. The former maintained that "...beneath the
consciously molded work of art must lies an unconsciously
molded work of nature."5 According to Schlegel, nature
[...should be understood] not as a mass of products but as
itself a producing [force]" 6 Marx's beliefs were vested in
the gift of genius, an artist's creativity, the breaking of
existing rules, and the importance of an idea that can be
developed. Another influence on Marx was the Swiss educator
Heinrich Pestalozzi (1746-1827). His view was that the law
of man's development is an internal, organic growth process
rather than the sum total of external circumstances.
Furthermore, every process has a beginning and a period of
growth; all parts form together a whole. Marx's
descriptions of each process begin with a Motiv which may be
described as the ballistic force that carries the drive to
expansion.
Marx's writings on sonata form differ from Carl
Czerny's in the sense that Czerny's development of sonata is
5Ian Bent, "Analysis," The New Grove Dictionary of
Music and Musicians, 20 vols., ed. Stanley Sadie (London:Macmillan Publishers Ltd., 1980), 1, 351.
6A.W. Schlegel, Vorlesungen caber sch6ne Literatur undKunst, 1801-1802, i, in Bent, "Analysis," 351.
3
an almost exclusively theoretical one that is abstracted
from the music. In comparison, Marx provided a discussion
on sonata form that was directed toward the music. In his
treatise Die Lehre von der musikalischen Komposition, he
pursued the discussion by citing examples from the music of
Beethoven and Mozart. Marx mentions their unique key
organization and recommends that other composers may
carefully consider the advantages of such schemes; that is,
the importance of considering the abstract theoretical
definition of form from the actual music.
A public disagreement between Marx and G.W. Fink may
serve to reveal Marx's contemporary philosophical
standpoint; Die alter Musiklehre im Streit mit unserer Zeit
(1841) records these proceedings. Die Lehre von der
musikalischen Komposition served as a tool in theoretical
education during the twentieth century, and its influence
was felt on succeeding generations.
In his treatise Die Lehre von der musikalaschen
Komposition, Adolph Bernhard Marx uses a restricted number
of terms for his definition of Rondo and Sonata Forms.
Throughout his discussion of musical forms, he adopts this
set of technical terms as a consistent one and uses them as
such. Marx describes five increasingly more complex rondo
types. From the fifth of these, he develops a new type, the
sonata form. In this paper, I have elected to retain the
original German version of these terms in order to preserve
4
the flow of my presentation of Marx's idea. Marx's terms
and their English equivalents are given below.
Practical Definitions of Terms That Marx Uses in His
Composition Treatise
Abschni tta "segment" (in the mathematical sense in comparison to"sector" [Ausschnitt]; a Abschnitt might be a smallersegment; whereas Ausschnitt might be a larger section.
Ankn pfunga connective passage between two musical phrases,periods, or parts
Bewegunga motion that can be understood either in regard to itsinner forward drive, or to its rich emotional content
Erweiterte Peri odeextended period; that is, a passage that closes with acadence, but is extended in the middle part
Ganga part carrying the motion forward that is understoodwith regard to the process of time (Zeitverstndnis)
Gestal tungsanl i egenformal concern
Hauptmoti vthe main or first theme stated at the beginning of theexposition
Hauptsatzfirst part of .the exposition that is devotedexclusively to the main or first theme
Kontinui to tsprinziplaw of continuity
Kopfmotivheadmotive
Liedsatza complete musical song-like statement; it might be asingle phrase or a more complex period consisting oftwo or more phrases
5
List of Terms (continued)
Liedsong
Liedformsong form
Nachsatzconsequent phrase that follows its antecedent
Nebensatzsecond part of the exposition, containing the secondtheme; Marx uses this term interchangeably withSei tensatz
Nebenwerkside-effect
Periodea passage that is concluded with a cadence
Ruhepoint of repose
Satzphrase
S tzchenif translated literally from German, it is defined as asmall Satz; in Marx's terms, however, it means thesubdivision of a phrase into "head" (if it is its firstpart) or into "tail" (if it is its last part)
Schlu~satzfinal phrase
Sei tenparti esecondary section
Sei tensa tzsecond theme
Uberganga transitional passage that links Haupt- und Seitensatztransition (a specific use or sub-meaning of Gang)
Uberlei tunga link passage that is shorter than a transition
6
List of Terms (continued)
Vordersa tzantecedent phrase that is followed by its consequent
Zwi schensa tzconnecting phrase between two main sections
CHAPTER I
A.B. MARX'S THEORY OF FORM: HIS CONCEPT OF
RONDO AND SONATA AND HIS DEVELOPMENT
OF SONATA FORM
The Small Rondo Forms
It is Marx's opinion, that the development of sonata
form has its origin in the rondo forms. His definition of
rondo is that it is derived from Lied which in turn finds
its origin in the variation form. Marx understood variation
as a modified repetition of Lied, in which the theme, the
liedformige Satz, was most important. The next step beyond
the Lied, the Gang or Satz in either homophonic or
polyphonic manner is introduced. This Liedsatz, then,
remains the only Hauptsatz; in comparison, everything else
is of secondary importance.
If two Liedsatze follow each other without any inner
connection, they form together a sequence of Liedsatze, but
not necessarily a new form (see Example 2-1, Chapter II).
Based upon Marx's opinion, new forms are created when
different Satze and Gnge are unified into an internally
connected whole, so that the resultant form shows only a
loosely connected series of single forms in the foreground
rather than a chain of loosely connected Sitze. There are
two main possibilities of combination: first, either that
7
8
the initiating Liedsatz remains the main part; that is, the
Hauptsatz, beside which everything else is secondary
material; or, second, a second Liedsatz, of equal importance
to the first, appears. Marx calls the former possibility
Rondo Form, derived from the Rundgesang or Rondeau.
This idea of Marx may be summarized as follows: a
Liedsatz becomes Hauptsatz when it has an additional content
besides its own. Marx conceives a unified whole as being of
tripartite structure. He calls this form Satz -- Gang --
Satz on the level of musical reality as a microcosm, whereas
its macrocosmic region mirrors natural law in expressing
eternal sequence of Ruhe -- Bewegung -- Ruhe. Marx
translates this relation into harmonic terms as Tonic --
Dominant --- Tonic, and draws a close relation to the
Dreiteilige Liedform, which turns away from and returns
later to the first Satz (see Example 2-2, Chapter II). The
following diagram shows the interconnection of its levels:
Figure 1:
Dreiteilige Liedform
Satz Gang Satz
corresponds to
Ruhe Bewegung Ruhe
corresponds harmonically to
tonic dominant tonic
9
The First Rondo Form
A Liedsatz becomes Hauptsatz in that it has an
additional content besides its own. Consequently, this is
only the case if the Satz itself is not entirely self
sufficient or if the composer does not provide the
appropriate background of mood and sensitivity to lend it a
sense of independence. The direction of expansion, then, is
dependent upon the specific mood of expression that draws by
itself its limits and means of dissemination.
The new element described above demands its right to
expansion causing the development of the Gang out of the
Satz. Therefore, the Satz-like element withdraws
increasingly into the background, whereas the Gang-like
element becomes predominant. This process finds its
harmonic expression in modulation where the harmonic motion
opens various possibilities for its continuation. At this
point, it becomes evident how closely related the first
rondo form is to the Dreiteilige Liedform. According to
Marx, the main Satz of the first rondo form becomes so
satisfactory in realizing musical expression that the
introduction of any new material would become a redundancy
(See Examples 2-3 through 2-8, Chapter II). The following
diagram summarizes the above:
10
Figure 2: Marx's Concept of the First Rondo Form
Satz
consists of
Liedsatz or Hauptsatz
Marx calls it Hauptsatz,when it fulfills the following presuppositions:
Liedsatz + Hauptsatzadditional contentbesides its own
From this scheme, Marx develops the second rondo form.
The Second Rondo Form
When new musical material is introduced, it creates a
subordinated material which we may call Seitensatz.
According to Marx, the main characteristics of the second
rondo form are Hauptsatz -- Seitensatz -- Hauptsatz, thus
corresponding to that of the first rondo form of Satz --
Gang - - Satz. The consideration how to connect one
Hauptsatz to the other permits the accommodation of
modulation to another closely related key for the
Seitensatz, frequently the dominant or subdominant key. If
C-Major is the tonic of the piece, then, the closely related
keys are
Figure 3: Key Relations
C Major - - G Major - - C MajorC Major - - F Major - - C MajorC Major - - A Minor - - C MajorC Major - - C Minor - - C Major.
11
In this form, both new musical material and subordinated
thoughts may occur. The form combines two song-like Stze
both of which are two-part songs. The following diagram may
illustrate Marx's concept:
Figure 4: Diagram
Hauptsatz (HS) Seitensatz (SS) Hauptsatz (HS)
these Sitze are interconnected because they containmaterial whose sequence is based on the previous section as
follows
theme 1 theme 2, return of theme 1,contrasting indifferent key
two-part two part two-partsong form song form song form
Marx uses Beethoven's Sonata in A-Major, Op. 2, No. 2,
to illustrate the second rondo form. (See Chapter II,
Figures 11 through 15, and Example 2-9, where the first
movement of this sonata is cited with markings to indicate
how Marx illustrates his second rondo form).
Specific Observations of the Individual Parts
At this point, Marx describes the Hauptsatz and the
Neben- or Seitensatz in greater detail. Since he believes
that as rondo tends toward sonata, Haupt- and Nebensatz
increasingly become a unified whole through their
strengthened interconnection, he conceives the section
described above as the central point of the rondo that
itself contains independent material; it therefore occurs in
12
Liedform, either bipartite or tripartite, thus containing
material for contentional dialogue. In the case where a
fully developed, independent Seitensatz does not exist--as
was the case in the first rondo form--the Seitensatz is
called Gang. The Ubergang is conceived as a link passage
between Haupt- and Seitensatz. Finally, in Marx's opinion,
the pedal point plays an important dramatic role that
enhances the move to the dominant key. Marx explains the
rhythmic structure as a contraction that causes an overlap
of the end of one section with the beginning of the
following one both on the level of individual measures and
of sections Satz -- Gang -- Satz.
The Third Rondo Form (in Slower Tempo)
Marx calls the forms greater when there are two
different Seitensatze. The first of these greater forms is
the third rondo form. Marx conceives this form as two
intertwined rondos as shown in the figure below:
Figure 5: Third Rondo Form
G
HS -- SS -- HS
HS -- SS -- HS, or:
If the Haupsatz is A, the first Seitensatz B, and the
second one C, the model becomes A - B - A - C - A. In
addition, he provides a discussion on the individual parts
13
of the third rondo form Hauptsatz - - Seitensatz - -
Verknipfung. Marx uses Mozart's Rondo in A-minor, K. 511,
as a model for third rondo for, as shown in Chapter II.
Marx distinguishes furthermore between faster and
slower meter in this form. In his opinion, the basis of
slow meter is a predominant mood of lingering
(vorherrschende Verweilen) in the single movement. The
basis of a faster meter is the predominance of motion. The
ground form of this motion is called Gang, whereas the fixed
form is called Satz (see Chapter II).
The Hauptsatz in fast meter presupposes a one-part
Periodenform. Its content is found mainly in the
Hauptstimme that has only a suggestion of an accompaniment
so that the natural flow of the faster meter is not
interrupted. This form becomes a bipartite structure in
regard to its expansion. The Ubergang of Hauptsatz and
Zwischensatz consists of a fluent motion in the
accompaniment of the Hauptsatz, followed by a Seitenstatz.
In order that the Seitensatz may not overbalance the
Hauptsatz, it must not exceed the proportions of the Satz-
or Periodenform. Therefore, the two-part Liedform may be
preferred over the mere Periodenform. Marx states that in a
rondo of faster meter we may find a satisfactory period that
is closed in itself forming the Hauptsatz. The Seitensatz
may conist of a Satz and its repetition; the Seitensatz is
followed by another Gang. Generally in faster compositions,
14
the Gange must be more elaborate, and the second Gang should
be more broadly conceived in order to complement the first
short one.
Marx discusses the finale of Beethoven's Sonata in C-
Major, Op. 53, which he considers to be a perfect example of
the third rondo form. The first movement is already in
faster meter. The characteristic of faster motion is
predominant in that the adagio is not conceived as a middle
movement between the first and the last allegro, but as an
introduction to the latter one. The last Allegro
(Allegretto moderato, then Prestissimo) illustrates Marx's
third rondo form, as may be seen in Chapter II (Mozart's
Rondo in A-Minor, K. 511, in Example 2-10, illustrating the
third rondo form in slower meter and Examples 2-14 in faster
meter, illuminated by Beethoven's Sonata in C-Major, Op.
53).
The Fourth Rondo Form
Rondo form was developed in that it grew out of an
accumulation of grouping of sections of the composition;
that is, departing from the Lied, a Gang was added, then a
Seitensatz, finally two Seitensatze, and a Anhang.
The fourth rondo form possesses the structure HS -- SSl
-- HS -- SS2 -- HS -- SS3 (HS - SS2). Marx rejects the
possibility of expanding the rondo form by adding more
Seitensatze because that procedure would adversely affect
the unity of the movement; the composer must invent four
15
contrasts, the Hauptsatz and the three Seitensatze, which
need to form a unified whole either by their mood or by
their inner connections. Marx considers this occurrence to
be the limit of this form; further extension is possible but
not desirable. The necessity of repetition of single parts
in order to achieve a desirable connection among them would
have a tiring effect. Thus, the Hauptsatz and the
Seitensatz form a closely related multitude of sections
(Masse) the interconnections of which are even more
established through modulation. Marx demonstrates as
examples Beethoven's Sonata in As-Major, op. 26 and his
Sonata in A-Major, op. 2, finale, as discussed in the
Chapter II in Example 2-12 as well as in Figure 16.
The Fifth Rondo Form
Marx distinguishes a fifth rondo form in which the
Haupt- und Seitensatz are more closely bound together as a
single section of the composition (I). The second section
(II) is then a second Seitensatz. The third section
consists of the repetition of part I. The form may be
outlined as shown.
Figure 6: Fifth Rondo Form
I II III (=I)HS -- SSI SS2 HS -- SS1
It is noticeable, however, that the Hauptsatz is not found
in the middle part. It is from this concept of the fifth
16
rondo form, that Marx develops his idea of sonata form.
Examples containing detailed discussion are given in Chapter
II.
Overview of The Smaller and Greater
Rondo Forms
Figure 7:
Origin of First Rondo Second Third Rondo Fourth FifthSonata: Form Rondo Form Form Rondo Rondo
Form form
Variation, The Gang Hauptsatz Two A series HS- -Liedfc rmi- develops (SS) intertwined or SS 1-ger Satz out of the Rondos Anknip- -HS--or Satz fung of SS2- -Liedsa tz because of di f f e - HS- -
its urge to rent HS SS.expansion and SS
Hauptsatz The Satz- Seitensatz A--B--A--C Re-if it has like (SS) - -A turnan element toadditional comes into HS--content the SS 1besides foregroundits own
Dreiteili- It Hauptsatz Hauptsatz- -ger resembles (HS) Sei tensatzLiedsatz the - -if there Dreiteilige Verknpffungis a Satz Liedform incorrespond that iting to shows theRuhe - sameBewegung- proportionsRube : Satz- -
Gang - -Satz,or Rube--Bewegung --Ruhe, or
Harmonic Tonic- - Tonic- -correspon- Dominant- - Dominant - -dent: Tonic Tonictonic--dominant - -tonic
17
To essential points in Marx's discussion of the rondo
forms, are: 1) rondo is the basis of the Hauptsatz; 2) this
Hauptsatz leads naturally to the SeitensAtze; 3) the
Hauptsatz returns as an important part thereby creating a
tripartite concept. His notion of sonata form is derived
from this tripartite model.
Two Types of Sonata Form
As described above, the fourth and fifth rondo forms
surpass the boundaries of the simpler rondo forms in the
sense that they combine the first Haupt- and Seitensatz into
a more unified whole, as HS -- SS1.
Marx's idea of sonata form realizes what was begun in
the fifth rondo form in two different types: 1) that the
"foreign element" -- the second Seitensatz -- that was
retained in the fifth rondo form, is abandoned. 2) a new
second middle part is presented in unification with the
first part. The first type Marx calls Kleine Sonatina or
Sonatinenform; the second type he calls Soantenform.
The Sonatina Form
The sonatina consists of two sections, the exposition
and the recapitulation; but it lacks a development section.
The exposition itself includes two parts: the Hauptsatz and
the Nebensatz. In contrast to the sonata, the themes
(Hauptmotive) have a lighter character and are non-
developmental. In contrast, Marx conceives sonata as a
18
tripartite form that consists of exposition, development,
and recapitulation. The exposition, like that of the
sonatina, contains a Haupt- and a Nebensatz. In the sonata,
however, these two Satze are composed in contrast. The
Hauptmotive are developmental and we may find them
continued not only into the development section, but also
throughout the entire piece.
Marx cites several examples and definitions of the
single parts of sonatina form. Its first part is similar
to the first part in the fifth rondo form with the
difference that the sonatina lacks the middle part, which is
represented in the fifth rondo form as a second Seitensatz.
The principal characteristic of sonatina form is the direct
connection of the individual sections. Marx's discussion of
several examples is given in the Chapter II with the Example
1-13.
The phrases in sonatinas in major keys may be divided
into Vorder- and Nachsatz and the modulation is less
thoroughly worked out than that of the sonata. Unlike the
tripartite rondo, the sonatina is bipartite--the second
Seitensatz has been omitted. Its sections, therefore, are
Hauptsatz, Seitensatz, Gang, and SchluI satz, whose
interconnection is less intricate than for example that of
sonata. Marx outlines the form of the sonatina as follows:
7Adolph :Bernhard Marx, Die Lehre von der musikalischen
Komposition, praktisch un theoretisch. (Leipzig:Breitkopf und Hartel, 1887-1890), III, 202-215 and 215-220.
19
Figure 8: Sonatina
Part I Part II
HS SS G SZ HS SS G SZ
The Sonatina Form in Minor
Marx finds it more difficult to justify the sonatina
form in minor because the minor mode would not express its
lighter character as appropriately as does the major mode.8
The exposition follows the same rules as that of the
exposition of the sonatina in the major key. It could not
contain the most profound emotional expression possible as
Marx shows in Chapter II. His discussion on Mozart's Sonata
in D-Major for four hands, however, is his main argument for
the discussion of this form.
Sonata Form:
A Discussion of Its Individual Parts
According to Marx's definition, sonata- -in contrast to
sonatina--is conceived with a middle part, and it is
therefore tripartite. This middle part, however, must not
contain foreign musical material. For example, a second
Seitensatz, as found in the rondo forms would destroy its
unity. Since the purpose of the sonata is to achieve unity,
such a procedure would be self-contradictory. The second
part of the sonata form, therefore, must develop the content
Ibid ., 236.
20
of the first part either exclusively or almost exclusively.
Figure 9: Sonata Form
Part 1 Part 2 Part 3
HS - SS - G - SZ ----------- HS SS G SZ
Marx considers three points as important characteristics for
sonata: 1) Since all three parts consist of the same
musical material the content must be highly concentrated,
thereby balancing the close thematic relation of the
constituent parts. Thus, Marx considers the sonata directed
toward a higher form; 2) In the sonata form, it is not
enough merely to bring back the musical material in a series
of mechanical repetitions; rather, the cadences must give
life and spirit to it. Marx uses the Allegro vivace of
Beethoven's G-Major Sonata, Op. 31, No. 1, as an example for
the demonstration of sonata form, as shown in Chapter II; 3)
The hhere Sonatenform requires a formal Ubergang that leads
directly from the Hauptsatz into the Seitensatz. This
transition provides a sense of drive that characterizes the
sonata form.
Since the second part of the sonata form does not
contain new material, it is therefore a combination of the
material of Hauptsatz, Seitensatz, and eventually that of
Schlufsatz. According to Marx's understanding of a higher
form, the individual sections will change according to their
content, to their compositional conception, and to the order
21
in which they occur. These elements can only combine into a
unified whole if they follow the eternal law of motion that
carries in itself the extremes of Ruhe -- Bewegung -- Ruhe
in all three parts of sonata form. In particular, the
middle part, that of motion, carries in itself the utmost
variety of compositional motion.9
Marx lists several prototypes for connections of the
first and second principal sections. 1) the direct return
to the Hauptsatz; 2) the Ankniipfung by means of a
Zwischensatz that contains foreign musical material; 3), the
Ankntpfung by means of a finale that points in retrospect
toward the Hauptsatz; 4) the introduction of the second part
by means of an individual final movement; and 5) the Gang-
like introduction.
A section comprising a complete Hauptsatz and a
Seitensatz, introduced into the tonic key by the dominant
and subdominant keys follows the connective passage and
represents the third part of sonata form. The modulation
may occur in several different ways, the choice of which is
dependent upon the context used.
Use of Sonata Form in Slow Movements
Whereas the rondo forms are characterized by stability
embodied in a Hauptsatz, that forms a stable central point
of the movement, the principle of motion in the sonata form
9 Ibid., 256.
22
is unstable requiring motion from the Hauptsatz to a
Seitensatz in a contrasting way. This Seitensatz, Marx
connects to previous occurrences with his discussion of the
rondo forms, relating to the parts Ruhe -- Bewegung -- Ruhe.
We assume the same section in the Seitensatz in the manner
of that found in the Rondo in terms of balance of weight.
It may be diagramed as HS -- SS -- HS -- SS; that is,
a sonata form in compressed version. Marx employs
Beethoven's Rb-Major Sonata, Op. 22, II, adagio, to
illustrate this form10 (Chapter II).
Further Discussion of Sonata Form
The term Hauptsatz refers not only to the mere form in
general, but also to the special way it proceeds toward the
entrance of the Seitensatz. Marx gave the Hauptsatz a
similar meaning in his discussion of the rondo form;
particularly in the fourth and fifth rondo forms the
Hauptsatz is given a more flexible interpretation. The
sonata carries in itself the contrast to the sonatina, the
possibility of conveying a main idea that is supported by a
secondary one leading to its unity.
The Satzform is conceived to expand the Satz from
within and to augment its effect it by repetition; whereas
the Periode cannot be understood entirely in the modern
1 Ibid., 253-254: The formal structure resembles thatof sonatina, but the character of the individual sections isquite different.
23
sense of the term; it is, moreover, equivalent to Exposition
or Development or Recapitulation; that is, Marx conceives it
as a larger section. Thereby, he distinguishes between
three different subtypes: 1) the Periode with unresolved
consequent Nachsatz; 2) the extended Periode (erweiterte
Periode) that contains additioal musical material; and 3)
the Satzkette which may be understood as a loosely connected
chain of single Perioden.
The Progression Toward the Seitensatz
Marx does not want to subject himself to any
restrictions or rules in describing the continuation of the
Hauptsatz into the Seitensatz. The only "law" that he
accepts, is the natural conception that the single element
grows out of the former one. In this respect, his "law"
corresponds to Goethe's understanding of art that each
macrostructural entity mirrors its microstructural parts in
augmentation, thus representing "natural law." The
formation of the Hauptsatz is the first result of the idea
which then becomes the driving force to its continuation in
that it carries in itself tension that demands its
expansion."
Marx describes the following types of progression
(Fortschreiten): first, the progression of the last member
of the Hauptsatz which he considers as the most common type.
Ibbid., 232.
24
As an example, he mentions the finale of Beethoven's C$-
Minor Sonata, Op. 27, No. 2, in which the forward motion can
be accomplished quickly because the essential content of the
Hauptsatz, especially the Hauptmotiv, shows a Gang-like
nature,12 see Chapter II. A similar procedure is found in
the groien C-Major Sonata."
If the Satz does not come to a satisfactory conclusion,
it motivates a return to the previous thought; that is, to
the Hauptmotiv of the Hauptsatz. Examples of this type are
given in Chapter II. A third type is the progression toward
the Seitensatz by new motives, as found in Beethoven's C-
Major Sonata, Op. 2, Nr. 3, found in Chapter II. Another
possibility is a modulation for the motion toward the
Seitensatz. In contrast to the sonatina in which simpler
material demands simple means of connection, the sonata .
requires more complex musical material. A further exception
of this rule is Beethoven's Sonata in F-Major, Op. 10, in
which significant differences in the character of Hauptsatz
and the Seitensatz demand a separation; they need a neutral
transitional passage to connect them.
Definition of Character of Haupt -und Nebensatz
The Seitensatz may be written in form of a period or a
two-part Liedform - - as already demonstrated in the case of
12Ibid., 268.
"Discussion: Ibid., 269-270.
25
the Hauptsatz. The Seitensatz possesses the following
general characteristics: 1) it must form a unity with the
Hauptsatz concerning mood, content, places of modulation,
and metrical structure; 2) it should express contrast in
each respect; 3) since the Hauptsatz is the energetic
element, the Seitensatz should represent the subservient
element with a dependent function that is the complementary
counterpart to the Hauptsatz, thereby forming a unity with
it; and 4) it should maintain its own individuality and
right to a meaningful existence and should not serve merely
as a side-product (Nebenwerk). The following elements are
Gang and Schlufsatz.
Overview of Sonatina- And Sonata Forms
Figure 10:
Characteristics of Sonatina Form Characteristics of Sonata Form
Bipartite Structure, no Tripartite StructureDevelopment Section
Vorder- and Nachsatz HS--SS--G--SZ --- HS--SS--G--SS
lighter in character Deeper Musical Content
two separate sections Three interconnected sectionsthat build together a unifiedwhole
Summarizing the above paragraphs, we may emphasize the
following points: 1) Each musical creation shows a
development out of a germ, similar to the growth-process in
nature. This generative cell is called Motiv. The various
ways in which the composer continues this Motiv, Marx
26
designates as Gang, thus emphasizing its element of motion;
2) Because of this element of motion, the Gang itself is not
satisfactory in itself. Moreover, it requires a stable
element as its complement which must be a closed musical
section. Marx has chosen the term Satz which, in the German
language, describes best a statement that stands exclusively
for itself in that is clearly separated from the Motive
which precede and follow it. Based upon his opinion, the
terms Gang and Satz represent the Grundformen in music.
3) If two Satze show a closer connection to each other, they
represent a pair which is called Periode. The Periode is
then necessarily divided into two sections: one that
initiates and another that responds. Marx describes this
Satzpaar as Vorder- and Nachsatz. Since these forms always
involve at least a pair, they are called zusammengesetzte
Kunstformen. However, even if those Stze do not come to a
full close, they may carry the name Satz. Marx demonstrates
with this statement that he acknowledges the exception
contained in each rule. In his book on Beethoven, Marx
demonstrates his opposition to any kind of constraint when
he writes:
... For the last time, the visioning (Gespensterschrei)about the compulsion toward form may be brought tosilence. Not even a full close or consequence of theprevious Satz is required, although the desire for itwould be a natural occurrence. Goethe's poem "DerUntreue Knabe" gives at the end with the following line
"Die wendt' sich - - "a perfect example for the exception from the rule,which is found also frequently in Joh. Seb. Bach's
27
music. 14
4) The reason for this opinion is that even a Periode may
not be sufficiently closed in itself. If this were the
case, the resulting piece would be bipartite because the
second period does not contain at all the material from the
first one; they represent two different musical parts,
called zweiteiliger Satz. If, however, the single parts are
connected, they occur mostly in the form of a dreiteiliger
Satz, which is closed in itself and represents a larger
unified whole. The cases described above are collectively
known as Liedformen. 5) A more detailed contemplation leads
to the realization that the single parts of a unified whole
may be of unequal importance in order to function as
complements to each other. In consequence, Marx
distinguishes between those of greater importance which he
calls Hauptsatz, and those of minor importance, designated
as Nebensatz. A Satz that shows intermediary function
between two parts of equal importance is called
14A. B . Marx, Ludwig van Beethoven: Leben und Schaffen,(Hildesheim, New York: Georg Clms Verlag, 1979), 89.
... Zum letztenmale sei die Gespensterseherei desFormenzwangs zur Ruhe gebracht. Nicht einmal vollkomm[']nerAbschluf oder Nachfolge eines ihn bringenden Satzes istbefohlen oder Herkommens, wiewohl das Verlangen danach inden meisten Fallen naturgemiA sich meldet. Das goetheschewunderschone Gedicht "Der untreue Knabe" giebt in seinemAbbrechen
"Die wend't['] sich -- "
ein glorreich['] Beispiel in der Abweichung, deren auch inder Musik von [Joh.] Seb. Bach her genug zum Vorscheingekommen sind. (My translation)
28
Zwischensatz, whereas he calls an introductory section an
Einleitung, and a concluding one SchluSsatz. The
subordinated part which is mostly represented by the second
theme or second musical thought is called Seitensatz.
In the different rondo forms, we find a combination of
those sections, as outlined above. The same consideration
exists for sonatina and sonata forms that he develops out of
the fifth rondo form.
CHAPTER II.
AN EVALUATION OF THE MUSICAL EXAMPLES CITED BY
A. B. MARX IN HIS DISCUSSIONS OF
RONDO AND SONATA FORMS
The Small Rondo Forms
The Liedsatz
As an example for the Liedsatz, Marx shows Beethoven's
Sonata in E6b-Major, Op. 27/I.
Beethoven, Sonata in E6-Major, Op. 27, 1; Example 2-1
1st (4?r
F7 -j* r **'' ra ~ 4 ' 5
100-0-4 .Y-,,
wIC pp 40
-~fog.
pro of to ka .
Z E t 1~
~ 0 ** Ie . m@ a
29
,.
to,
OWN #APR -L %"Novo'
APR.
C:. " u "rrr
M+
"-4
I4
1
4
30
When Marx describes this sequence of Liedstze as being
"without any inner connection,""3 he wanted to express that
two musical sections both of which end with a full cadence
on the tonic key, carry enough closure in themselves--like
the full cadences on E6-Major in mm. 4 and 9 in Beethoven's
Sonata Op. 27/I in the above example--and therefore are
emancipated entities themselves which do not form a unity
together. This section appears to be bipartite on three
levels: first, it consists of two sections closing with a
full cadence; second, each of these sections is repeated,
thus creating duality; finally, each section is divided
into two subsections that could be called Motive which
themselves consist of rhythmically equal figures that are
treated symmetrically, as demonstrated in Ex. 2-1.
Based upon Marx's definition a Liedsatz becomes a
Hauptsatz when it has additional content besides its own;
that is, because of its cadence-disposition it forms a
unified whole consisting of three parts, as shown in
Beethoven, Sonata in Eb6-Major, Op. 27, II; Example 2-2. The
first Satz ends on a half-cadence (mm. 7-8)--thereby
demanding continuation, whereas the second Satz closes in
mm. 16-17 on a full cadence to Ab-Major. Thus the entire
Satz in this example differs from that in Op. 27/II.
5 n reference to Chapter I/A, 7.
Beethoven, Sonata in Eb-Major, Op. 27, II; Example 2-2
Adgo can epreuano "A..) /
IN-
-fa
Pi
a "M-on
* so* 40
b r- - -j f" t r- -
This piece has reached its natural closure, in that the
f irst part represents a unif ied whole in 3a tz- -Gang- -Sa cz,
corresponding to Rube- -Bewe gung- -Rube, which by itself
31
N
5m4c -- (-7'ot4icdw..--i etr.r- ..- .r .a
m
P.r
32
corresponds to Tonic- -Dominant- -Tonic. From this concept,
Marx draws a close relation to the Dreiteilige Liedform that
turns away from the first Satz and returns later. Thus,
according to him, the dynamic section is found in the middle
part.
The First Rondo Form
As an example for the first rondo form, Marx has chosen
the Liedsatz shown in Ex. 2-3.
Marx's Example; Example 2-3
-W A
L~~' I~ -~' Nzel.
This piece is conceived as an orchestral work; it ends in
the tonic key, or in the manner shown in Ex. 2-4.
Marx's Example; Example 2-4
erg C~a .._..._s ....,
33
Marx's Example; Example 2-4 (continued)
dIlc
a
ii- - -_-_-_-_- -_-_-_- - -
In the first case, it seems that, based upon Marx's
opinion, the important content of the Satz is not expressed
entirely over the space of fourteen measures. The concise
change of the softer high voices in addition to the
ponderous bass in the last bars will most likely not provide
us a sense of repose. Therefore, Marx suggests that the
ending be given more weight, especially because the motive
leads to the conclusion shown in Ex. 2-5.
Marx's Example; Example 2-5
q j*T11 _ ... _. b -
--------- -------- ----
SIJI -.....
34
This motive can be brought to an end in the manner of
the Liedform. The above described new element demands its
right to expansion which causes the development of the Gang
out of the Satz. Therefore, the Satz-like element, in
contrast to the broadened and accumulative motion of the
Gang, withdraws increasingly more into the background,
whereas the Gang-like element becomes predominant. This
element, however, causes the need for modulation in which
the motion finds its expression. The effect of this motion
reveals several possibilities for continuation; for example,
a third Motiv in retrograde could be added. This, however,
would contradict the progressive character of the modulation
which does not carry a closing element. A better solution
for continuation, therefore, could be the one shown in Ex.
2-6.
Marx's Example; Example 2-6
tart! '
ME~. .. j-
* ~ . T a
35
Following its expansion, the Motiv in the bass and tenor,
and later in the upper voices, leads to a half-cadence in A-
Minor. As a result, a feeling of completion seems to occur
for the first time. At this point, a satisfaction
concerning expression seems to occur for the first time.
To summarize everything that Marx has presented to this
point: Example 2-1 ended with a fixed Liedsatz which we
called Hauptsatz; in contrast, Examples 2-2 through 2-6
demonstrate the development of new musical material that
does not have any relationship to the former one. With this
new material, the mood is transformed to a more excited
level, thus carrying an increasing expansive force. The
character of the Gang, however--in comparison to the Satz--
does not lead toward a new main thought; rather, it is a
series of interconnected Motive. Since the Gang does not
provide a satisfactory conclusion, something that carries in
itself the desired element of closure must follow. An
entire new section could be added, or the first Satz could
be repeated,. For the sake of unity, Marx decides on the
second possibility, as demonstrated in Example 2-7.
Marx's Example; Example 2-7
a
Mo
36
Marx's Example; Example 2-7 (continued)
.-. C. .... _ J ...,., ,, f " , + a .. .
d i m. T t e :a.
- - -- _'_ _- - _--_-- -------- _
S.. ..... .'i -....... .s
d- ....-
The modulation develops toward its dominant that is the
mediant of the new key and the tonic of the first section.
Now, the Hauptsatz is repeated entirely, as demonstrated in
Ex. 2-8.
Marx' s Example ; Example 2- 8
di-.
_______ z
I dim.I ______
V .. "J
37
The first part serves as a remembrance of the first section
and provides a sense of closure in that the content is
independent and does not require further musical definition.
The movement has come to its natural closure; in retrospect,
it may be considered a tripartite unified whole.
Applications of the Second Rondo Form and its
Discussion of Intermediary Types
The characteristic of the second rondo form is that it
consists of two song-like Satze, both of which are two-part
songs themselves. Marx uses the exposition of the first
movement of Beethoven's Sonata in A-Major, op. 2, No. 2, to
illustrate a transitional formal archetype that combines
characteristics of variation and rondo. Marx diagrams the
exposition as HS -- SS -- HS. He conceives the Hauptsatz
from mm. 1-58 which by itself is divided into two sections:
mm. 1-22 represents the first part, mm. 22-58 the second.
Marx calls both subsections T1 and T2, followed by a Gang
that leads into the Seitensatz (mm. 58-76) on the dominant
in E-Major. It builds the supplementary counterpart of
different character to the first part TI. The third part is
the repetition of the Hauptsatz. He then discusses the
relation between the parts in stating that balance. When
letters for the transitional passages are added, the scheme
is the following, whereby the numbers in the middle line
express the frequency of occurrence of the single parts and
their relative proportion to each other.
38
Figure 1116: Proportionality
HS............G....5........G.........HS......A
T1,T2 T1,T2 T1,T2
1:2:1 (3)T 1:2 1:2:1 (3) 1:1
mm. (1-58) mm. (58-76) mm. 76-110
The balanced equality that results from this scheme could be
supported by further developments in the piece. The
sections, however, are completely independent; that is,
individual parts of the whole may either be left out,
shortened, or expanded. In other words, each part may be
used in a variety of ways. This opinion can be proven by
examining the relation of the parts. It is noticeable,
however, that Marx describes mostly the macrocosmic regions
of the piece; the microcosm which is the cell for each
ballistic force--and therefore significant for the
progression of a musical section--may only be inferred from
his explanations of Satz and Gang that he gives at the
beginning of his discussion of form. Example 2-9 shows the
first movement with Marx's sections which are a combination
of variation and rondo forms.
An evaluation of the musical considerations described
above may show that Marx's notions of proportionality,
forward motion, and expansion are based upon the natural
6i.e., the Hauptsatz (HS) consists of three parts with
the proportions of musical material of 1,2, and 1subdivisions.
39
sequence of Ruhe--Bewegung--Ruhe. In particular, when new
musical material, i.e. that of the Nebensatz (mm. 12-20) is
introduced, it causes not only this forward motion, but also
a combination of two forms: the rondo and the variation
forms.
In reference to the Andante of this Sonata in A-Major
op. 2, No. 2, Marx mentions the relationship between the
single Satze. Although he does not mention the musical
content of the subsections, his ideas about phrase structure
may be applied here, as shown in Fig. 12:
Figure 1217:
HS....................SS.....G...................HS.........A
Tl T2 Ti T28 8 10 5 8 8 14
16 15 16 14 measures
The Larger Rondo Forms
The Third Rondo Form in Slower Meter
As an example of his third rondo form, Marx discusses
Mozart's Rondo in A-Minor, K. 511. Its Hauptsatz is written
in dreiteiliger Liedform. The first of the three parts (mm.
1-8) consists of two four-measure phrases in parallel
construction (Vordersatz and Nachsatz (5-8) with half
cadence and full cadence in A-Minor, respectively. The
second part, mm. 9-21) expands upon this same
17wherebythe sections TI and T2 refer to the parts intowhich the Hauptsatz is divided.
40
Beethoven, Sonata in A-Major, Op. 2, 1; (Exposition) Example
2-9 (score)
SONATEJoseph Ia'-drn tenwdmet
k om- AnMce - O pS ugs .4A 2 .
/ e- A40 7c
* a yrveelTZ
10qi dpfa
_ _ _ _ _ _ _ _ __-' _ _ _ _ _ _
dpIP I lob
qp C - ffj & ff _Zjr 77 rp PF
IZT- ;:low
W TT dw jo
41
Beethoven, Sonata in A-Major, Op. 2, 1;
2-9 (continued)
(Exposition) Example
IXI I14
- - ~
1 i. 0, .W
t-ipu
7 .I i M w1
S 1
9urIcOe&#
Al
OIL Alt Sf
AL irl
iiiiiiiii Will
s yam.
4P- 46
SO.
AL -30 olp
V/b
mmommo moomm i .... r....r !! lA ! Iwlwl. .. rr .rn .l.n...wwww
00 mwmwmm p An
lip
---- - lk, mw ML_ _ M
_0 AF le - -
141 V_ 00 PIP 01 O*A
J I r
ig. _!=_1 - - ___ - w L ____ -
! ,! ii f ' 1T "e1l .1l.l Jl Jl'." ,I ".l".. .1 5! I Ie" .. a /1..1 .. 1 1 .14 . r ! Jf " 5 I.J I!- 1 "I l r "11
V
I -% IrwfoP %,% V &-64 db
42
Beethoven, Sonata in A-Major, Op. 2, 1; (Exposition) Example
2-9 (continued)
tycr Qufp ;J y Q VS C~ l PG (
1/
4p -
i. A.
4 4> ltf: o5
a 416 At dp,~u~b
I~ s(I1eu~L s a2MGM
- M
"1 1
P -- ---
3r3.
-d-- -0 6.
sfatt. # 6)(
Glfke u .t 2. W , 08 : 23 IC. me .e 4m * 032
EMpps -
I IO
r t %,Itt1Lte3Irre u 1:1. 1.$.m n pe iuI mC . I Ier eVat 1. :rt. IJ'..La 3 I Ia.
1r 31 4433 tl'ur jnOrt kutbe. elect e l . .- I e st ac3 a . to oft[. 31mC. osbl r= EeC ti mso 'a r . 4 t
1
43
Vordersatz/Nachsatz structure in the relative major key of
C. Its antecedent phrase of four measures ends with full
cadence; its final eight measures comprise a double
Nachsatz: the first ending with a deceptive cadence, the
second ending with a full cadence. The third part of the
Hauptsatz (mm. 23-30) restates the first part with only
slight figural variation. A two measure Ubergang connects
the end of part two with the beginning of part three.
The Seitensatz, in the submediant key of F-Major, (mm.
31-64) has a more complex form than the Hauptsatz. Its
first part (mm. 31-41) comprises a single phrase with
repeated "head"--that defines cadential harmony in F-Major
at m. 33 and again at m. 35--and a compound "tail" that
modulates to the dominant key of C-Major with a cadential
figure appearing in mm. 37, 39, and 41. The second part is
a developmental Gang that makes use of the Hauptmotiv from
the Hauptsatz and passes through the tonal regions of C-
Minor, G-Minor, D-flat Major, to the dominant of F-
Major/Minor, as indicated in Ex. 1-10. The third part of
the Seitensatz repeats the material of part one with the
significant difference that the "tail" now appears at the
temporary level of F-Major with its respective three
appearances of the cadential figure at mm. 60, 62, and 64
respectively.
The passage (Gang) that follows is a retransitional one
that prepares the return of Hauptsatz at m. 81. In place of
44
its expected second part in C-Major (as found in mm. 9-21),
a second Seitensatz appears, this time in the tonic major
key (mm. 89-108). This Seitensatz is also in three parts as
follows: 1) four measure phrase ending on dominant harmony
in the nature of a Vordersatz with a five-measure extension;
2) a middle section using material from mm. 1-8 in a fashion
reminiscent of the middle part of SSI (mm. 41ff.), thus
remaining in the temporary key; and 3) and ornamented return
to the material of the first part with a full cadence
lending the quality of a Nachsatz.
When we continue to observe the entire piece, we may
realize that Marx's idea is applicable for the entire work.
In sum, the piece has tripartite structure in a great
variety of levels: first, the overall form combines two
tripartite structures, each expressed in the large formal
design A B A. Each section (Hauptsatz and the two
Seitensatze) is divided into three parts, as is each
subsection until the smallest unit, the Motiv (see markings
in the score). Marx's terms Vordersatz and Nachsatz are
equivalent to the modern terms antecedent and consequent
phrase. The detailed comments in Ex. 2-10 may illuminate
these statements throughout the entire piece.
45
Mozart, Rondo in A-Minor, KV. 511/I; (Hauptsatz and
Seitensatz) Example 2-10 (score)
RONDOfir das Pianoforte
"on krie 22. ' 9.
-we-
I~ _ _
~, -. U, - -#-'
-- d -. 5
___ W M__ V
I AMR
I Air
~ _____ ____
Mizarts Erke.
Andantr.
...............!
46
Mozart, Rondo in A-Minor, KV. 511/I; (Hauptsatz and
Sei tensa tz) Example 2-10 (continued)
eei
(r- P 'Z f
1 /Ps
- f
m mm..m.
____-___________________t__- --
~I~z--zz ez - ____
* r - '~ ~c r -'-y -.
* - -f
Mozart, Rondo in A -Minor, KV. 511/I;
Seitensatz) Example 2-10 (continued)
(Hauptsa tz and
" i1221 *T*J ,,,_____
-""" er,'r.r rrw
ma " _ __ . --- p " .#' -
,. ____ - - ;E E
AN
-' p
?Alt
V NW
f 4-
-" *
-* 4::j,
tx to MIs (sopa{uo ab is prarale {
- --- 1t /...... 4.... ,* i Oi*
U7_ w # "mown
-
t|Yg *~ -*
47
WWI mu-*
- r
-- -, --
4p
....
48
Mozart, Rondo in A-Minor, KV. 511/I; (Hauptsatz and
Sei tensatz) Example 2-10 (continued)
t~
-9z-x
. 1
Na rener
1 ~~ -~~~P
_ __
- *__ _ __
S r a e - I I -
i1 _
-+. :0-*
_ _ __--
rS ®"Kma M f. "Zis .. .
r "
St
49
Mozart, Rondo in A-Minor, KV. 511/I; ( Hauptsatz and
Seitensatz) Example 2-10 (continued)
-"eT h Oc CO Ir...
7 A/adow"
4 - - r, - -.!46.= I s-
4AW *'a*ts!~*: LfL~ - -At" -
- -OP - .- ." -1_er
cres-
C7'
S--------
** a un rr n*,7-*
- - ~ ~"~ -- ~-
*0 i p
_______ _ff~ I - -
-- -- _ _ _ _ _ _ _ _ _ _ _ _
p
I V
I -
a~t
r
'?e
4b
iI
Ate.mm..%
. %IJ ___.
Y
... E ;. - . ....
pI _
I
I
s
50
Mozart, Rondo in A-Minor, KV. 511/i; (Hauptsatz and
Seitensatz) Example 2-10 (continued)
-. .h.
L -- - ---
-; afi- bA
it. .n;rrrrr~~i w
- -- : -
- --- y
r 1
-I--.."
.A
""A
-: * - -
-- - - - -
-- ---- - __ - - -
rrt- ,. *
a --
#. g ~ 7 A~-0 so-me . . - - -* - - --- -
-00._see_
44 All dip Op 4
-- f - a111.J---..E --
k% \ l' 1 ,
M?
51
Mozart, Rondo in A-Minor, KV. 511/I; (Hauptsatz and
Seitensatz) Example 2-10 (continued)
Fe pwar
I ~ --- *
IV A-V ~ v~- e ~ j
A -~-
________+ - - . -
P SWI
AW _ _INU ' T t7lIryC
0 Or
* req,--- MI- .
A5Z4 ' = == .* t
*_ G.*** ** **0. 0
-~, ---- - Sm -______-----_--_
- -\ _
-
- .. -OwtM---
* * /:i
52
Mozart, Rondo in A -Minor, KV. 511/I; (Hauptsatz and
Seitensatz) Example 2-10 (continued)
4- -- ~~-
*r
AMt
-r--_-
I ?
== -
1P afts
_____ _____ __
______________ ra
- _ -___ - _ _ _
___ __ .. . AL ~ - ..
lo-- 0,Ip a I0 AP- a I-- '
PI
- **--
_l '""' .... _ " " fm.." ! ___ p
53
The Third Rondo Form in Faster Meter
As an example for the third rondo form in faster meter, Marx
discusses the first two sections (mm. 1-312) of the third
movement of Beethoven's Sonata in C-major, Op. 53/III. Its
Hauptsatz shows the following Stzchen (mm. 1-8)--Marx uses
this diminutive form of the term for a less extensive Satz--
in C-Major which is divided into two four-bar phrases, the
second of which is the exact repeat of the first one. It is
followed by an equally composed one on the dominant (mm. 9-
16). The accompaniment of the Stze is given under the
letters a (mm. 1-8) and b (mm. 9-16), whereby a represents a
pedal-point, whereas b shows an unisono Gang. Both Sitze
are repeated, and the second one is followed by a pedal
point on G (dominant) of three measures (mm. 20-22), after
which the first one recurs with diatonic accompaniment.
After its repeat on the dominant, it is followed by a
dberleitungsartigen Gang (mm. 51-53) of four measures (mm.
51-54), consisting of a trill-figure that is continued as an
accompaniment into the next restatement of the Satz in the
soprano in C-Major (mm. 55-58). This series of five SAtze
including repetitions seems like a unified whole because of
their equal formations of endings which give the impression
of a question because of the ascending third c-e at the end
of each Satzchen, and the uninterrupted flow of
accompaniments. This series ends with a closing, but
incomplete cadence in m. 62.
54
At this point, a new figuration (mm. 62-66) emphasizing
C-Major, is introduced; it leads into the Seitensatz (mm.
70-74) in the relative minor key A-minor. Its Vordersatz
(mm. is repeated one octave higher which is followed by the
Nachsatz (mm.78-82), and its figurated mirror-inversion (mm.
82-86) in the bass voice one octave lower (see Ex. 2-11).
A coda (mm. 86-101) leads into the final cadence in a-minor
in m. 98. An Uberleitung follows that is reminiscent of the
first part of the Satz (mm. 1-4), but with a cadential
ending in A-Minor, and, after two restatements in F-Major
(mm. 101-105) and G-Major (mm. 105-111), the Satz is
repeated in the original key, C-Major.
The second Seitensatz occurs in C-minor in m. 175 the
first part of which is repeated in F-Major (mm. 178-182),
whereas the Nachsatz ends in A1-Major (mm. 182). To be able
to return to the key region of C-Minor in m. 198, this Satz
is remodeled by means of sequential patterns as indicated in
the score (mm. 190-197). In addition, this new Satz is
repeated in the upper voice (mm. 198ff.), whereas the bass
contains the triplets in free imitation, and is followed by
a close on C-Minor in m. 216. After the modulations to Ab-
Major (m. 221), F-Minor (m. 224), and D6-Major (mm. 228-
238), a Gang follows in the keys of Db-Minor, Ab-Minor, Eb-
Minor, Bb-Minor, F-Minor, and C-minor that ends on C-Major.
At this point, a pedal point is unfolded that leads back to
the Hauptsatz. This section is followed by a modulatory
55
passage, starting in C-minor and proceeding through F-minor,
A6-Major, AK-Major, F-minor, back to C-Minor. In this
fashion, the initial key of C-minor was never really
omitted. In order to return to the original key C-Major, a
modulatory Gang is introduced that erases the impression of
the previous key.
The Hauptsatz returns in abbreviated form (mm. 312).
The movement is closed with a Prestissimo section that
functions as Coda (mm. 402-542). Based upon Marx's opinion,
the proportions of this rondo movement are:
Hauptsatz 62 measures,first Seitensatz with Gngen 52 measures,Hauptsatz 62 measures,second Seitensatz withGngen 138 measures,Hauptsatz until thePrestissimo 90 measures,Coda (Prestissimo) 141 measures.
The Fourth Rondo Form
Marx uses Beethoven's Sonata in Ak-Major, op. 26,
finale, to illustrate fourth rondo form. Marx summarizes
the form of the movement as follows:
Figure 13: Beethoven, Sonata A6-Major, op. 26 (Modulation
Plan):
HS SS1 HS SS2 HS SS1
A B A B A
A6 Eb Ab C-Min. E6 A6
mm. 1-28 32-52 57-64 80-88 100-106 107-128
56
Beethoven's Sonata in C-major, Op. 53/Ill, Example 2-11
(score)
RONDO. G t.(
Al egretto moderato. pop- p!L
se?
ipre pIaN(cm
0 Ifpedm/ _ IL h
l
" tWin .r A
ppw
AF d-Ne;4u
Art mrllA|-o--
I'
57
Beethoven's Sonata in C-major, Op. 53/Ill, Example 2-11
(continued)
C, t Iko17. *bau
} -erk (cuisue
-* r *-v - ---
-e-p , , - - - - - --
*.A
!- - -t.-_ 7*A*
~, =i1____
-064
04,0)
_ : xc=.~aztytcccccc k~cc :urs0. c c= .
.crccccarcca.:.uu acu~s-'7 / e p f M
58
Beethoven's Sonata in C-major, Op. 53/111, Example 2-11
(continued)
(141) 17
! .l_ At A.6
QIA & &(C YU I *-l
- - -
-.1 OFA ~ e
* ..___ - --o
:~Z~ p
r .
59
Beethoven's Sonata in C-major, Op. 53/III, Example 2-11
(continued)
7 A err.e eaA . r A
rrPP
l-A ILn _ _ _R_ _)D
OF_ _
14 4C41ritssit
*0
ad 16
, N- -o 41= Now.
_
A ]Mk.ME
- -1 -
4 x*
ef$gin
- -7o K - T7-~I
I
60
Beethoven's Sonata in C-major, Op. 53/III, Example 2-11
(continued)
(41) io
40 P smpre pi/U.i'flr d
G0
- -
at
* * i:r--
* -- __ ~~~~1f
# r t ~ rt "
C.0= A
*-~
____ .-.. 13u---- I .. .........
P -
r. "
61
Beethoven's Sonata in C-major, Op. 53/Ill, Example 2-11
(continued)
1?4 (
~~~ _~~ ~--..
~ 2 aoe -~ -AO -
- --- -
~~ -I
vfet
r.rrirr." r~w_ ii- "S rru n
a'U.I fg 1xy [cv it.
Ai
S WTIAR z~
i
wo ,, 96 -- '?9 [ c s _____'I -i +
62
Beethoven's Sonata in C-major, Op. 53/III, Example 2-11
(continued)
XPW (34) 2 1
~ten.
-- *
K hp L--- es. fAIM
-_L
'2 tw 46 4
*4. . "*.
~~ I ~ ~ ~ ~ 'prPpau~rf
" r i. .r.r (. -w~rr r. n.. rr~qoiurrwr."~l~w . +i
Cedff/a)C-wa
63
Beethoven's Sonata in C-major, Op. 53/Ill, Example 2-11
(continued)
Y! ui'4?'
rempre pp scail
~ ~ ~* a Li.i. -
ZQ2M
Mi- tm_ v r,- u__ ,K i-: # *
isan a
64
Beethoven's Sonata in C-major, Op. 53/III, Example 2-11
(continued)
(147 23
- W
*
1 i A A A * % ADAD A ME -
p /,,I.t A
IF
_ _ EE __________
_ - ~- t==~~~I pfzpCI
3o3
Mr --- A--4,-
- _r- I T
I r.0 I T I I "_ I--___
r E17 , 1I i14-do4 }*
"I,
AV IV Agr
Nau ,/calz_-
.
... :
rt .(/
'I'
C-,
Q
-
pop--*
I
42sI
65
Beethoven's Sonata in C-major, Op. 53/Ill, Example 2-11
(continued)
24 (11 t
* - ~11, r- 'r
& ~ ~ I (90 c
_ .r , (t4 ZQ$ # Aer0
___*1-
9440
.OltV ~~rnpi pia r
-. -.-- ,-..Apo-.- v :rd#qL-dP, r oa
_dP PR i P 77
-Ilop
n _ "
4
-V
66
Beethoven's Sonata in C-major, Op. 53/Ill, Example 2-11
(continued)
(140) 2.
-4 X fjf
FP, I
" C * *~*9 * C
*
*36 res :' - - - /
sempre S3Z.
too_4
;p. p
- 1 IIii a %u iaII I ' .rtI-imfo.
67
Beethoven's Sonata in C-major, Op. 53/IlI, Example 2-11
(continued)
. 0!au 'sc Se 2 Aad4Iq Jer2 a
~ e~ 4- 2~ ',- -- M --
q OF*
--- . = -
1 + -- -_+ -1 , / I
-* * I-
111
O/uu9 j ia11- -g11n
- t4t//7 '1/t f o
68
Beethoven's Sonata in C-major, Op. 53/III, Example 2-11
(continued)
R ?f / pp}
*itppJPip
ererr
J L I . 31 .. L .l M . = ."="'"
1a pit
* -
S7F . 14 .
IAI
__77R7ol ErF~V __
3 L L
(15))2
69
Beethoven's Sonata in C-major, Op. 53/111, Example 2-11
(continued)
Pepxd 4 4aa/a /41 ttheblOgyf
n a ha"o ,u,3P * i . AA?*~~L
A-n M.
-- tit r t
fs+ ri r+rro + 2 ry.*+o+ r+r + + ..
rP
T4--4.
_ Ic?46
II. sm.
f
70
A further elaboration of this modulation scheme will be
demonstrated in the following outline:
The Hauptsatz (mm. 1-28) consists of two separate
Stze. The first of these is divided into Vorder- and
Nachsatz in parallel construction, each further subdivided
into "head" and "tail. "
HS 1-281st Satz Vordersatz (1-6) ends on V
Nachsatz (9-12) ends on I
In contrast, the second Satz is an assimilation of a single
phrase that is repeated; the phrase states its motive three-
times in sequence.
2nd Satz 12-20
20-28
3 times motive established tocadencerepeated Satz
It is followed by a Gang, that moves from I to V and leads
into the first Seitensatz in E6-Major, as shown in the
following outline:
Gang (28-32) 1 -- V- SS1 (32-52) in E6
single phrase with head repeated threetimes with Stimmtausch and tailleading to cadence.
An exact repeat of the Hauptsatz follows:
HS (52-80) exact repeat of 1-28
The second Seitensatz occurs in m. 80-88 as follows:
SS2 (80-88) 2 four-bar phrases, ending onC-Minor (m. 84) and ending onG-Minor (m. 88), repeat
71
The following part leads back to the literal restatement of
mm 1-7, see below:
89-91 Gang: consisting of "tail" ofthe second Seitensatz withcadential ending on G-Minor
91-93 modulatory passage to F-Minor,then to Eb-Major (m. 96)
96-106 literal restatement of mm. 1-7,ending on V
107-128 literal restatement of mm. 6-28, followed by the imitationof 2-bar phrases (mm. 128-130,
130-132, 132-134, and 134-138)with the proportions 2, 2, and4 measures.
Although these two- and four bar phrases have
properties that combine elements of Gang and Satz, I prefer
to use the term Gang to describe this passage because of the
motion forward that is created by repetition, although the
figure itself is the second part of the Nachsatz.
138-142 equals mm. 32-36, followed by arestatement of the Seitensatz inStimmtausch. The following Gangleads directly into theSchluikadenz (final cadence) inAb.
In Marx's opinion, as discussed in Chapter I, the fourth
rondo form possesses the structure HS -- SS -- HS -- SS2 --
HS -- SS3 (HS - SS1) and should not be expanded because
then, it would loose its inner coherence. This sonata by
Beethoven is a perfect example of fourth rondo in the sense
that Beethoven expands the scheme suggested by Marx only
until the second Seitensatz.
72
Beethoven's Sonata in Asb--Major, Op. 26/f finale, Example 2-12
(score)
Allegro Va&tI.-no 4
(al
_______ lo___ALI-_______06
-= __ A cei Cd ~emu '4:so -
ea c Teo>t ( e SccI
9)
s Ti-
alld
I ______________________________________
4p AL V
rr ii R _
l
16-age. 4 k7.;
1
! p4 d" G
dPb
fJ ' " +r4t "
-
I
I
440 !ff:=^
C^ - goI
73
Beethoven's Sonata in Ab-Major, Op. 26/ffinale, Example 2-12
(continued)
20SL -__ .___________________--_ _- --- _-
4P _ __ _ _ _ _ _ _ _
" W" e A
~ A ~ ~ -L , . . e . . L*
ALA
1e
jr ____' .ar
j6-p f
All~-w .-
11.- pec'Q- ( .
* -
r. v
-;2 - iLF a--* - ;- _______
" -- t ----fi- D-z-zE-z- -------
(A'
Urq
.'
wi
-- -e- - --0
74
Beethoven's Sonata in AI6-Major, Op. 26/finale, Example 2-12
(continued)
0 fA: I
40 ME dpip 04 lpIN allIF 44 i. lI AM it Na Op
a -C
- - n td;--r - --
Ao 0/fr7a? 12-/ ,&/euccr) re 14 P 4 1t~-
e i s....s ...a , N17* .** ** **-J ** *l
Ma laet' 2 c /erA-r t lt, v' liGt rVG-
'4 i
Ith
)*~ p if PPf i- --
-~I 5 , (e auyie-
0cs f" how
75
Beethoven's Sonata in A6-Major, Op. 26/finale, Example 2-12
(continued)
Vekrclt. (/ /-rr/ resr/e uet
_AAT
iY __
G -o. 1 er r. e r rr(1 _ ____ ___ _ __ ____ ~r
II 4-p-- ~ _
- I C-C=
- ~
f-- *-4
V 4p... 40. r.
~~~~~. ~ ~~~ar~~+~~+c---q + coc -b-k r
V C/ / C~d616
I-' w
'+ t
i t '
6
0
I
it
u v etaM
,
76
Beethoven's Sonata in Ah-Major, Op. 26/finale, Example 2-12
(continued)
7 Zd
"~ AL
M~4 - /& -z
9f _. *
!* (a"e (3 (0.f ~ P ,~ rcreme.
I '%,o"
-~- en* -w -- ow. v- - - -4100 oew'S' C ke "
~, A -* a ~ -a44
-ww
40-4
-" _ I ~j-1A
p crNow
-r - -- =- - --
- 6 --- iii -m-.
'' _..----1--_ ..... ! PPr '_
-dl_0 wa
I
77
The Fifth Rondo Form
As an example for the fifth rondo form, Marx discusses
Beethoven's Sonate Pathetique, Op. 13/IV. He divides this
piece into three sections- -HS - - SS1; SS2; and HS - - SS1- -
according to his model, as described above in
Chapter I.
The formal structure follows the outline given below:
Section I HS (1-17)
Complete Satz (single phrase) 1-81-78
Nachsatz that serves as anextension of the basic eight-measure Satz (9-12);
it is followed by a
Nachsatz fragment of two measuresthat is repeated (13-14) (15-16) and extended to finalcadence in m. 17.
The Zwischensatz -- or Gang modulates to EL--that is, a
transition (18-25). It is followed by the first Seitensatz
SS1single Satz in three parts:
1) "head" (25-29) ;repeated in minormode (30-33)to arrival ondominant;
2) extension of V harmony(33-36)
3) "tail" (37-43)cadential material.
The second Seitensatz is constructed as follows:
78
SS2Vordersatz (43-47) ends on V;
Satz in parallelphrase structure Nachsatz (47-51) ends on I;
Ubergang (51-61);(a retransition)
HS (62-78) exact repeat of 1-17.
The second section of this piece is conceived as follows:
Section IISS2 and Gang
79-120Vordersatz (79-82) ends on V of A;
79-86 Satz inparallel Nachsatz (83-86) ends on I of El6;phrasestructure
87-94 ornamented repeat of 79-86;
95-98 Ubergang made of related material
Gang 99-120begins with repeat of Vordersatz (99-102 =
79-82) thereby suggesting repeated SS2,but Nachsatz is changed in its thirdmeasure to become a Gang (retransition)extended by means of pedal point tom. 120
Section IIImm. 1-8 Satz is repeated exactly but Nachsatz hasbeen left out, but the Gang at 128-134 acts as
-transition.
m. 134: the Seitensatz appears transposed to C-Major, followed by Schlu~satz
m. 139: no change in mode (see m. 30), in m. 143the "tail" appears again like in m. 34
m. 153: SS2, consisting of Vordersatz (mm. 154-157) and extended Nachsatz (157-171)
mm. 171-178 Hauptsatz appears again, followed by aGang-like passage that leads into theAnhang (m. 34).
79
The illustration is given in Ludwig van Beethoven's
Sonata in C-Minor (Pathetique), Op. 13/IV (see Example
2-13). The observations that are made in this example allow
for the following considerations. When Marx states in
Chapter I that "in the fifth rondo form, the Hauptsatz is
not found in the middle part," we may observe that in the
above sonata, the Hauptsatz recurs between the first and
second Seitensatz; one may ask whether this particular
sonata may be a perfect example for the demonstration of
this form. Since based upon Marx's opinion either the first
part of fifth rondo form or the third part equal each other;
that is, both section I and section II consist of HS and SS1
in his theoretical explanations. In the above example,
however, the third section contains in addition also SS2, so
that we may state, that this example given by Marx is at
least not a "perfect" one, but comes close to his suggested
form.
Marx's Discussion About the Application of Sonatina Form
In Works of the Piano Literature
Marx uses Mozart's Sonata in D-Major, KV 381 (123a),
for four hands to illustrate sonatina form. Marx outlines
the form of the sonatina as follows:
Part I Part II
HS SS G SZ HS SS G SZ
80
Beethoven, Sonata in C-Minor (Pa thetique) , Op. 13/IV,
Example 2-13 (score)
Rondol- Alegro ........_,_ ,-N
0----
r~ ~er- b. a ,
11 W1~II~Z ____________
1r r-mowr I r -
A, I " Its-'
s.4?sgeau c ce "
5f4& c? kear'mit/ c
1 LiQ
14
roru -wwor -c
56. -r o
a,! r o H
~)
4
Beethoven, Sonata in C-Minor (Pathetique), Op. 13/IV,
Example 2-13 (continued)
158
,I- -
(4 14 t4 ...rte .. 4 e s
Slob v{Midt
V~c 4akp44
..-- ---- _t
rro-
81
1
I
82
Beethoven, Sonata in C-Minor (Pathetique) , Op. 13/IV,
Example 2-13 (continued)
@-71
-w --- F--Is,? t
@d -
_M r
(/ t~~-.--5 .M~--e.F - ______rr__
4p 'sc
ml
I -_____ _____d
At 6A ALL p.
ot 1,
AL. A 0. At it
AV I-
"
Y I - p) -
i
83
Beethoven, Sonata in C-Minor (Pathetique), Op. 13/IV,
Example 2-13 (continued)
160
ol X 2 9 j ~- -.1'W0-
1 4 A& ;C)I
- ---rr-
Crese.016
.- " * ,-- -T
G --
I.2
ate ' ..,,,' ..
*
84
Beethoven, Sonata in C-Minor (Pathetique), Op. 13/IV,
Example 2-13 (continued)
/1:
1 1 ~ -2'
111
3 __-_s --
-7-0- 7-#-
C) ~ ' _________
85
Beethoven, Sonata in C-Minor (Pathetique) , Op. 13/IV,
Example 2-13 (continued)
162
1 -
C++
0 IF
ti
NOUN"
4
C
K '- C4 -1 * . .f fd P'
- - -0* -
86
Beethoven, Sonata in C--Minor (Pa thetique) , Op. 13/IV,
Example 2-13 (continued)
163tg Qb E/2,1%-: e4- 0C
/ . . 4wZZ$[w-A L
01 to *6t *
- T -E - * -;- - - --# ! i . 'mt i f_ __--- -
p- -resc-
- , V 4041
- T~L- ~ ~ ~ - --- -
~L~2 2
"i ,;/ .60400P* " i0 "in i
OIL
-ll V O7
6pree
171~~ dc~~R74i __
It liRraRl~ Xrrtisitmn kn .21." I rx eii}n fnN i hiinns " t)I**I" i ni.f' I~nI l -r~rtrrwro "0
wrt
,A -
S
87
As already stated in Chapter I, the characteristic of
sonatina is that it does not contain a development section.
Part I of the movement consists of a Hauptsatz (a single
phrase in three parts--Satzchen--developed out of two
motives that occur originally in mm. 1-3). The same
procedure occurs in the Seitensatz which now appears to be
in the main key for its first seven measures and ends on a
full cadence. (Marx uses the term Stzchen to define a part
of a Satz; if there are two Stzchen in a Satz, we might use
the terminology "head" and "tail" for them. In this
particular movement, the first Satz is comprised of three
Satzchen, which we might then refer to as "head," "middle,"
and "tail."--Therefore, in this context, Satzchen does not
mean little Satz). The second Seitensatz and SchluIsatz are
in the dominant key, as indicated in the score. An
important feature of this part one, which might also be
referred to as "Exposition" of the sonatina form, is that it
lacks a transitional phrase (Gang) that is commonly found in
the sonata and in the more complex rondo forms.
Marx dismisses the possibility of regarding mm. 31-51
as a second Seitensatz with the following commentary:
"The Uberleitung follows with twenty-one measures.One may pose the question if this movement might be
considered a rondo of the fifth form rather than asonatina, but--regarded more closely--this sectioncannot be defined as a second Seitensatz, becauseMozart writes another bipartite Satz in the paralleldominant key (mm. 31-34), which he then repeats one
step lower in A-major (mm. 34-37). It is followed by aGang (mm. 38-52) that leads back to the Hauptsatz.
88
Therefore, the Satzchen in mm. 38-51 is only
intermediary and is not a real Seitensatz."1 8
The main point of Marx's commentary is basically to describe
mm. 31-51 as a retransition (bergang) rather than as a
second Seitensatz (development section).
In the final part (recapitulation), Marx points out
that the Seitensatz appears first in the expected manner in
the major mode (m. 68-76) and then is repeated in the tonic
minor key (mm. 77-89). It ends with a Gang (m. 69) that
leads into the SchluLisatz (m. 76).
The Sonata Form
Marx uses the Allegro vivace of Beethoven's G-Major Sonata,
Op. 31/I, to illustrate his idea of sonata form. Even
though he addresses in his treatise merely the Hauptsatz of
this sonata, we may try, to apply his system onto its entire
first movement. The following observations can be made:
The entire movement is conceived of three parts which we--in
the modern terms- -would call Exposition (mm.1-111), a
tripartite Development section (mm. 111-192), and a
Recapitulation that restates almost literally the thematic
materials of the Exposition (for further detail see markings
in the score).
Although Marx cites this movement as "a particularly
fortunate example of sonata form," he does not provide any
"Marx, Ibid., 217.
89
Mozart, Sonata in D-Major, KV 381 (123x) , for four hands,
Example 2-14 (score, primo part)
Sonate in D.tr K4v4et' e r vier lHandcn
I___t______. _A 4 d KV 38 (1231* it~i1.: i' ar:tutia. a ill
I i 3
z. 1 ~9fr~e" ________________________A 7c(3' 4 ~'O'
too_ ___10
=vow- 7 7 F -o
4t-41 0 4f IA~
. . . . . . -. -'- ---- a _ll.a "; M AM
f R rf J ' fe-,* e a . ._ _ _
r-a wr a ! W" e . . . 1 rr I ....- -1 -Wee-
-
/ ALZ' xz ______77440
,, - V 'a--a'-- ~ - _____Al__AL
90
Mozart , Sonata in D -Major, KV 381 (1233), for four hands,
Example 2-14 (continued)
alp>cSI rr l1 r~r I -~ I
1 x . M "
.. ... ,.. ..tom .. -- --' 14
A All V, -
___- - rip~
____________.w ( ' . .I ' 11
11 ______________
- I II
.LA M ilo e siii n14t- _ _ _ _ _ _ -..---_-__ _ _ _
.... - - - - - -+ + -,- -r-- - ...... .. . I ,# -.4 . -
----- ---.- --
-- - -- - - -
'-- -- - u,' a pt cm s" - ---,rc
- - - -F
-'- _ _____t__a
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.. -I
I
w
rr rr i rrrrrrrrrrr - -- .ur..wn,,,
" qlwr --- + ... ur.rarr r Mwr+..ir_.r.
wr.s. w .. r. . .. .r w .r ".w... y ++ .
rrriw i iiir nr. .r .rrrr ri + ir+r r err rt . .r rrwr.r +r " rr.. +r+
zw'
.Wmwmm
d. koraw ; .{} _ _ - wi.. +.r r .wL. ' fur f +wm .. r} . . + wy .. t. i.. .... L . .M."rr.r
CfSiif uet'a i ,
5 --
IIIT
.. ..r.
" .....
. r..
...-."
-
-
-
1* 4
.. "r rte. s ""+.u M i.".rw r "i"n rw w r i .M
S _ , " , . .. " w rw.... ". .. wi r .r .... may
tll , it/A li. .. /11r .. 1w"..,.,.,".,rli..,....."__ .. w.rr++nJ rr. ww r - - Ty-.
A
OMNI" roll.
4 r. rw + r N - -
46 0
i
91
Mozart, Sonata in D-Major, KV 381 (123') , for four hands,
Example 2-14 (continued)
___ ___ -e_---- -- x 2 w* * *
- ---- -- --. -
a -
,rr-r------ ----- __
e..mm.......m..a * -
'-J I C'uu 1
AL t ~t rQ "
/I ~ w ' _.r - - -- r-w..-' r - _ _}. -~-. ,.-..,-.-. * . . * * * -. ... mw r r r r.. l .ri.+ rr* .. .n . - w j " . - - ,, A _
-- .-f - -g--+-.-...- a-.-to - -.- - --.- .S'.-I
a. A
MJ d-.-.. . -- w- - .. .. -- - - - -,} ^i. - -.- . r+. - r .,- a .a"-E. .0-0-r* . * r wry * *-.*
} r + - r ASr, r
4,9_ _ _ _ __ 1 1-
________ __ ~U -~ ~ "
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r
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92
commentary. Therefore, all of the interpretations that can
be made must be inferred from his definition of the form (as
discussed in Chapter I).
The sonata starts with two introductory measures that,
at the same time, are the first part or "head" of the
Hauptsatz followed by a Nachsatz or "tail" (mm. 1-11) . We
may say that the Hauptsatz is a bipartite song in which
thematic material restated literally in mm. 12-22 at a
different level, and is followed by a Gang that leads to the
dominant key D-Major in m. 44. Then, the Hauptsatz is
repeated with a modulation to B-Major. The first Seitensatz
follows in that key (m. 66). The original Satz in B-Major
is a single phrase (mm. 66-73). After an Ubergang of two
measures (mm. 73-74), A second Satz, that is derived from
the first one, appears in the parallel minor key; it is made
up of two Motive and comprises a digression before the
cadence in B-Minor (mm. 74-88). The second Satz is repeated
with different voicing (mm. 88-98).
The continuation is the second part or development
section. In Marx's terms, this section is the second
Seitensatz. Like a central pivotal component, it is divided
into two sections (mm. 114-217, part I, and 119-193,
partlI), thus conceived symmetrically in terms of
proportionality. Its first part, consequently, is directed
retrospectively toward the Exposition, containing parts of
the first theme or Hauptsatz, whereas the second part is
93
conceived of musical material from the Seitensatz and,
therefore, prefigures the notion of the last part, the
Recapitulation (mm. 193-295) which begins with the Hauptsatz
(mm. 193-204) that is not followed by a Gang. The
Seitensatz 1 is introduced in mm. 219-225, but in E-Major,
followed by another restatement (mm. 226-234) in E-Minor,
then restated in G-Major (m. 241). This sequential passage
is continued until m. 256 where it ends on G-Major. Another
Gang-like passage that is constructed of the "tail" of the
Seitensatz (mm. 256-259) continues after a Uberleitung of
six measures until in m. 271 starts the literal restatement
of mm. 134-192 in abbreviated version. At m. 295, the Anhang
begins.
If we were to compare the proportions in this entire
first movement, we may observe the following conditions:
Figure 14: Beethoven's G-Major Sonata, Op. 31/I
(proportions)
Exposition Development Section Recapitulation
3 sections 2 sections 3 sections
In following Marx's definition of sonata form, as
described in Chapter I, Beethoven's second Seitensatz is
constructed of exact transpositions of whole sections from
the Hauptsatz and the first Seitensatz. When we compare
this fact with Marx's statement that "this middle part must
not contain foreign material because it would destroy its
94
Beethoven, Sonata in G-Major, Op. 31, No. 12/I, Allegro
vivace, Example 2-15 (score)
AL6.
Opus 31 N r. I
-wa; P
N"2 w
__________ t4 -Nowe *,ec 1r 1
-m log--i
3I
~4 4
r N 2 N r
J d Fd-
(jere
. xommoo.
I I . . - --- m win--- m Ar
Beethoven, Sonata in G-Major, Op. 31, No. 1/I,
vivace, Example 2-15 (continued)
3 -- -7 -----
_____________44p& 4(Q~>~1
0 go
ber
erre .
-7 0
(coo
95
Allegro
Beethoven, Sonata in G-Major, Op. 31, No. 1/I,
vivace, Example 2-15 (continued)
-75 7-7811 at y a., 1," 7 rr'
* N o j I ZNrEZZCd fj j
1' = '4 -
MOO" Ium m
____ ____ ____ ___ ____- ~ x z z z
-
R4AL ~ed- - - -r ( , r f~r"_."Mr o
f ------ /re ,f -o
t K r , t r
t " " .gI I -_ ___ __ ___ __ __ -#
_ _
S6 LI
-rig--
" ' r
(uf
96
Allegro
-1001 oo -
N .". .
-I-a ta'eu 4 sGU441eauk
r
It
1
- e - i 0 - - ---- - - I - - OP;o ji -, I 1!= .:: -o!w ff Of00 - . - % p - q-, -do I - AW
0 dP Op -0
VAP
-3;-
- 1- - cf
1
#'40wulerm31i
1
_ r,
i
T
97
Beethoven, Sonata in G-Major, Op. 31, No. 1/I, Allegro
vivace, Example 2-15 (continued)
~IS IV H 1 -___ _ _ -__ _ _-
(I;5r f ver er R id M v I I [ (J t -
---if e-a,-'-= 3
p q- . - -P- f
'7T7-__ __
*AW
~~ - ---7
-- s __1
,,......-, " 1.,4 S r
a
K
R
"rte
1
3
r
6
Beethoven, Sonata in G-Major, Op. 31, No. 1/I,
vivace, Example 2-15 (continued)
tpt
(j -_ _________~____T_____~_
e-7177
- N ____- - #
~ ~ - . 40
11J7 3 h 1 /'e aS- -
i9 .. tr'fj4q,, (rJr'
VI) 0-4 113 124 -7r
_,, ;r. -- n-si- .r r- ,_ .__ :
98
Allegro
!,1
99
Beethoven, Sonata in G-Major, Op. 31, No. 1/I, Allegro
vivace, Example 2-15 (continued)
c ....... ?20003 ku -s J_ 7 7
- ~i5s =is~s s
00.0
U;- -- - - ---- - - -
s . - "
9 t ii - -
(Mr
I) =.- y . In.& 4-i
" I - - "'
Beethoven, Sonata in G-Major, Op. 31, No. /I,
vivace, Example 2-15
A. 3 )~(L-'
(continued)
4 2o 2 Z4
I ~ ~ ~ - -- A -- ~s L s s ML
-05l .sAV V f .. ir
cNo
ii Fz
- 5 .,5,5257
46 A" r ' k- T
- I-i6 ,.a 3;2 0 --... --..
in lp
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- It19 f1 opow-
'SJ -
_.._ -.+
7 - r -
100
Allegro
G
f
I
: V 7
101
Beethovenl, Sonata in CG-Major, op. 31, No. 1/I, Allegrovivace, Example 2-15 (continued)
; '. + + Imo--"-" ~ W A~c *~
- .I__ __
77
sf -_w:o-AL Ar.
Alt
Aff
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pp .Srfnprt pp
00 I-ftwow
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.'
+ f ,fir * i "i l
' +"/.
-4p ipV .
03
_vi -41
7w 'W
p
....
102
unity," we may realize that his observation appears to be a
perceptive one with regard to the actual music of this
sonata. When he furthermore states that "it is not enough
merely to bring back the musical material in a series of
mechanical repetitions," then, we may consider whether the
transpositions of the first section are a satisfactory
element for creating this unity. When we observe the
cadences, however, which occur in such keys as Bb -Major (m.
134) , c-minor (m. 142) , d-minor (m. 150) , E-Major (m. 219),
e-minor (m. 226), and back to the original key, G-Major (m.
241), we might agree that those regions give at least "life
and spirit" to the mere transpositions of this part. The
passages are restated harmonically equal; in the first
repeat, however, in m. 144, the previously treated harmonic
passage is now written in unison. Then, the second repeat,
Beethoven restates the harmonized version in m. 152, thus
avoiding "mechanical repetition." In this sense, we may
agree to Marx's choice of this example in that Beethoven
does not only include harmonic but also thematic repetition
which is treated in transformation.
CHAPTER III
CONCLUSIONS
Marx's concept of rondo and sonata may be evaluated by
a critical observation of the examples he uses--as presented
in Chapter II--to illustrate his definitions--as presented
in Chapter I.
The basic formal unit from which Marx derives his
concepts of rondo and sonata forms, is the Liedsatz. Its
characteristic is a single musical idea. The transformation
of this simple form into a Hauptsatz is the critical change
that ultimately leads to the more complicated developmental
forms that we know as rondo and sonata. The characteristic
of the Liedsatz is that it closes with a full cadence,
whereas the Hauptsatz ends on a half cadence, thus demanding
expansion. The necessity for is thus displaced and
ultimately realized by the restatement of the Hauptsatz,
thereby creating a tripartite structure. Since Marx also
conceives a unified whole as being of tripartite structure,
we may follow his definition that "the first and second
Liedforn represent a series of different Liedstze that are
ordered in a series, that proceeds to the more complete
Hauptsatz." The expansive part, he calls Gang, a term which
in the German language expresses the element of motion; it
corresponds in modern English to the term "transition."
103
104
The first rondo form grows out of the tripartite
Liedform, but contains the additional element of expansion,
caused by the musical content. When important content of
the Satz is not expressed entirely in itself, the need for a
satisfactory solution demands continuation. The musical
material is expanded without losing the inner connections
between the sections of the form. Marx mentiones, for the
possibility of several interrelated Motive as a means of
maintaining this interconnectedness.
In the second rondo form, this tripartite structure is
expanded to Hauptsatz--Seitensatz--Hauptsatz, whereby the
Hauptsatz is to be understood as a compound unit, thus
corresponding to the Satz--Gang--Satz of the first Liedform.
The connection of the Hauptsatz to the other Stze is
achieved by modulation to a loosely related key, for the
Seitensatz frequently the dominant or subdominant key. The
Gang is always to be understood as a connective passage that
lacks a final cadence. The other progressive change that is
achieved in the second rondo form is that both new material
and subordinated thoughts may occur.
The third rondo form takes a pivotal position among all
discussed forms in that it may be interpreted either
retrospectively toward the previously described forms or
progressively toward the following ones. Therefore, Marx's
understanding of this form may be summarized as follows:
The third rondo form is described as a connective process of
105
two simple rondos. It can be used either for compositions
in slow or for those in faster meter. The emergence of
these rondo forms has its origin in a dynamic expanding
quantitative force (Ausweitung) , as opposed to a mere
joining together of different units (Angliederung) that
would cause a more static expansion (Weitschweifigkeit).
This element of expansion creates the necessity to justify
the new element of complexity. The element of complexity in
third rondo may be expressed in two different ways: slow
tempo in which there is a lingering quality (vorherrschende
Verweilen), and fast tempo in which motion is the
predominant quality.
The fourth and fifth rondo forms have to carry the
characteristic of a closer connection (Ineinanderverweben)
between Hauptsatz and Seitensatz than is found in the third
rondo. These two most complex rondo forms are, in Marx's
opinion, the necessary connecting link between fifth rondo
and a new form, the sonata. In the fourth rondo form, a new
Seitensatz is added, thus creating the common rondo form (in
our terms A B A C A), whereas the fifth rondo contains
sonata elements because of its division into three sections.
In the fifth rondo form, Haupt- and Sei tensa tz are more
closely related to each other and section II is understood
as the a prefigured form for the development section in the
sonata.
106
As an intermediary stage to sonata, Marx regards the
sonatina which only consists of two sections. In contrast
to the sonata, however, the themes (Hauptmotive) have a
lighter character and are non-developmental, while
maintaining a contrast between them. He distinguishes
between the type in major or minor mode, stating "the minor
mode would not express the lighter character of the themes
as appropriately as does the major mode."'9
The culmination of Marx's explanation is a tripartite
model that he designates sonata form or
Sonatenhauptsatzform. His models are all taken from the
Classic period composers, such as Mozart and Beethoven. In
this form, the second key area (Seitensatz 1) appears to be
less significant than the first key area. In this form, the
Hauptsatz contains not only the main section, but also the
modulation part to the first Seitensatz. A particular
aspect of Marx's scheme is that he does not account for the
Ubergang between Hauptsatz and Seitensatz. Marx requires a
highly concentrated content because all three parts in this
form consist of the same musical material. According to
Marx, the compositional concept must give color to the form
and not consist of a "series of mere mechanical
repetitions. ""2
'Marx, Komposi tionsl ehre, III, 91 f f .
20In reference to Chapter I.
107
Marx's model of the development section (Seitensatz 2)
shows a place of discourse of opposing forces that originate
in the first and second themes. In some instances, however,
this section is brought back into the programmatic scheme of
the lyrische Episode when, for example, developing moments
have already occurred in the exposition. The final section
containing recapitulation and coda, however, brings back the
material of the Exposition. In this third part, which
comprises a complete restatement of the thematic portions
such as first key area and second key area (Haupt- and
Seitensatz), the themes are both stated in the tonic key.
Since the sonata is a higher form, in the actual music,
the individual sections will change according to their
content, order and compositional concept. Only those
elements can combine into a unified whole, thus fulfilling
the law of motion Ruhe- -Bewegung--Ruhe. Based upon the
character of an intermediary passage, there may be either a
the direct return to the Hauptsatz or an extension
(Anknipfung), where foreign material is introduced in the
manner of a Gang. The Hauptsatz is to be understood as a
part that proceeds toward the second key area (Seitensatz).
Marx's term Periode may be expressed in the modern sense by
the sections Exposition--Development--Recapitulation. The
motion toward the Seitensatz is described by Marx as a
progression (Fortschreiten) of the last part of the
Hauptsatz or a progression by modulation, thus emphasizing
108
forward motion. The Hauptsatz itself may be conceived in a
two-part Liedform, whereas the Seitensatz must form a unity
with the Hauptsatz with regard to content, places of
modulation, and metrical construction.
It should be mentioned that Marx's approach to form is
not a mere harmonic one; rather, it is based upon phrase
organization; that is, his opinion represents a thematic
approach to form, as demonstrated in the examples for each
section: as the terms Satz--Gang--Satz represent in Marx's
view Ruhe- -Bewegung--Ruhe, they signify events in a process
of motion. These parts contain the element of interrelation
to each other; that is, an interconnection of various levels
such as thematic and harmonic relationships in addition to
those of phrase organization. As described above, Marx's
concept was the basis for the nineteenth-century concept of
forms in general and sonata form in particular.
One may ask if Marx's statement that "the number of
forms is unlimited"21 may contradict his extensive and
detailed considerations on specific forms. A consideration
of the philosophical background of Marx's time and the way
of thought may lead us to the conclusion that these forms,
must be viewed as a segment out of an "higher"
(ibergeordnete) entity of formal structure that does not
exclude formal development for the future.
2 In reference to Introduction, p. 1.
SELECTIVE BIBLIOGRAPHY
I. An Annotated List of A.B. Marx's Theoretical Works
Marx, Adolf Bernhard. Allgemeine Musiklehre. Ein Hlfsbuch
fur Lehrer und Lernende in jedem Zweige der
musikalischen Unterweisung. 10. verbesserte Auflage,
Leipzig: Breitkopf und Hrtel, 1884.
This treatise shows Marx's opinion that teaching
is as important in the life of an artist as are theory
and performing.
Berliner Allgemeine Musikalische
Zeitung, redigiert von A.B. Marx. 1. -7. Jahrgang.
Berlin: 1827-30.
Anl ei tung zum Vortrag Bee thoven' Scher
Klavierwerke. Nach der Originalauflage von 1863 neu
herausgegeben von Eugen Schmitz. Regensburg: Gustav
Bosse- Verlag, 1912.
In this book, Marx discusses and demonstrates his
understanding of Beethoven's piano sonatas.
Aus Adolf Bernhard Marx's
litterarischem Nachla. Ein Gedenkblatt zum
hundertjihrigen Geburtstage des weil. konigl.
Universitts-Musikdirektors und Professors in Berlin,
Dr. A.B. Marx, dargereicht von Gustav F. Selle.
Berlin: 0. Jahnke, 1898.
Das Ideal und die Gegenwart. Jena:
H. Costenoble, 1867.
This treatise is most important for the
introduction and definition of his term Idealmusik and
its projection onto Beethoven's Symphony Nr. 3,
"Eroi ca . "
Die alter Musiklehre im Streit mit
unserer Zeit. Leipzig: Breitkopf und Hrtel, 1841.
109
110
This book concerns the philosophical and musical
thinking of the nineteenth century and gives the reader
the background for the Romantic term "absolute music."
. Die Form in der Musik. (In: "Die
Wissenschaf ten im 19. Jahrhundert." Sonderhausen,
1857. 23 1/2 cm. Bd. II, Hft. 2,Sn. 21-48).
The above listed treatise introduces the reader to
the different forms in music as well as to their
development in understanding during the eighteenth and
nineteenth century.
. Die Lehre von der musikalischen
Komposition. Praktisch und theoretisch. Leipzig:
Breitkopf und Hartel, 1887-90.
Volume III contains the chapters on "rondo" and
"sonata" which will serve as a basis for the proposed
thesis.
. Die Musik des Neunzehnten
Jahrhunderts und ihre Pflege. Methode der Musik, 2.
unver.nderte Auflage. Leipzig: Breitkopf und Hartel,
1873.
This book introduces the reader to the music of
the nineteenth century as it was conceived by its
contemporaries.
. Die Organisation des Musikwesens im
PreuSischen Staate, eine Denkschrift. Berlin: E. Bote
& G.Bock, 1848.
-This treatise is mainly concerned with the
educational and pedagogical situation in nineteenth-
century Prussia and its influence on performing and
theory.
. Erinnerungen aus meinem Leben.
Berlin: 0. Jahnke, 1848.
This autobiography may serve as background for a
better understanding of Marx's ideas.
111
Ludwig van Beethoven: Leben und
Schaffen. In zwei Teilen mit chronologischem
Verzeichnis der Werke und autographischen Beilagen. 5.
Auflage mit Berucksichtigung der neuesten Forschungen,
durchgesehen und vermehrt von Gustav Behncke. Berlin:
O.Jahnke, 1908.
This treatise is one of the main sources for the
proposed thesis. It contains Marx's understanding and
explanation of the term "unity" in relation to form in
music and to other genres of art such as poetry and
painting.
. Uber Malerei und Tonkunst. Ein
Maigru an die Kunstphilosophen von Adolph Bernhard
Marx. Im Mai 1828, mit zwei Steindrucken. Berlin:
G. Fincke'sche Buchhandlung, 1828.
This book gives the reader a good insight on
Marx's view on the arts in the nineteenth century.
. Uber Tondi chter und Tonkuns t .
Aufsatze von Adolf Bernhard Marx. Zum ersten Mal
gesammelt und herausgegeben von Leopold Hirschberg.
Hildburghausen: F.W. Gadow & Sohn, 1912.
This treatise serves the same objective as the
above.
The Universal School of Music. A
Manual for Teachers and Students in Every Branch of
Musical Art. Translated from the German by A.H.
Wehran, compiled by D.D. Wood. 2 ed. Louisville:
American Printing House for the Blind, 1877.
. Wolfgang Amadeus Mozart: Sein Leben
und Wirken. Gedenkbuch zu seinem hundertjahrigen
Geburtstage am 27. Januar 1856. Stuttgart: H. Kohler,1861.
This book is interesting for the understanding and
treatment of form.
112
II. Secondary Sources
Burnham, Scott G. Aesthetics, Theory and History in the
Works of Adolf Bernhard Marx. Ph.D. dissertation,
Brandeis University, 1988, abstract, pp. 277,
AAC8819744.
Dahlhaus, Carl. Ludwig van Beethoven und seine Zeit.
Laaber-Verlag, Laaber, 1987 [Grose Komponisten und ihre
Zeit].
Musikalischer Realismus. Zur
Zeitgeschichte des 19. Jahrhunderts. Munchen: R.
Piper & Co. Verlag, 1982.
Eggebrecht, Hans Heinrich. Zur Geschichte der Beethoven
Reception. Verlag der Akademie der Wissenschaften und
Literatur, Mainz, in Kommision bei Franz Steiner Verlag
GmbH, Wiesbaden, 1970.
Forbes, Elliot, ed. Thayer's Life of Beethoven, 2nd rev.
ed. Princeton, New Jersey: Princeton University Press,
1967.
Goethe, Johann Wolfgang von. Farbenlehre, herausgegeben von
Waldemar v. Wasielewski. [Goethe's Werke].
Vollstandige Ausgabe in vierzig Teilen, mit
Einleitungen und Anmerkungen von Karl Alt. Verlagshaus
Bang & Co., Berlin, 1832].
Greene, David B. Temporal Processes in Beethoven's Music.
New York, London, and Paris: Gordon and Breach Science
Publishers Inc., 1982.
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