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The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period ).
Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
The sonata form is "the most important principle of musical form, or formal type from the classical period well into the twentieth century." [15] It is usually used as the form of the first movement in multi-movement works. So, it is also called "first-movement form" or "sonata-allegro form" (because usually the most common first movements are ...
The third movement usually follows a dance-like form, such as Minuet [or Scherzo] and Trio form. It is commonly written in the home key. Or, if used as the last movement, is in a fast tempo such as prestissimo, presto, or vivace. Like in Beethoven's "Pathetique" sonata Op.13 Third Movement
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.
Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." [8] These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space.
[Allegro] The fourth movement, also in D major, is a long dance in 12 8 time cast in sonata-allegro form. Though Mozart himself did not label the tempo of the fourth movement, the character of the piece and the standard symphonic form of the time indicates that Mozart probably intended the piece to go at an "allegro" tempo.
Its opening Allegro is considerably more concise than those of the other two sonatas and does not make use of the expansive time-dilating modulatory quasi-development passages that so strongly characterize the other two opening movements. Furthermore, its slow movement follows an ABABA form instead of the ABA form of the other