M1

• 1. Early Classical

  Stamitz op.3 no.2

  • like sonata form but development very close to exposition (no fragementation or modulation) just themes in closely related keys
  • recap swap oder of subjects (s2 then s1)
  • tonic returns in development

  Haydn no.2

  • recap not opening material but more like transition
  • both exposition and recap = long coda/codetta
  • opens bold octave unison
• 2. Haydn 104

  • monothematic sonata form
  • fragmentation and modulation in development of s1
  • s2 = s1 in dominant
  • opens unison perfect 5th idea like Haydn no.2
• 3. Beethoven no.3

  • expanded sonata form (destabilised form)
  • development longer than exposition
  • dramatic neo 6th and major 7th chord tutti to move to E minor theme (far from tonic E flat)
  • horn play theme in tonic against dominant harmonies
  • new theme introduced in development
  • coda extended ( like 2nd development
• 4. Mendelssohn Italian

  • new theme in development section ( like Beethoven no.3)
  • false reprise cuts development in 2
  • s3 developed after s2 recap = 3 developmental phrases
  • long coda (77 bars) - very repetitive
• 5. Later Romantic

  Berlioz Symphonie Fantastique

  • sonata form with slow introduction - like Haydn
  • idee fixe = s1
  • recap more like series of developments
  • ends with diatonic Religiosamente idee fixe and three plagal candences
  • balance Largo from beginning

  Mahler no.2

  • very long ( approx 25 mins)
  • romantic style sonata
  • high contrast, stormy s1 with lyrical E major s2
  • ends C minor - gloomy dramatic recapitulation
  • Mahler asks for 5 min pause at end for emotional torture