Music Chat: Classical Sonata Form Unpacked

There are a million ways to think about classical sonata form, but many involve fairly complicated theoretical constructs that would have been completely unfamiliar to the composers who used it most successfully. Taking as an example the Naxos recording of Haydn's Symphony No. 90, I offer a simpler, but not simplistic, way of understanding how sonata form works in the great classical symphonies and instrumental works.

[@bertranddaldy9748]

As part of expanding your remit beyond just comparing CD recordings, it’s a great idea to have videos explaining in a very approachable way the architecture of music and how it works as, far from destroying any mystique, only serves to increase one’s admiration for the skill of composers and helps you get more out of the music you are listening to on the CDs you recommend. Whenever I have tried to read about this sort of thing I get hopelessly lost! Thanks for the enlightenment.

[@andreasolofsson]

Bertrand Daldy Hear, hear!

[@CraigMcgregorLee]

I'm inclined to think you're the best thing to happen to good music since it was actually written.... Bravo! Encore! Carry on, dear Mr Hurwitz

[@DavesClassicalGuide]

Wow, thank you!

[@BaileyJim11]

I have to thank you (again) David. Having plowed through Charles Rosen's book 'The Classical Style' I was still no further ahead. In 34 minutes you taught me more than a month of reading. Thank you so very much, you deserve recognition for what you are doing for Classical Music. Thank you, thank you, thank you.

[@DavesClassicalGuide]

You're very welcome!

[@stradivariouspaul1232]

Thanks Dave, another one of those 'I've always wanted to know but were afraid to ask' lessons you are so good at doing, I really like the way you explain the jargon in a down to earth way. Now to watch again a couple of times so that it all sinks in!

[@DavesClassicalGuide]

Awesome, thank you!

[@edwardcasper5231]

Great talk! It really breaks down sonata form in a very approachable way. As you explained so well, there's no single way composers write in sonata form. And picking a movement that "breaks" the rules is a great way to make that point. A small thought if you don't mind: Why not put "subtitles" in the video for each section (Intro, 1st theme, motion music, 2nd theme, development section, recap, etc.) when you play the whole movement? In other words, give the truly novice listener a "roadmap." Haydn sure packs a lot into a few minutes.

[@rsmickeymooproductions4877]

I love your educational videos. Not coming from a musical background it helps me alot.

[@spqr369]

That's what the great classical music compositions are al about all about. The more you listen to a piece of music the more you will hear in it. I will never ever get tired of it. I live and breath this stuff. As Dave has said in the past we are not normal! LOL!

[@andreasolofsson]

SPQR Eventually you start buying scores and then you’re off to the races! 😁

[@markzacek237]

Dave, you go from strength to strength. And this is your very best to-date. The only problem is that I was so beguiled by the Haydn that I kept forgetting to apply your teachings while listening. So I’d back up and it would happen all over again. I don’t understand why Haydn is considered “not box office” and a composer for connoisseurs. His humanity reaches us all. Symphony no. 90 is a great example of what a bottomless well Haydn remains beyond the Paris and London symphonies. Other “unknown “ favorites of mine - no’s. 76 and 89, although only Dorati really sells the jokes. (I really liked the Drahos no. 90. What a wonderful orchestrator Haydn is!)

[@DavesClassicalGuide]

Thanks very much. Glad you loved No. 90!

[@alonwasserman640]

Sounds like second theme is played by flute then oboe in both exposition and recapitulation

[@DavesClassicalGuide]

Yes it is, in reverse order in the recap. I was merely pointing out who gets it first. There are many details I wish I could have mentioned but didn't, since the video was getting to be very long, but you have good ears. Thanks for chiming in!

[@2134yanto]

Apologies for this very basic question, but are the points mentioned here ie exposition, development and recapitulation, only relevant to the first movement of a symphony in this form please? Or do they pertain to the other movements too? Thanks

[@DavesClassicalGuide]

They pertain to all movements in sonata form, which may be any of them--even the first section of a minuet or scherzo. You may want to have a look at my video on sonata form in general, but this is a very reasonable question.

[@2134yanto]

@@DavesClassicalGuide thanks very much indeed Dave. Learning something new every time I watch your videos. So helpful.

[@johnmonhardt]

Excellent!

[@kend.6797]

Very well done. Thank you

[@LyleFrancisDelp]

Though I'm quite happy with my complete Haydn box led by Adam Fischer, I'm inclined to think one could do much worse than the Naxos box. I can't imagine this lovely movement played with more sensitivity and care than given my Bela Drahos. This performance is near perfection in both execution and sonics.

[@jimyoung9262]

How do you go so long without blinking??? Great video thanks

[@alpaslanertungealp9563]

Jim Young because he freezes to picture. 😊

[@TheSutov]

Splendid, all this. For better understanding and memorisation, I describe various musical subjects as 'chordal' or 'scalar' up/down, neighbor note upper/lower, 'syncopated', certain interval up/down and alike. For example, first subject, fifth chord down, second subject: embellished third down. (Schenkerian listening comes handy).

[@williamwhittle216]

I,m a form junkie, too.

[@leo32190]

Invented by CPE no?

[@DavesClassicalGuide]

No.

[@Arixflipar]

How do you know all of this?

[@DavesClassicalGuide]

Oh, there's so much more that I don't know...

[@LyleFrancisDelp]

Easy. He listens and he reads. :-)