Mozart, String Quartet in F major, K.590: first movement - Mozart's final string quartet: 3rd of set of 3 Prussian quartets - King of Prussia: keen amateur cellist, so the quartet features prominent writing for the cello Sonata Form - Not some kind of mould, into which composers poured notes and out came some sort of perfectly formed piece - Better to think of it in terms of a 'sonata principle' rather than a form. - There are always exceptions to every rule: very few fixed things - In the period we're studying: don't think of it as a thematic principle: think of it as a tonal principle - Rosen: matter of being a high level dissonance, where a dissonant tonality is set up against the tonic and what occurs in that dissonant tonality is assimilated to the tonic by the end of the piece - Hepokoski and Darcy: codified sonata form in a new way: their work has been challenged as reifying the form (what we've just been told not to do) and thinking of it as fixed features and lines: accused of setting up ideal types to which musical reality does not really respond. - But their work has such a hold today that you can't go very far in thinking about sonata form without encountering their ways of thinking and terminology - First subject = primary zone (first group - allows for the possibility of more than one thematic idea operating within the space) - A sonata form does not have A first subject and A second subject: more often than not, especially with the second subject, there is always more than one thematic idea. - Not a battle between two themes: more a contrast between 2 tonalities - Transitionary zone leads to the secondary zone (new melodic idea in a non-tonic key - almost always the dominant/relative major): job of the transition is to create the sense of an opposing tonic: nature of the change of key is such that the secondary key is made to feel like a new tonic - Tonality is made to feel like a living, moving object and the various parts of the design have kinds of work to do to make this tonal model persuasive - Hepokoski and Darcy see the secondary zone as 'relaunching' the form in a new key: usually piano, often lyrical - Old way of viewing sonata form: primary theme as 'masculine' and secondary theme as 'feminine' - Following secondary zone, there can be a coda - The coda and secondary zone can both be multi-sectional: series of sub-units - Medial caesura: transition leads to a point of pause/silence, following which the secondary zone sets in - Very often Hepokoski and Darcy identify a 'filled-in' caesura, in which there is no moment of silence: not entirely sure how useful their concept of MC is in every instance - PAC: Perfect authentic cadence: not just dominant to tonic: both chords must be in root position and there