Schenker's Conception of Sonata Form before the Urlinie

Schenker’S conception of Sonata form Before the Urlinie

Jason HooperUniversity of Massachusetts [email protected]

Annual Meeting of the Society for Music TheoryNovember 7, 2014Milwaukee, WI

Examples from the Oster Collection (OC) are used courtesy of the Music Division of the New York Public Library, Astor, Lenox, and Tilden Foundations.

example 1. Beethoven, Symphony no. 3 in E-flat Major, op. 55/i (Schenker [1930] 1997, 12–13, fig. 3)

1. Gedanke 2. Gedanke Wiederholung Coda

*) “according to the customary theory of sonata form”

Durchführung

[a)– b)– c)– d)– e)]Modulationspartie

example 2. C. P. E. Bach, Keyboard Sonata in G Major, H. 246/i, mm. 1–29, from the second collection für Kenner und Liebhaber (Schenker [1903, rev. 1908] 1976, 28–33; see Petty 1995, 330–39; Koslovsky 2010, ex. 1)

{

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{

{

(f)

ten. ten.

p f(f)

Allegretto

p f p f

11

p (p)

20

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™™

fpp

ften.

ff

ten.

ff

1. 2.24

24

24

&#

Group I (mm. 1–8)

Part I.1

mPart I.2

mPart I.3

Ÿ

Group II (mm. 8–22)Part II.1

œ# œ œœ œ œ œ œ ‰ œ œ œ œ œ ‰

?# œ œœ œ

&# Æ

ÆI:IAC Part II.2 Part II.3 Part II.4

3œ œ

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&# mT

V:PAC Part III.1 (cf. Part III.3)

Group III (mm. 22–29)

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Part III.2 (cf. Part III.4)T Æ

Part III.3

Part III.4

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œ œ ™ œ œ# œ œ œ œ ™ œ œ œn œ œ œ œ œœ œ œ œ œ œ œ œ œ# œœœœœœ œ

Kr œ œ œ œœœœœœœ œ# œ

‰ œ œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ ‰ ≈œœ

Œ ≈ œ# œ Œ ≈ œ# œn œ œn œ# œœŒ ‰ œ# œ œ œ œ

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œ#œn œ œ œ œ œ œ œ<n> œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ œ œ ™ œ œ# œ œ ™ œ œ ™

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Œ ‰ œ œ œ œ Œ œ œœœœ#

example 3. A. B. Marx’s SatzKette (hauptpartie): Mozart, Piano Sonata in F Major, K. 332/i, mm. 1–22 (Marx [1845] 1848, 265, exx. 310, 311; trans. Burnham 1997, 113–14, exx. 4.19, 4.20)

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p cresc. f

Allegro

p

12

34

34

& b

Hauptpartie (mm. 1–22)

Vordersatz

Periode (mm. 1–12)

I:HC Nachsatz

Ÿ

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New Satz

∑

Cadence

& b

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Ω Ω‘ New Satz I:AC ‘ ‘Cadence

?b & ?

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example 4. Schenker’s full-movement forms (ca. 1911–16; Hooper 2011, ex. 14)

example 5. Cyclic form (Schenker [1905–06] 2005, 44; cf. ex. 6)

(a) In Schenker’s hand (OC, 83/255) (B) Transcription

A1 [Exposition]: “die drei ersten Gedankengruppen”

(Einleitung) I. Gedankengruppe (Modulationspartie) II. Gedankengruppe III. Schlußgedanke

B Durchführung

A2 Reprise / Wiederholung

I. Gedankengruppe (Modulationspartie) II. Gedankengruppe III. Schlußgedanke (Coda)

Auf Theilung u. Wiederholung.

Formen:

(1-tl. Form: N. B.)

2-teil. Form: a1–a2

3-teil. Form: a1–b–a2

4-teil. Form: a1–b1–a2–b2

5-teil. Form: a1–b1–a2–c1–a3

a1–b1–a2–c1(+b2)–a3

6-teil. Form: a1–b1–c1 (Df ) a2–b2–c2 (= a1–b–a2)

{ }

oder:

example 6. Analyses of sonata forms by Beethoven

(a) Beethoven, Symphony no. 9 in D Minor, op. 125/i (Schenker 1912, 2) (B) Beethoven, Piano Sonata in E Major, op. 109/ii (Schenker 1913, 36)

(c) Beethoven, Piano Sonata in A-flat Major, op. 110/i (Schenker 1914, 31)

(d) Beethoven, Piano Sonata in C Minor, op. 111/i (Schenker 1916, 32)

(e) Beethoven, Piano Sonata in A Major, op. 101/i (Schenker 1920, 27)

example 7. Type-A expositions from selected Haydn string quartets (OC, 83/87)

ohne Mp.

[Haydn, op. 33, no. 6/i]





Kopf von I. [Gedanke]

(Mp. ohne Mod.?)

[Gedanke] [Gedanke]

example 8. Type-A exposition: Haydn, String Quartet in B Minor, op. 33, no. 1/i

4

17

21

25

29

32

35

38

41

8

13

I. Gedanke

I:PAC

I:HC[III. Schlußgedanke]

[Durchführung]

II. Gedanke

Periode: Vordersatz

Nachsatz

Kopf von I. Gedanke

III: Ii: V

example 9. Type-B expositions from selected Haydn string quartets

(a) Type-B exposition: I. Gedanke ends with a I Stufe (OC, 83/88) (B) Type-B exposition: I. Gedanke ends with a V Stufe (OC, 83/89)

(Mp. u. Kopf von I [Gedanke])

(Mp. neu)







[Gedanke]

[Gedanke][= Gruppe]

[= Gruppe]

[= Gruppe]

Kopf von I. [Gedanke]



example 10. Type-B exposition: Haydn, String Quartet in B-flat Major, op. 33, no. 4/i

4

17

20

24

28

8

13

Gruppe

Kopf von I. GedankeI. Gedanke

II. Gedanke

Modulationspartie

[III. Schlußgedanke]

III♯

V: VI♯ II

I: I

V

I:PACV:PAC

V:HC

example 11. Type-C expositions from selected Haydn string quartets (OC, 83/90)







[Haydn, op. 42/i]

(K. v. I [Gedanke])

neu

example 12. Type-C exposition: Haydn, String Quartet in G Major, op. 33, no. 5/i

8

32 62

71

79

87

38

45

53

15

23

I. Gedanke

II. Gedanke (neu)

[Überleitung]

Periode: Vordersatz

Nachsatz

Modulationspartie

V: V I

I:HC

V:PAC

V:HC

example 13. Type-D expositions from selected Haydn string quartets (OC, 83/91)

example 14. Type-D exposition: Haydn, String Quartet in E-flat Major, op. 33, no. 2/i



5

18

23

26

29

9

14

I. Gedanke

Periode: Vordersatz

Nachsatz Modulationspartie

II. Gedanke

[Schlußgedanke]

V: V

example 15. Type-D exposition: Beethoven, Piano Sonata in A Major, op. 101/i (Schenker 1920, 27–29; cf. ex. 6e)

5

29

35

41

47

53

58

11

17

23

I. Gedanke

Periode: Vordersatz

Schlußgedanke

Reprise

Durchführung

I: V VI V: II V I

Nachsatz ⇒ Modulation ⇒ II. Gedanke

“als eine äußerste Zusammenziehung nicht weniger als dreier Formbestandteile: eines Nachsatzes des ersten Gedankens, der Modulation und des zweiten Gedankens auffassen” (Schenker 1920, 27; emphasis mine)

example 16. Summary of Schenker’s four expositional types

(c) Type-C exposition: I. Gedanke fuses with the transition (OC, 83/90)

(d) Type-D exposition: End of I. Gedanke and beginning of II. Gedanke fused with the transition (OC, 83/91)

(B) Type-B exposition: Transition fuses with the II. Gedanke (OC, 83/88, 83/89)

(a) Type-A exposition: Transition absent (OC, 83/87)

I. Gedanke

In the primary key: In the subordinate key:

II. Gedanke (ohne Mp.)

a1 a2 Ends on V Stufe

Begins on I Stufe; motivically similar to the beginning of the I. Gedanke

I. Gedanke + Mp.


II. Gedanke

a1 a2

Begins on I Stufe; motivically similar to the I. Gedanke, or introduces new material

Ends on V Stufe in the subordinate key

I. Gedanke + Mp.


II. Gedanke

a1 a2

V Stufe inthe subordinate key

I. Gedanke


Mp. + II. Gedanke

a1 a2 Ends on I Stufe (V also possible)

= Gruppeor

Begins on VI or I Stufe;motivically similar to the I. Gedanke

example 17. Haydn, Piano Sonata in G Minor, Hob. XVI: 44/i (Schenker [1926] 1996, 24, fig. 1; see Rothstein 2001, 215)

WorkS cited

Burnham, Scott, trans. 1997. Musical Form in the Age of Beethoven: Selected Writings on Theory and Method. Cambridge: Cambridge University Press. ———. 2002. “Form.” In The Cambridge History of Western Music Theory, edited by Thomas Christensen, 880–906. Cambridge: Cambridge University Press.Cadwallader, Allen. 2008. “Intersections between Two Analytical Perspectives on Sonata Form: The Schenkerian Approach.” In Essays from the Fourth International Schenker Symposium, vol. 1, edited by Allen Cadwallader, 85–109. Hildesheim: Olms.Caplin, William E. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press.———. 2011. “The ‘Continuous Exposition’ and the Concept of Subordinate Theme.” Paper read at the Annual Meeting of the Society for Music Theory, Minneapolis, MN.Cook, Nicholas. 2007. The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna. New York: Oxford University Press.Drabkin, William. 2005. “Schenker’s ‘Decline’: An Introduction.” Music Analysis 24: 3–31.Hepokoski, James, and Warren Darcy. 2006. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. New York: Oxford University Press.Hooper, Jason. 2011. “Heinrich Schenker’s Early Conception of Form, 1895–1914.” Theory and Practice 36: 35–64. Jonas, Oswald Memorial Collection. Collection no. 067. Special Collections Department, University of California, Riverside Libraries. University of California, Riverside.Koslovsky, John. 2009. “From Sinn und Wesen to Structural Hearing: The Development of Felix Salzer’s Ideas in Interwar Vienna and Their Transmission in Postwar United States.” Ph.D. diss., University of Rochester. ———. 2010. “Tracing the Improvisatory Impulse in Early Schenkerian Theory.” Intégral 24: 57–79.Marx, Adolf Bernhard. 1837–47. Die Lehre von der musikalischen Komposition, praktisch-theoretisch. 4 vols. Leipzig: Breitkopf & Härtel.———. (1845) 1848. Die Lehre von der musikalischen Komposition, praktisch-theoretisch, vol. 3. 2nd ed. Leipzig: Breitkopf & Härtel. Partial translation in Burnham (1997).Oster, Ernst Collection of the Papers of Heinrich Schenker. Music Division, The New York Public Library for the Performing Arts. New York, NY.

recordingS

The Haydn op. 33 quartets are performed by Cuarteto Casals (Harmonia Mundi, 2009); Beethoven op. 101/i is performed by Artur Schnabel (Warner Classics, [1932–35] 1991).

WorkS cited (cont.)

Pastille, William. 1990. “The Development of the Ursatz in Schenker’s Published Works.” In Trends in Schenkerian Research, edited by Allen Cadwallader, 71–86. New York: Schirmer.———. 1995. “Schenker’s Value Judgments.” Music Theory Online 1, no. 6. Available from http://www.mtosmt.org/issues/mto.95.1.6/mto.95.1.6.pastille.html; Internet. Accessed September 7, 2014. Petty, Wayne C. 1995. “Compositional Techniques in the Keyboard Sonatas of Carl Philipp Emanuel Bach: Reimagining the Foundations of a Musical Style.” Ph.D. diss., Yale University. Rothstein, William. (1989) 2007. Phrase Rhythm in Tonal Music. New York: Schirmer Books. Reprint, Ann Arbor, MI: Musicalia Press.———. 2001. “Articles on Schenker and Schenkerian Theory in The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie and John Tyrrell.” Journal of Music Theory 45, no. 1: 204–27.Schachter, Carl. (1987) 1999. “Analysis by Key: Another Look at Modulation.” Music Analysis 6, no. 3: 289–318. Reprinted in Unfoldings: Essays in Schenkerian Theory and Analysis, edited by Joseph N. Straus, 134–60. New York: Oxford University Press. Schenker Documents Online: The Correspondence, Diaries, and Lessonbooks of Heinrich Schenker. Transcribed, translated, and edited by Ian Bent, William Drabkin, et al. Available from http://mt.ccnmtl.columbia.edu/schenker/; Internet. Accessed September 7, 2014.Schenker, Heinrich. (1895) 2007. “Der Geist der musikalischen Technik.” Musikalisches Wochenblatt 26, no. 19: 245–46, 257–59, 273–74, 279–80, 297–98, 309–310, 325–26. Translated by William Pastille as “The Spirit of Musical Technique.” In The Schenker Project: Culture, Race, and Music Theory in Fin-de-siècle Vienna, by Nicholas Cook, 319–32. New York: Oxford University Press.———. (1903, rev. 1908) 1976. Ein Beitrag zur Ornamentik als Einführung zu Ph. Em. Bachs Klavierwerken. New revised and enlarged edition. Vienna: Universal Edition. Translated by Hedi Siegel as “A Contribution to the Study of Ornamentation.” In The Music Forum, Vol. 4, edited by Felix Salzer and Carl Schachter, 1–139. New York: Columbia University Press.———. (1905–06) 2005.“Über den Niedergang der Kompositionskunst: eine technisch-kritische Untersuchung.’’ Unpublished typscript. Transcribed and edited by William Drabkin. Music Analysis 24: 131–232. Translated by William Drabkin as “The Decline of the Art of Composition: A Technical-Critical Study.” Music Analysis 24: 33–130. ———. (1906) 1954. Neue musikalische Theorien und Phantasien I: Harmonielehre. Stuttgart: Cotta. Edited by Oswald Jonas and translated by Elisabeth Mann Borgese as Harmony. Chicago: The University of Chicago Press.———. (1912) 1992. Beethovens neunte Sinfonie: Eine Darstellung des musikalischen Inhaltes unter fortlaufender Berücksichtigung auch des Vortrages und der Literatur. Vienna: Universal Edition. Translated and edited by John Rothgeb as Beethoven’s Ninth Symphony: A Portrayal of Its Musical Content, with Running Commentary on Performance and Literature as Well. New Haven: Yale University Press.———. (1913, 1914, 1916, 1920) 1971–72. Beethoven: Die letzten fünf Sonaten: kritische Ausgabe mit Einführung und Erläuterung. 4 vols. Vienna: Universal Edition. Revised 2nd edition edited by Oswald Jonas. Vienna: Universal Edition.———. (1926) 1996. “Vom organischen der Sonatenform.” In Das Meisterwerk in der Musik: ein Jahrbuch von Heinrich Schenker, vol. 2, 45–54. Munich: Drei Masken. Edited by William Drabkin and translated by William Drabkin as “On Organicism in Sonata Form.” In The Masterwork in Music: A Yearbook, vol. 2, 23–30. Cambridge: Cambridge University Press. ———. (1930) 1997. “Beethovens Dritte Sinfonie zum erstenmal in ihrem wahren Inhalt dargestellt.” In Das Meisterwerk in der Musik: ein Jahrbuch von Heinrich Schenker, vol. 3, 29–101. Munich: Drei Masken. Edited by William Drabkin, and translated by Derrick Puffett and Alfred Clayton as “Beethoven’s Third Symphony: Its True Content Described for the First Time.” In The Masterwork in Music: A Yearbook, vol. 3, 10–68. Cambridge: Cambridge University Press.———. (1935) 1956, 1979. Neue musikalische Theorien und Phantasien III: Der freie Satz; Das erste Lehrbuch der Musik. 2 vols. Vienna: Universal Edition. Revised 2nd ed. edited by Oswald Jonas. Vienna: Universal Edition. Translated and edited by Ernst Oster as Free Composition. 2 vols. New York: Longman.Schmalfeldt, Janet. 1991. “Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form.” Music Analysis 10, no. 3: 233–87.———. 2011. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford University Press.Schoenberg, Arnold. (1954) 1969. Structural Functions of Harmony. Revised edition edited by Leonard Stein. New York: Norton.