Le 1er juillet 2017
de 9h30 à 10h00
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 4
Séance - Formenlehre, Old and New
Pré-acte / Acte
Auteur : Joan Huguet
Sonata-rondo finales are often described as more straightforward and less dramatic than sonata-form first movements. Minor-mode sonata rondos, however, display entirely different characteristics than their major-mode counterparts, including unusual harmonic plans, attenuated closure, and high levels of dramatic tension, with profound structural and affective implications. Recent research by Matthew Riley demonstrates that eighteenth-century minor-mode symphonies exhibit a variety of structural and expressive deformations compared to contemporary major-mode pieces. No existing research treats the unique aspects of minor-mode sonata rondos. In this paper, I assert that the minor-mode sonata rondo emerges in the late eighteenth century as a distinct expressive subgenre, with its own compositional norms and affective characteristics, and that it continues to flourish even when rondo form as a whole declines in importance in the nineteenth century. After surveying the minor-mode finales of Haydn and Mozart, I analyse several Beethoven finales (Opp. 13, 30/2, 37, and 132). I then turn to nineteenth-century repertoire, demonstrating the subgenre’s evolution in finales by Schubert, Chopin, and Brahms.
