Le 28 juin 2017
de 12h00 à 12h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
salle 3206
Séance - Readings of Franz Liszt
Pré-acte / Acte
Auteur : Kerri Kotta
One of the achievements of the New German school was a decisive rethinking of musical form. The new thinking manifests itself in at least two ways: in one-movement forms in which the sonata form was combined with the elements of sonata cycle, and in multi-movement structures in which the separate movements were brought closer to each other by using similar thematic material and musical rhetoric.
The one-movement sonatas displaying the features of a sonata cycle are referred to as two-dimensional or double-functional sonata forms in the literature. The paper aims to demonstrate that the opposite – i.e. the multimovement structures which show a dimension of a movement form – is also a possibility. The paper especially focuses on the three-movement instrumental works of Liszt and other 19th century composers displaying three-part fast-slow-fast pattern.
In his book on sonata form Hepokoski discusses multi-movement structures as complete gestures from the point of view of their rotational design. The approach works even better in the multi-movement compositions showing remarkable thematic resemblance between the movements. A rotation in such a work tend to display a binary rhetorical design in which the dramatic first part is followed by the lyrical second part. Due to the contrast between the two thematic groups, the boundaries between the rotations are clearly articulated. The divergence between the boundaries of the two dimensions seems to occur between the first and second movements, but not between the second and last movements of the works discussed in this paper.
