One wonders whether a more unified, sonata-form approach would have served the material better. ❋ James Penrose (2012)
The composition receives its name from the fact that its first movement is cast in _sonata-form_. ❋ Karl Wilson Gehrkens (1928)
The second part of _sonata-form_ (the development section) is sometimes the longest and most intricate of the three divisions, and it is at this point that the composer has an opportunity of displaying to the full his originality and inventive skill. ❋ Karl Wilson Gehrkens (1928)
A quick movement -- the finale, sometimes a rondo, sometimes another sonata-form, sometimes a theme with variations. ❋ Karl Wilson Gehrkens (1928)
These _three parts of sonata-form_ with their usual subdivisions are: ❋ Karl Wilson Gehrkens (1928)
We put our guest, the poetic thought, that comes to us like a homing bird from out of the mystery of the blue sky -- we put this confiding stranger straightway into that iron bed: the 'sonata-form' -- or perhaps even the ❋ Lawrence Gilman (1908)
The concerto-form admits of a far greater and freer display of the virtuosic capabilities of the pianoforte than the sonata-form, and does not necessitate the same strictness of logical structure, the same thorough working-out of the subject-matter. ❋ Niecks, Frederick (1888)
Indeed, there can be no doubt that as regards conventional handling of the sonata-form Chopin has in no instance been more successful. ❋ Niecks, Frederick (1888)
In some respects the concerto-form was more favourable than the sonata-form for the exercise of Chopin's peculiar talent, in other respects it was less so. ❋ Niecks, Frederick (1888)
Brahms having balanced the sonata-form with an introspective and declamatory sense of improvisation. ❋ Unknown (2010)
That Beethoven develops his motives attests both to the attraction of sonata-form and the composer's admitted effort to "go in new directions" insofar as his work after 1801 is concerned. ❋ Unknown (2010)
In one of the sonata-form finales-the lightning-like moto perpetuo of Op 10 No 1 in A major (a movement that retains distinct traces of Clementi's Italian past and the sonatas of Domenico Scarlatti) - the second half lingers long and quietly in the distant key of C sharp minor before bursting back into the brilliant A major of the foreshortened recapitulation. ❋ Pro Tempore (2010)
The whole first movement is a skeleton of a sonata-form allegro, with bare bones of harmony and rhythm instead of themes and melodies. ❋ Tom Service (2010)
Mozart studied it, and used it extensively in the development of sonata-form movements within their works. ❋ Unknown (2009)
The first movement opens quite majestically, developing into dance-like themes with extended melodies, and is written in sonata-form. ❋ Unknown (2009)
[[Joseph Haydn]] and W.A. [[Mozart]] studied it, and used it extensively in the development of sonata-form movements within their works. ❋ Unknown (2009)
For example, the first movement of this sonata [the so-called "Moonlight"] -- which, as we know, is a poem of profound sorrow and the most poignant resignation alternating with despair -- has, by some strange torturing, been cited as being in strict sonata-form by one theorist (Harding: Novello's primer), is dubbed a free fantasy by another (Matthews), and is described as being in song-form by another: all of which is somewhat weakened by the dictum of still another theorist that the music is absolutely formless! ❋ Lawrence Gilman (1908)
'third-rondo form,' for we have quite an assortment; and should the idea survive, and grow, and become too large for the bed, and if we have grown to love it too much to cut off its feet and thus _make_ it fit (as did that old robber of Attica), why then we run the risk of having some wiseacre say, as is said of Chopin: 'Yes -- but he is weak in sonata-form'! ... ❋ Lawrence Gilman (1908)
His attempts in the sonata-form were failures, although failures worth more ” some of them at least ” than many a clever artist's most brilliant successes. ❋ Niecks, Frederick (1888)
