The Sonata of Classicism

During the Eighteenth Century a notable change took place in the construction of the Allemande, which was frequently developed to a considerable length and published separately under the title of Sonata. Very fine Sonatas answering more or less closely to this description have been bequeathed to us by Carl Philipp Emanuel Bach and Domenico Scarlatti, whose well-known Sonata in A would probably become one of the most popular pianoforte pieces, which almost insuperable difficulty deters even highly accomplished Virtuosi from attempting to play it. In Emanuel Bach's Sonatas the Allegro is generally followed by a short Adagio and this by a Rondo. Many other writers have left us Sonatas in two or three distinct movements. But for the perfect ideal of the so-called "Sonata-Form" we are indebted to the genius of Haydn, the originality of whose invention has justly earned for him the title of "The Father of Modern Instrumental Music".



Haydn’s role in the design and the developing of classical Sonata and influence of his principles is widely recognized.

In its complete form, Haydn's ideal design comprised four distinct movements. The first of these was a well-developed Allegro – sometimes prefaced, especially in Orchestral Compositions, by an introductory Adagio, or Largo. In its main features, this Allegro was constructed very much upon the principle of the old Allemande; but with one important difference. After modulating to the Key of the Dominant, the first part of the movement, instead of proceeding at once to a Perfect Cadence, introduced a Second Subject in the new key, which Second Subject re-appeared near the close of the second part, transposed to the key in which the movement originally started. The Allegro was followed by a Slow Movement – either Andante, or Adagio – the form of which was less rigidly defined.

The third movement was a Minuet consisting of two Strains, followed by a Trio consisting of two more, after which the Minuet was repeated, in the manner of a Da Capo, The Finale was a Rondo, generally of lighter and more playful character than the Allegro, and differing from it also in that after each of its clauses, the original Subject was repeated in full in the original key.

A work composed upon this regular and now generally received plan, for one or two Solo Instruments, is called par excellence, a Sonata. When the resources of a full Orchestra are called into play, the composition is entitled a Symphony. When a Solo Instrument is accompanied by the full Orchestra, it is called a Concerto. When the first Movement only is employed, it is called an Overture, and in that form is used as the Instrumental Prelude to an Opera, an Oratorio, or other grand choral work. Not only do we trace the influence of the Sonata-Form in all the great instrumental works produced by Haydn himself, but we find it openly adopted by every one of his successors, and forming the basis of every Overture, Quartett, Sonata, Symphony, or other similar composition that has ever been given to the world.

Not that the really great writers have slavishly followed the lead even of Haydn. They have not indeed disdained to learn from him: but each has added to his teaching some good thing of his own. Mozart, in his Jupiter Symphony substituted for the Rondo a magnificent Orchestral Fugue. Beethoven enriched the Allegro with a well-developed Coda; and quickened the Tempo of the Minuet to so great an extent, that its old name being no longer applicable, he thought it necessary to call it a Scherzo. But the main outlines of the design have been followed by all composers of Classicism.