Sonata form Experimentation in Joseph Haydn's String Quartets, Opus 17

Sonata form Experimentation in Joseph Haydn's String Quartets, Opus 17. MacKay, J. S. Haydn: Online Journal of the Haydn Society of North America, 4(1):1–31, 2014.

Paper abstract bibtex

In 1963, Jens Peter Larsen published an article entitled “Sonata Form Problems,” in which he outlines some of Haydn's unique solutions to sonata-exposition structures. Using Larsen's hypotheses, coupled with William Caplin's insights in Classical Form, and James Hepokoski and Warren Darcy's ground-breaking Elements of Sonata Theory, I will examine the diversity of Haydn's formal procedures in certain movements of his oft-neglected Opus 17 string quartets of 1771. These works provide a staggering array of sonata-form possibilities, many of which deviate provocatively from the High Classical sonata form model. In a brief overview of the Opus 17 quartets' 17 sonata-form movements (presented in tabular form), we will explore the diversity of Haydn's formal procedures. Four of James Hepokoski and Warren Darcy's five sonata-form “types” (from their Elements of Sonata Theory) are employed in Opus 17: Type 1 sonatas (which lack a development section), Type 2 sonatas (which omit the main theme from the recapitulation), Type 3 sonatas (the “textbook” form), and Type 4 sonatas (a sonata-rondo blend). Following this overview, we will turn in depth to three specific movements from this opus: the slow movements of Opus 17, nos. 1 and 3, and the sonata-rondo finale of Opus 17, no. 1. In these works, Haydn's fondness for anomalous thematic structures will be explored and examined as viable alternatives to normative sonata-form design. Haydn's formal inventiveness in his Opus 17 quartets strongly suggests that he was not seeking to problematize sonata form, but rather, positing a wide range of solutions for the balance of thematic and developmental activity in these works.

@Article{          mackay2014-sonata,
    author       = {MacKay, James S.},
    year         = {2014},
    title        = {Sonata form Experimentation in Joseph Haydn's String
                   Quartets, Opus 17},
    abstract     = {In 1963, Jens Peter Larsen published an article entitled
                   “Sonata Form Problems,” in which he outlines some of
                   Haydn's unique solutions to sonata-exposition structures.
                   Using Larsen's hypotheses, coupled with William Caplin's
                   insights in Classical Form, and James Hepokoski and Warren
                   Darcy's ground-breaking Elements of Sonata Theory, I will
                   examine the diversity of Haydn's formal procedures in
                   certain movements of his oft-neglected Opus 17 string
                   quartets of 1771. These works provide a staggering array
                   of sonata-form possibilities, many of which deviate
                   provocatively from the High Classical sonata form model.
                   In a brief overview of the Opus 17 quartets' 17
                   sonata-form movements (presented in tabular form), we will
                   explore the diversity of Haydn's formal procedures. Four
                   of James Hepokoski and Warren Darcy's five sonata-form
                   “types” (from their Elements of Sonata Theory) are
                   employed in Opus 17: Type 1 sonatas (which lack a
                   development section), Type 2 sonatas (which omit the main
                   theme from the recapitulation), Type 3 sonatas (the
                   “textbook” form), and Type 4 sonatas (a sonata-rondo
                   blend). Following this overview, we will turn in depth to
                   three specific movements from this opus: the slow
                   movements of Opus 17, nos. 1 and 3, and the sonata-rondo
                   finale of Opus 17, no. 1. In these works, Haydn's fondness
                   for anomalous thematic structures will be explored and
                   examined as viable alternatives to normative sonata-form
                   design. Haydn's formal inventiveness in his Opus 17
                   quartets strongly suggests that he was not seeking to
                   problematize sonata form, but rather, positing a wide
                   range of solutions for the balance of thematic and
                   developmental activity in these works.},
    journal      = {Haydn: Online Journal of the Haydn Society of North
                   America},
    keywords     = {music analysis},
    mendeley-tags= {music analysis},
    number       = {1},
    pages        = {1--31},
    url          = {https://www.rit.edu/affiliate/haydn/sonata-form-experimentation-joseph-haydn's-string-quartets-opus-17},
    volume       = {4}
}

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These works provide a staggering array of sonata-form possibilities, many of which deviate provocatively from the High Classical sonata form model. In a brief overview of the Opus 17 quartets' 17 sonata-form movements (presented in tabular form), we will explore the diversity of Haydn's formal procedures. Four of James Hepokoski and Warren Darcy's five sonata-form “types” (from their Elements of Sonata Theory) are employed in Opus 17: Type 1 sonatas (which lack a development section), Type 2 sonatas (which omit the main theme from the recapitulation), Type 3 sonatas (the “textbook” form), and Type 4 sonatas (a sonata-rondo blend). Following this overview, we will turn in depth to three specific movements from this opus: the slow movements of Opus 17, nos. 1 and 3, and the sonata-rondo finale of Opus 17, no. 1. In these works, Haydn's fondness for anomalous thematic structures will be explored and examined as viable alternatives to normative sonata-form design. 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