varied and made still more eloquent. For examples, see the ré-
sumé of the first movements of Franck’sSymphony, of Brahms’s
First Symphonyand of Tchaikowsky’sSixth. The Recapitula-
tion is often abridged by omitting the first theme altogether and
dwelling exclusively on the second; as for example, in the Finale
of Schumann’sFourth Symphonyand in Sinigaglia’s Overture,
Le Baruffe Chiozzotte.[102]
[Footnote 100: See Grétry’s amusing comments on the Sonata-
Form cited by Romain Rolland in the essaysMusicians of For-
mer Days.]
[Footnote 101: See also Wagner’s comments on theThird Leonora
Overture, cited by Ernest Newman in hisMusical Studies, pp.
134-135.]
[Footnote 102: Additional illustrations of this treatment may
be found in Chabrier’s Overture toGwendolineand in the first
movement of F.S. Converse’sString Quartet.]
It remains to speak of the beginning and end of the Sonata-
Form. With Haydn it became the custom, not necessarily in-
variable, to introduce the body of the movement by a Prelude
which, in early days, was of slight texture and import—often a
mere preliminary “flourish of trumpets,” a presenting of arms.
In Mozart we find some examples of more artistic treatment,
notably in the Overture to theMagic Fluteand in the prelude
to the C major Quartet with its stimulating dissonances. But
in this case, as in so many others, it was Beethoven who first
showed what a Prelude should be: a subtle means of arousing
the interest and expectancy of the hearer; the effect as care-
fully planned as the portico leading to a temple. To usher in
the theme of the Exposition in a truly exciting manner every
means of modulation and rhythm is employed; famous illus-
trations being the introductions to the first movements of the
Second, Fourth and Seventh symphonies; and, in modern litera-
ture, those of the first movements of Brahms’sFirst Symphony
and of Tchaikowsky’sFifth. It also became customary to pro-
long the end of the movement by what is termed a Coda; the
same tendency being operative that is found in the peroration to
a speech or in the spire of a cathedral,i.e., the human instinct
to end whatever we attempt as impressively and completely as
possible. This Coda, which, in Haydn and Mozart, was often a
mere iteration of trite chords—a ceasing to go—was so expanded