Music: An Art and a Language

is meant a composition generally in three or four movements,
e.g., First Movement, Slow Movement, Minuet or Scherzo and
Finale; of which, in most examples of the classic school, the
First Movement—and often the last—were in Sonata-Form. An
alternative name, indeed, for Sonata-Form is First Movement
Form. Beginning with Beethoven, however, composers began
to exhibit great freedom in the application of the Sonata-Form.
We find Sonatas of Beethoven, notably the set op. 31, in which
every movement (even the Scherzo) is in Sonata Form or a
modification thereof; on the other hand, there are composi-
tions, entitled Sonatas, in which not a single movement is in
pure Sonata-Form,e.g., Beethoven’s Twelfth Sonata, op. 26.
These comments apply equally to many other large instrumen-
tal works. For a symphony is merely a Sonata for Orchestra,
a String-Quartet a composition—of the same general type—
for four solo instruments[93] and there is, furthermore, a large
group of ensemble compositions: Sonatas for Violin (or any
solo-instrument) and Pianoforte; Trios, often for unusual com-
binations,e.g., Brahms’sTrio for Violin, Horn and Pianoforte;
Quintets and even Septets—in all of which the distinction must
be made between the terms Sonata and Sonata-Form. Nor is
there any rigid rule in regard to number of movements or the
moods expressed therein. The classic Sonata, Symphony or
Quartet, as we have stated above, generally contained three or
four movements, of which the first would be direct and vigor-
ous in nature—a summons to attention—cast in sonata-form,
with a wealth of material organically treated, and requiring
from the listener concentrated attention. The second move-
ment was generally much simpler in form, affording relief after
the tension of the preceding movement—its themes of a lyric
nature, often with great depth of emotion, sometimes even of
tragic import. The third movement, Minuet or Scherzo, would
portray the light, humorous side of life; and the Finale, joyful
and optimistic—its themes often bearing strongly the sense of
finality—would close the work with a general feeling of satisfac-
tion. It was Beethoven who first modified these principles to
suit his own poetic needs. Thus we find some of his Sonatas
with only two movements; some have three, some have four.
One of Schumann’s Symphonies contains five movements and
Rubinstein’sOcean Symphonyseven! When we reach the mod-
ern school, we shall see further freedom as to number, order and
type of movements.