In music theory, ‘sonata cycle’ refers to the layout of a multi-movement work where the
movements are recognisably in the forms of classical music tradition, headed by a first
movement in ‘sonata form’ also called ‘sonata-allegro’ form. Such multi-movement
works include sonatas for piano, sonatas for piano and violin, symphonies, piano
concertos, violin concertos, string trios and quartets, piano trios and quartets and other
chamber music.
Psychology of a classical sonata
In a classical multi-movement work the movements proceed psychologically as follows:
The first movement is an allegro in sonata form, in the tonic key of the composition as a
whole. There is an exposition, including a first subject in the tonic and a second subject
in a related key, a development section which modulates and in which thematic material
is developed, and a recapitulation in which both subjects return in the tonic. There is a
repeat of the exposition so that the listener can enjoy the material again and keep the
subjects and the formal structure clearly in mind. The subjects in a first movement tend
to be terse and rhythmic as long lyrical themes are not suitable for thematic development.
The development involves the listener in following what the composer does with the
material. In doing so, the listener experiences a musical enjoyment allied with an
intellectual enjoyment and, the listener has to make some intellectual effort to achieve
this.
The second movement is a slow movement. The form of a slow movement is flexible
and the thematic material tends to consist of long lyrical themes. This calms, rests and
relaxes the listener who is then ready for the third movement.
The third movement is a minuet and trio which is in the style of a dance, strongly
rhythmic, in ¾ time and with a trio contrasting in mood. This was later in the classical
period replaced by a scherzo of an even more vigorous nature. The listener is thus
revived in preparation for the fourth movement.
The fourth, and final, movement is a rondo, or sonata-rondo, in which the rondo theme is
a short, simple rhythmic theme in the tonic key of the composition as a whole. The rondo
theme is then repeated on more than one occasion and interspersed with episodes in a
contrasting mood. Even if the first movement was in the minor mode the final movement
is often, especially in the earlier classical period, in the major mode, or at least ends in the
major mode, so that, whatever moods occurred earlier on in the composition, the listener
leaves at the end with a happy feeling. In Haydn’s earlier works the rondo was fairly
short and simple but later on it became lengthier and more complicated and in
Beethoven’s hands it took on some of the features of the sonata form, hence ‘sonata
rondo’. Schubert, in particular, wrote lengthy finales.
There are many divergences from the above scheme. The minuet and trio, or scherzo,
may, for example, be placed before the slow movement or may be omitted altogether. A