Orchestra, of whom we shall speak further when we come to
the orchestra as a medium. In many of Stamitz’s Symphonies
we find the essential first-movement structure (i.e., tripartite
grouping with a clear second theme) and, as Riemann says in
hisHandbuch der Musikgeschichte, “Their sincere phraseology,
their boldness of conception and the masterlythematic devel-
opmentgive Stamitz’s works lasting value. Haydn and Mozart
rest absolutely upon his shoulders."[91]
[Footnote 87: Except in the comparatively rare cases where we
have a Fugue on two subjects.]
[Footnote 88: Illuminating comments on this point will be found
inOutlines of Musical Form from W.H. Hadow’sStudies in
Modern Music(2nd Series).]
[Footnote 89: See the prelude in D major of the second book of
theWell-tempered Clavichord.]
[Footnote 90: For further information consult the first chapter
of J.S. Shedlock’sThe Pianoforte Sonata.]
[Footnote 91: For an extended account of this development see
the second chapter, Vol. II, ofThe Art of Music(The National
Society of Music, N.Y.). See also Chapter XIX of Pratt’sHistory
of Music.]
The other marked characteristic of the Sonata-Form is thesec-
ondpart which is known as the Development Section; for, as we
shall soon explain, the structure as a whole is tripartite. In this
portion of the movement the composer has an opportunity to
improvise, as it were, with his material, using one theme or both
as already presented. Dry and labored development sections
may, of course, be found in certain Sonatas and Symphonies,
but in the great works of such masters as Beethoven, Brahms,
Tchaikowsky and d’Indy the development is the most exciting
part of the movement. The hearer is conducted through a mu-
sical excursion; every device of rhythmic variety, of modulatory
change and polyphonic imitation being employed to enhance the
beauty of the themes and to reveal their latent possibilities.
Before going further, it is well to point out a confusion which
often arises between the terms Sonata and Sonata-Form. When
we speak of Sonata-Form we mean invariably the structural
treatment as to number of themes, key-relationship,etc., of
any single movement within a series.[92] By the term Sonata