[Footnote 92: The form is also sometimes used independently,
as in Brahms’sRhapsody in G minorand often, of course, in
the Overture.]
[Footnote 93:I.e., 1st Violin, 2d Violin, Viola and Violoncello.]
We are now prepared to sum up the essential characteristics of
the Sonata-Form; for there is no structure in which it is more im-
portant for the music-lover to acquire the art of listening easily,
naturally and with a minimum of friction. The Sonata-Form
is the instrumental form “par excellence”—the Gothic Cathe-
dral[94] of music—and has retained its place, not because of
any slavish regard for form as such, but because it has been
worked out, perfected and utilized by the greatest of the com-
posers. Any form with a beginning, a middle and an ending,i.e.,
presenting material worthy of consideration, which allows this
material to grow and realize its inherent possibilities and then
sums the matter up in a convincing, objective close; which, fur-
thermore, exemplifies the great principle of Duality,i.e., reveals
twomusical personalities, has as little need for argumentative
sanction as a tree or a human being. The Sonata-Form—often,
to be sure, with free modifications—predominates in all the
large instrumental compositions of the Classic, Romantic and
Modern Composers, notably of such men as Beethoven, Schu-
mann, Brahms, César Franck, Tchaikowsky, d’Indy and Sibelius.
Anyone unable readily to follow movements in this form, if he
thinks he is receiving the complete message of the music, is his
own dupe. It would be as logical to expect to enjoy the beau-
ties of architecture without perceiving the difference between a
nave and a bowling-alley. The obvious way to understand the
meaning of a language is to know something of the principles
of structure and expression in that language. Music is in very
truth a language; and far too many people get from it nothing
save the appeal which comes from its emotional power. This
exciting experience is important, we may frankly acknowledge,
but there are no reasons, save apathy and indifference, why the
hearer should not have all this and more too. There is no conflict
between warm emotions and an intelligent, well-trained mind.
They should go hand in hand; and in any complete artistic ap-
preciation each is indispensable.[95]
[Footnote 94: See the eloquent comments on this analogy by
d’Indy in hisCourse in Composition, Vol. II, Chap. 5.]