Sonata Form
The development of sonata from in symphonies between 1750 and 1900 reflects a
progression from concise classical structures to large-scale romantic forms of great
expressive depth. While early sonata forms often provided energetic openings and
thematic clarity to the symphony, later composers turned them into the dramatic and
structural heart of the symphony but with a sonata form structure still often being a
common feature across the period. Across the period, the first movement increasingly
became the space where ideas of thematic transformation, emotional conflict, and
philosophical significance were explored.
In the mid-18th century, first movements were generally built on binary or early sonata
designs, serving to establish key areas and provide contrast rather than extended
development. Johann Stamitz’s Symphony in D major, Op. 3 No. 2 opens with a lively
Presto that uses clear phrases, typical of the favoured gallant style of the time and
contrasts of dynamics, such as the Mannheim crescendo, which was standard of the
practice taught at the Mannheim school where Stamitz developed this. It uses an old-
fashioned concerto form which bears some early similarities to sonata form; however, it
differs as the development is not that different from the exposition, showing room for
further development in the symphonic genre. C. P. E. Bach, by contrast, brought
expressive unpredictability into his first movements, drawing on Empfindsamer Stil and
doesn't use sonata form showing how it wasn’t yet a well-established form with sudden
shifts of dynamics and unexpected modulations laying the groundwork for greater
emotional variety within the form. Structurally, it is based off an old-fashioned Ritornello
which is similar to a baroque rondo again showing that the stereotypical first movement
sonata form had not yet been developed.
Haydn established the Classical sonata-form first movement as the cornerstone of the
symphony. In symphony No.31 (“Hornsignal”), sonata form had been relatively well
established, allowing for Haydn to already play with it, showing how quickly the forms of
first movements could be developed. He does this by beginning the recapitulation with
new material which undermines the traditional form. His symphony No.88 is considered
to be a “perfect” example of this late style, however, the Largo second movement is
rather experimental by classical convention. It adopts a sonata form in miniature, more
common to the first movements of symphonies, showing how even the most prolific
composers of the time were starting to treat second movements as more of a creative
space. In Symphony No. 104 the opening slow introduction leads to a monothematic
Allegro at bar 17, a further example of Haydn’s melodic innovation within first
movements. He further uses sonata form and solidifying it further to cement this final
symphony of his in history at its first performance in London, especially as the final
The development of sonata from in symphonies between 1750 and 1900 reflects a
progression from concise classical structures to large-scale romantic forms of great
expressive depth. While early sonata forms often provided energetic openings and
thematic clarity to the symphony, later composers turned them into the dramatic and
structural heart of the symphony but with a sonata form structure still often being a
common feature across the period. Across the period, the first movement increasingly
became the space where ideas of thematic transformation, emotional conflict, and
philosophical significance were explored.
In the mid-18th century, first movements were generally built on binary or early sonata
designs, serving to establish key areas and provide contrast rather than extended
development. Johann Stamitz’s Symphony in D major, Op. 3 No. 2 opens with a lively
Presto that uses clear phrases, typical of the favoured gallant style of the time and
contrasts of dynamics, such as the Mannheim crescendo, which was standard of the
practice taught at the Mannheim school where Stamitz developed this. It uses an old-
fashioned concerto form which bears some early similarities to sonata form; however, it
differs as the development is not that different from the exposition, showing room for
further development in the symphonic genre. C. P. E. Bach, by contrast, brought
expressive unpredictability into his first movements, drawing on Empfindsamer Stil and
doesn't use sonata form showing how it wasn’t yet a well-established form with sudden
shifts of dynamics and unexpected modulations laying the groundwork for greater
emotional variety within the form. Structurally, it is based off an old-fashioned Ritornello
which is similar to a baroque rondo again showing that the stereotypical first movement
sonata form had not yet been developed.
Haydn established the Classical sonata-form first movement as the cornerstone of the
symphony. In symphony No.31 (“Hornsignal”), sonata form had been relatively well
established, allowing for Haydn to already play with it, showing how quickly the forms of
first movements could be developed. He does this by beginning the recapitulation with
new material which undermines the traditional form. His symphony No.88 is considered
to be a “perfect” example of this late style, however, the Largo second movement is
rather experimental by classical convention. It adopts a sonata form in miniature, more
common to the first movements of symphonies, showing how even the most prolific
composers of the time were starting to treat second movements as more of a creative
space. In Symphony No. 104 the opening slow introduction leads to a monothematic
Allegro at bar 17, a further example of Haydn’s melodic innovation within first
movements. He further uses sonata form and solidifying it further to cement this final
symphony of his in history at its first performance in London, especially as the final
