Formprinzipien in Symphonien Mannheimer und französischer Komponisten und ihre Herkunft

The author challenges Stefan Kunze's narrow view regarding French dependence on the Mannheim symphony and chronologically assesses compositions from German-speaking countries published in Paris, concentrating on analyses of the main theme's recapitulations and the conversion of secondary m...

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Bibliographic Details
Published inArchiv für Musikwissenschaft Vol. 72; no. 3; pp. 159 - 180
Main Author Schneider, Herbert
Format Journal Article
LanguageGerman
Published Stuttgart Franz Steiner Verlag 2015
Subjects
Baroque era
Classical music
Composers
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Summary:The author challenges Stefan Kunze's narrow view regarding French dependence on the Mannheim symphony and chronologically assesses compositions from German-speaking countries published in Paris, concentrating on analyses of the main theme's recapitulations and the conversion of secondary material to tonic in the final sections of Baroque sonata movements (Scarlatti, C.P.E. Bach, Mondonville etc.), overtures (Leo, Jommelli), and symphonies (Sammartini, Guillemain, J. Stamitz, Richter, Saint George, and Gossec). Comparisons between formal sonata procedures in all three movements are revealing, notably the reprise of secondary material, which stimulated the recapitulation's evolution in the classical symphony.
ISSN:0003-9292
2366-2794
DOI:10.25162/afmw-2015-0009