Thursday, April 28, 2005

Sonata in A major, D 574 1. Allegro moderato


The first theme is signaled by a dotted quarter, eighth, rhythm in the piano part, the eighth going up or down a step. After two four measure phrases of this, like an intro, the violin enters with the expository melody. This is signaled by a do-la-sol... , the do played as a dotted half, the la a quarter, and the sol a half. The line continues alternating between half note and quarter note rhythm. It is very legato, and even with a simple quadruple meter. The dynamic is soft, in a comfortable register. This is mainly to contrast with the second theme. The phrases are typically four measures, very symetric, forming two phrase periods. Transistions are signaled usually by asymetric phrases. The transistion into the second theme is signaled by a sudden drop in texture, and a descending scalar line in the violin, the piano then switches off with the violin and repeats the same pattern. Even in the second theme, the idea of scales is seen near cadential material. I think the second theme modulates to the minor dominant, definitly the dominant. The second theme is denser, with the piano building up on eighths, lots of sudden dynamic changes, and a sort of down up motion. The second theme, especially in the violin, has more metric accents, denser rhythms, with sudden rhythm changes. Overall, it just feels livlier. The expository function of the entire piece is especially recognized by its stability, because of the dotted quarter eighth rhythm in the piano and the pulling from the close intervals back to the dotted quarter. The ending cadence to the second theme is created by a series of sustained res in the violin, ending on a pac when it finally hits do. The new third theme is signaled by a compound meter and sudden, loud key change to a minor key. The theme has a denser rhythm in the violin part, and the piano emphasizes beats two, three and four by resting on one or dropping in register. The violin part does the same thing with its triplet rhythm. This theme is in a compound duple meter. This theme is shorter, and returns back to the expository function after a large transistional function. The transistional function is definitely part of a new theme because it doesn't follow any of the previous cadential patterns, There are large intervalic leaps in the violin, and the violin is denser than its every been. To create a smooth transistion back to the expository function, the do is elisioned. I liked the piece a lot, especially because of the bittersweet quality several of the keys had. The cadence in the second theme is signaled by a leap in register and decrescendo, it ends the same way.

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