Abstract
This study brings Hepokoski and Darcy's formal/dramatic categories of recapitulatory 'success' and 'failure' to bear on Mahler's canon of symphonic sonatas. Prior to the Seventh Symphony, Mahler linked expression and formal process with striking regularity: early- or middle-period sonatas ending affirmatively tended to feature properly functioning recapitulations, while sonatas ending tragically showed themselves incapable of such tonal resolution. Just as strikingly, the pattern changes in the composer's late maturity: after 1905, Mahler seems less inclined to dramatize the tonic/non-tonic tensions that motivated his earlier works.
Charles Rosen - The Classical Style - Haydn, Mozart, Beethoven - Free ebook download as PDF File (.pdf) or read book online for free. Musical Forms. Much literature, the high-classical sonata’s centrality is axiomatic to the point of self-evidence. For Charles Rosen, this condition obtained thanks to the essential relationship between form and style: sonata form had historical relevance so long as it was an expression of musical style.