Find out what is the specific structure for any classical sonata form

In a classical sonata-form movement, the piece follows a particular style of movement starting with the exposition, then the development, and finally, the recapitulation. These three parts are essential for correctly structuring a piece in classical sonata-form. The first, second and sometimes final movement of most pieces follows this format and the Finale of Haydn’s Quartet, op. 74, no. 1 is no exception. The movement follows the classical sonata-form, using key components to make the piece flow properly.

In the beginning of the final movement, the piece starts with the exposition of the melody. The melody is introduced in the first violin part, pulling support from the second violin, viola, and cello. In measure 13, all parts get quieter as they play the notes staccato until they get to mm. 25, where the parts get louder and play a melody secondary to the original melody. This grows into a cadence eventually at mm. 48-49.

The music then bridges into a call and response between first violin and the second violin and viola in mm. 75. The cadence of this section appears in mm. 105-106 followed by a repeat that brings us back to the beginning of the movement. Throughout the movement, it is clear that there is not just one defined melody but multiple smaller themes and motifs presented throughout.

The repeat sign at the end of mm. 106 marks the end of the exposition. The exposition gets repeated in full and then moves directly into the development of the movement. The development and the recapitulation are played through to the end of the piece and then repeated.

In the developmental portion of the movement, the secondary melody starts in the viola, followed by the cello, second violin, and first violin, respectably. The first violin enters with the melody at the end of mm. 122 all the way through to mm. 136 which leads to the bridge and then recapitulation of the call and response used earlier in the movement. The call and response in this section begins in mm. 137 in the second violin and viola lines. It is then responded to by the second violin (an octave up) and the first violin. Whereas, before, the call and response was separated, this call and response appears to be more fervent as the lines overlap and the call and response “ talks” over itself.

The same call and response appears again in mm. 209. The call starts in the second violin line, and is responded to by first violin, and then viola. The line used as the call and response is also being used to develop the piece. It shows up in each part throughout the movement, classifying it as a motif and an idea that reoccurs. In mm. 263, the piece recaps mm. 13, leading into the ending. The cadence at the end of the movement brings us back to tonic.

In mm. 50, the first violin plays a melodic line that shows up again in mm. 107 during the development and recapitulation portions of the movement. All of these ideas that end up being repeated throughout the piece serve as small motifs. The theme of the movement is mostly played by first violin, although it shows up in the other parts strategically throughout the piece. When the theme or motif is used in the secondary instruments’ lines, it is used to strengthen the theme by reiterating what the first violin has already established.

The classical sonata-form serves great purpose for this piece. It was originally thought that an audience’s attention is most present at the beginning of the piece. That is why it is not unusual for the beginning of a movement to be repeated because it peaks the listener’s interest automatically since it is something they have already heard before. The classical sonata-form is usually applied in the first, second, and final movement of a piece. The sonata-form only applies to movements within a piece, and can be applied to symphonies, concertos, and chamber music. The melodic line that runs through the movement does not break much in the first violin line, especially during the exposition and recapitulation portions of the movement. The melodic line flows through to the first repeat. During the development of the movement, the melodic line jumps through the parts, leaving breaks in multiple bars for the first violin.

It becomes very clear that there is not just one significant theme used throughout the movement. In fact, a few themes are introduced throughout the piece, each different but having similar effects. In the middle of the exposition, there is harmonic progression as the first violin plays one of the themes. In the development of the movement, all parts play a little bit of the melody. You then can see a different theme introduced in the call and response sections throughout the movement.

Haydn’s Quartet, op. 74, no. 1 clearly follows the standard structure for a classical sonata-form. The piece itself repeats in two places, at the end of the exposition in mm. 106, and then at the end of the piece, repeating the development and recapitulation parts of the movement. Several themes exist in the movement, with areas of developing lines in both the melody and the harmony. Articulation in some sections such as the staccato notes played towards the beginning of the piece and the slurred notes used to develop the middle of the piece add emphasis to the themes, as well as the development of the entire piece. Overall, the final movement of Haydn’s Quartet, op. 74 clearly shows how a classical sonata-form would look and sound like when used properly.