the structure of the mendelssohn organ sonatas thesis …/67531/metadc699715/m2/1/high... · the...
TRANSCRIPT
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THE STRUCTURE OF
THE MENDELSSOHN ORGAN SONATAS
THESIS
Presented to the Graduate Council of the North
Texas State Teachers College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Kathleen Sloan, B. M.
Russellville, Arkansas
August, 1947
149434
TLNT. 0F 0 ONTETS
LIST OF TABLES . . . . . . . . .
LIST OF ILLUSThLTION3 .......
ChapterI.
Statement of7 the i robleirnValue of the StudySource o- JataLiethod of ;rocedureHistorical Backg;round
II. A F0.Rwwl ahJYSIS OF TUX SI
First SonataSecond SonataThird SonataFourth SonataFifth SonataSixth Sonata
III. 5TRUTUO dL UiL2C TJ2ITS 0
Author: 6Loan
Ti-le; Structure of the Tendels-sohn organ sonatas
color: P46
Remarks: match other theses
.. . . . . . . .*
General Structural clanCharacteristic Treatment oC Forns
IV. SIAY TD QOLOLUSION ... . ..
B3IBLIUGiREHiY . . . . . . . . . .... . . .. . . ..
70
34
iii
149431
37978 1no. 1069
2"'! U T O . . . .
LIST OF TABLES
Table sage
1. Entries and Leys of Fugue, First "ovemlent,First onata . . . . . . . . . . . . . . . . 8
2. Entries and .0eys of Fugato section of FirstMovement, First sonata . . . . .. . . . . . 10
3. Entries and "eys of Fugue, Third Movement,Second Sonata ........ ....... 27
4. Entries and eys of Fugue of' Second Section,First Movement, 'hird Sonata . . . . . . . . 32
5. Entries and Keys of Fugato of First Movement,Fourth Sonata .9.. . . .0. . . . . .. . . 42
6. Entries and Keys of Fugue of Fourth Movement,Fourth Sonata ............ ... 51
7. Entries and 'Leys of Fugue, Second Lovement,Sixth Sonata*.*.a.... . . . . . .. . . . 68
8. Sonata Structures . . . . . . . . . . . . . . . 71
9. Key Relationships of the Sonata Love-naents . . . 73
10. First Movement Composite Structures . . . . . . 74
11. Song Form Structures . . . . . . . . . . . . . 75
12. Fugue Structures . ... 000a ... . 0
iv
LIST OF ILLUSTRATIONS
Figure Page
1. Introductory Subject of First Movement,First Sonata . . . . . . . . . . . . . . . . 6
2. Introductory Chordal F"igures of First xove-ment, First sonataa . . . . . . . . . . . . . 6
3. Fugue ubject of First Lovement, Firstdona t a . . . . . .- . . . . . . . . . 7
4. First Presentation of Chorale and IntEvludes ofFirst ivovement . . . . . . . . . . . . . . . 9
5. Second ivovement, First Sonata . . . . . . . . . 12
6. Theme of Third klovement, First Sonata . . . . . 14
7. Thematic 'ection of Fourth i1ovement, FirstSonata .0 . .10. . ..* ..* .a . . 0 .17
8. Second Presentation of B Period of Theme,Fourth 1oveirnent, First Sonata . . . . . . . 18
9. Introductory Section oZ1 First .]ovenient,Second Sonataa.0 .. ...... ..... . . 21
10. Song orm of First -oveent, Second Sonata . . 22
11. Second Movenwnt, Second Sonata . . . . . . . . 23
12. Fugue Subject of Third Lovement, secondSonata . . . . . . . . . . . . . . . . . . 25
13. Codetta of Fugal Exposition of Third Love--en , econd Sonata .... ........ 25
14. Section One of First Movement, Third Sonata . . 29
15. Fugue subject of Second Section of FirstMovement, Third Sonata . . . . . . . . . . . 30
V
Figure Page
16. Chorale of Second Section of First movement,Third Sonata . . . . . . . . . . . . . . . . 30
17. Counter-subject of _ugue of Second ,ection,First movement, Third Sonata . . . . . . . . 31
18. Chorale presentation of Second. section,First iiiovement, Third )onata . . . . . . . . 34
19. Third Zection of First Iovement, Third Sonata . 35
20. Second movement, Third Sonata . . . . . . . . . 37
21. Introduction of First lovemrent, fourthSonata . . . . . . . . . . . . . . 40
22. Fugue ;ubject of First i-ovement, FourthSonata . . . . . . . . . . . . . . . . . . . 40
23. Second Lvoveraent, Fourth Sonata . . . . . . . . 43
24. Introduction and Section k of Rondo of ThirdMovement, Fourth Sonata . . . . . . . . . . 45
25. Section B of' ondo of Third 1-ovement,ourtH Sonata . . ....... .9.. 46
26. Section A of Rondo of. <ird movement,Fourth Donata . . ... .. .... ... . 47
27. 0 oda of zRondo of Third ".ovement, 11"ourth
sonataa . . . . . . . . . . . . . . . . .. .47
28. Song -!orm Section of' Fourth Uovement,!"ourth Sonata .. .. ... . .. . .. .. 48
29. Fugato Subject of' Fourth ,ovement, FourthSonata . . . . . . . . ........... 49
30. Recurrence of' Initial Leriod of Song Fora,Fourth liiovemient, Fourth -onata . . . . . . . 52
31. Comparison of -ie Ivenschen mussen sterbenand Chorale of First movement, FiifthSonata . . . . . . . . . . . . . . . . . . 53
32. First movement, Fifth Sonata . . . . . . . . . 54
vi
igure Page
33. Second Lovement, Fifth Sonata . . . . . . . . . 55
34. Aa Phrase of First Thematic material, Thirdioveaent, Fifth onata . . . . . . . . . . . 56
35. Second Thematic aterial, Third 'Lovement,Eifth Sonata.. . . . .... .*. . . 57
36. Third overaent, Fifth %onata . . . . . . . . . 59
37. Chorale Hrmonization, First Novement, DixthDonat a . . . . . . . . . . . . . . . . . . . 61
38. First Variation, first ovement, sixthsonata . * . . . . . . . . . . .. b..... 62
39. second Variation, First movement, Axth)sonata .. ...... . . . . . . . . 62
40. Third Variation, First "ovement, ixthsonata . . . . . . . . . . . . . . . . . . . 63
41. Fourth Variation, First v-ovement, SixthSonata. .................. o4
42. Fugue subject of >:cond loveMent, sixthSonata . . . . . . . . . . ....... .. 66
43. Finale of 3Sixth onata .0.0..9.0. 0 . . .. . 6
vii
CHAPTER I
INTRODUCTION
Statement of the problem
The following study deals with the structural elements
of the six Mendelssohn Organ Sonatas, opus 65. The problem
excludes stylistic considerations.
Value of the Study
The Mendelssohn organ works are the greatest that ap-
peared from the time of ,. S. Bach until the nineteenth cen-
tury. The Sonatas "have long been accepted as 'classics' of
the instrument."tl Of them Mendelssohn himself wrote in a
letter to his publisher, "I attach much importance to these
Sonatas.n2
They have no formal predecessor and no formal counter-
part in subsequent organ literature. Their structures are
hybrid, contrasting, unique, and unconventional; yet, to the
writer's knowledge, there is no material available which
presents a thorough, scientific formal analysis. It is
hoped that the following study will fill this need.
1F. G. Edwards, "endelssohn's Organ Sonatas," Musical
Times, December 1, 1901, p. 794.2lbid., February 1, 1906, p. 100.
1
2
Source of Data
The chief source of data has been the music itself.
Additional sources include the Bach-Riemenschneider 371
Harmonized Uhorales, from which information concerning the
chorales was derived, and 2. G. Edwards' viusical Times
article, "Mendelssohn's Organ Sonatas," from which informa-
tion concerning the history of the Sonatas was derived.
Lethod of Procedure
In brief, the method of procedure used in this study
was as follows:
1. ach Sonata was studied separately, a careful,
scientific formal analysis was made with brief comments on
the outstanding characteristics and the conventional regu-
larity of the formal patterns used. The results of this
study are presented in Chapter II, in which each Lonata is
separately considered.
2. A comparison was made of the Sonatas. The results
were the characteristic treat ent of their structural elements,
each of which is discussed in Chapter III.
3. From the material derived from the foregoing pro-
cesses a synthesis was made of the characteristics of
ilndelssohn's structural treatment of the 2ix Orjan Sonatas.
The Edwxin Lemare edition of the Mendelssohn .-orks,
published by G. Schirmer, inc., Lnew Yori", was used in the
formal analysis of the $.onatas. All score references are
from this edition.
3
Abbreviations to be used in the diagrammatic presenta-
tion of the analysis (Chapter II) are as follows: A plus
sign (+) will be used With capital letters to designate
major keys (e.L., ";means i major) ; a minus sign (-) will
be used with capital letters to designate minor keys (e..
A- means X minor) ; the letters 11C will be used to indicate a
half cadence (i.e., a cadence ending on the dominant); the
letters CC will be used to indicate a complete cadence (i.e..,
a cadence ending on the tonic); the letters _C will be used
to indicate a deceptive cadence (i.e., a cadence ending on
the sub-mediant).
Historical Background
idendelssohn wrote his Urgan Sonatas during the years
184 4 and 1845. They were written at the reQuest of E group
of english organists who were fIortunate enough to have heard
his organ playing of Bach and of his owvn marvelous extempo-
rizations. During endelssohn's visit to zngland in 1844,
Coventry, an english music publisher, co:muimnicated this
desire to him and commissioned him to write these organ
pieces. The original scheme seems to have been only three
composit ions, and the title Voluntaries was suggested by
Coventry, no doubt because of the religious implications lent
by the use of chorales. Hendelssohn, havever, preferred to
have the works called Sonatas. Thus they were published as
3ix Jonatas, Opus 65, in October, 1845, and were dedicated
4
to F. Schlenaier, a lawyer of Frankfort who was an intimate
friend of M1vendelssohn. 3
"Dr. Schlemmer himself in a letter dated 'Roederberg,
Frankfort-on-MIain, larch 28, 1884' gave some interesting and
hitherto unknown information concerning the urgan Sonatas
which Mendelssohn dedicated to him." A 'ccording to Schlemimer
"The 3onatas originated little by little. . . . He
(Mendelssohn) carried them 'in his head' for many years,
especially towards the end of the thirties and the beginning
of the forties, and then wrote them down amidst idyllic sur-
roundings (at 3odon, near Frankfort), in the full strength of
his powers and in the happiest frame of mind.."5 Schlemmer
states further that the Sonatas were not extemporizations
later written down, but were carefully thought-out composi-
tions.6 In regard to Wlendelssohn's departure frcn ordinary
sonata form he aptly states, "The history of music has shown
us that the form of sonata or symphony was never a definitely
fixed one, but possessed a certain elasticity, within which
genius was free to make its flight."t7
3Ibid., pp. 794, 795.
4Ibid., December 1, 1901, p. 99.
5Ibid., pp. 99, 100.6Ibid., p. 100.
7Ibid., p. 100.
CQHPTZR II
A FOR ANALYSIS OF THEL' SIX S ONATAS
First Sonata
The first of Mendelssohn's Organ Sonatas, The Sonata in
F Minor, is the longest and most complex of all the ;ix
Sonatas. It is composed of four movements; the first is a
composite of several forms in the key of F minor; the second
a three-part song form in the key of 2Ab major; the third a
free and polyphonic treatment of a tLree-motive theme in the
key of F minor; and the fourth a free treatment of two thematic
materials with accompanying sixteenth-note arpeggiated figures,
in the key of F major.
First movement.--The first movement of Sonata I is cer-
tainly the most interesting of thae nineteen ::ovements of
which the six Organ Sonatas are comped. It displays most
vividly 1endelssohn's ;enius for intricate detail and comUlex
interweaving with an economy of thiematic material. The entire
movement is based upon two thematic materials, an introductory
subject and a chorale melody. The introductory subject is
subsequently inverted and expanded to form the subject for a
fugue which appears from measures sixteen to forty, and to
form the interlude material which is used between each phrase
of the chorale in its first presentation (measures forty to
sixty-two). The introductory subject is expanded to form
the subject of a fuga-to passage (measures 60-77), and is5
6
used in both original and inverted forms in the coda (measures
77-129). The chorale melody, which appears in chordal setting
in measures 4u-62 andin the coda, is an adaptation of ,as mein
Gott -vill.l Whereas the original is an eight-phrased chorale,
the adaptation utilizes only the molody of four phrases: the
first and second, seventh and eighth of the original.
The fioverment begins xwith a short introductory section
treating a four-note figure polyphonically (Figure 1).
A
Fig. l.--Introductory subject of firstmovement, First sonata.
Chordal figures open the introduction (Figure 2).
V 0
Fig. 2.--Introductory chordal figures of
first movement, First Sonata.
Measures four to seven are made up of eit ries in bass, alto
tenor and soprano of the three-note introductory figure in
the key of 2 minor. Entries in bass and tenor occur in
l. ,Bach-Riemenschneider, 371 Harmonized Chorales,
p. 120.
7
measures seven to nine in Gb major with accompanying descending
thirds in alto and soprano. Measures nine to eleven utilize
the same introductory motive in a modulation to F minor, in
which key the fugue subject appears in the soprano voice against
the completion in the other three voices of the introductory
material which ends in measure thirteen. Thus the first pre-
sentation of the subject of the fugue is accompanied.
Measures eleven to forty comprise the fugue section.
The fugue subject first appears in measures eleven to thir-
teen. It is based upon the inversion of the introductory
motive (Figure 1) plus three additional ascending third
figures (Figure 3). No counter-subject is used.
Fig. 3.--Fugue subject of first movement,First sonata.
The first entry is in the soprano voice in F minor, the
answer occurring in the alto from measures thirteen to fif-
teen, a tonal answer in C minor. The second entry of the
subject appears from measures fifteen to seventeen in the
tenor in F minor, and the answer re'nters in measures seven-
teen to nineteen in the bass.
The exposition ends with measure nineteen, where a brief
episode based on the final ascending third figures of the
subject begins. In measures 21-23 the subject appears in the
tenor in ab major. Measures 23 to 25 comrise a presentation
of the subject in Db major, the first four notes of which are
thirds in soprano and bass with the soprano finishing the
8
subject alone. The tenor next presents the subject in F minor
(measures 25 to 27). A subject fragment appears in the soprano
in 0 major in measures 27 and 28, and the subject is presented
in the key of C minor in the bass in measures 28-30. In
measure 30 an episode is begun which treats the ascending
third figures which close the subject (C minor). A final epi-
sode treats the first four notes of the subject in the key of
C minor (measures 32-40). ntries of the subject fragment
appear in the soprano three times (measures 32, 33, 34) and
in the bass three times (measures 3U, 37, 38). The fugue ends
with a complete cadence in U minor in treasure forty.
TABLE~ 1
ENTRIE3 AND KEYS OF EUGUE OF F14 T '1V- ENT, FI 3T SONATA
F
In measures 40-62 the chordal setting of the chorale is
presented with interludes between the second and third phrases
and between the first and second phrases. These interludes
use the fugue subject (inverted introductory motive). There
is no interlude between the third and fourth chorale phrases;
however, the fugue subject is used in the inner voices of the
harmonization (measures 54-56, measures 58-59).
9
Measures:
Keys:
Material:
40-44
Ab +
First phraseof chorale
44-46
Ab-
Fuguesubject
46-50
"bow (46),- ib+ (47-50)
second phraseof chorale
easures: 50-52 52-56 56-60
Keys: F minor. b+
Material: Fugue Third phrase Fourthsubject of chorale phrase of
Fig. 4.--First presentation of choraleludes of first movement, First sonata.
60-62
F- Dominantof Bb_concludingg)
and inter-
Whereas the fugue subject vas a modification of the inver-
sion of the introductory motive, the fugato subject, which
overlaps the finalmeasures of the chorale (measures 60-62),
is the unaltered inversion of the fugue theme. This new sub-
ject is treated in a fugato section from measures 60-77. Al-
though there is a section which corresponds to a fugal exposi-
tion (measures 60-69), the keys in which subjects and answers
appear are irregular, the first and second entries both being
in the key of Bb minor, and the third and fourth entries both
being in u_ minor. The first entry occurs in the soprano
(measures 60-62); the second entry (what would normally be an
answer) in the tenor (measures 62-64); the third entry in the
bass (measures 65-67); and the fourth, vwaich in a four-voice
fugue would enter in the alto, renters in the soprano
(measures 67-69). The alto voice enters in measure 63 without
a statement of the subject, which entry would be impossible in
a strict fugue. This alto appearance delays the bass entry of
the subject for one measure (measure 64).
10
The remaining portion of this fugato section of the .uove-
ment (measures 69-77) is episodic. In ci-easures 69-71 a short
eDisode treats the descending third figures which close the
subject, and accomplishes a modulation from G minor to F
minor. second episode using the first Lour notes of the
subject recurringly in pedals in varying keys appears from
measures 71-74 (measure 71, F minor; measure 72, O minor;
measure 73, G minor; measure 74, Lb major). heaures 75-77
drab the ugato s section to a close on a tonic seventh chord
which serves as the dominant seventh of the f ollowing Db major
presentation of the chorale.
Th3BLE 2
ThTRIESj AND KE7YS OF FUGATO SECTION OFFIR3T LO-"'ENT, FIR$T SNAT
eo b trb4
4c; 6 4 d b 10 12.144,6
The coda begins wvith a Db major presentation of the
third phrase of the chorale. This coda (measures 77-129) is
long and interesting, treating all material heretofore used
in the movement. In measures 79-81 the subject of fugato
section is superimiposed upon the chorale. In measures 81-82
the fugue theme, such as was used as interludes between. the
chorale phrases in the first presentation of the chorale,
11
reappears in Bb minor. Measures 82-86 restate the third
phrase of the chorale in Db minor with the second fugal
section subject superimposed (measures 84-86). The interlude,
or fugue, theme reappears in measures 86-87 in F minor. The
third chorale phrase, now in F minor, reappears in measures
87-91, followed by a two-measure series of entries of the
first four notes of the fugue, thence also in F minor.
Measures 93-102 present the third and fourth phrases of the
chorale, the third in F minor (measures 93-98) and the fourth
(measures 98-102) in Bb minor. The pedals have figuration
beginning with the fugue subject and introducing an ascending
chromatic run in measures 97-99. In measures 103-107 the
final chorale phrase is presented in F minor. Measures 107-
121 comprise a contrapuntal section using both the fugue sub-
ject material and fugato section subject material. This sec-
tion is alternately in Bb minor (measures 107, 118, 120)
and F minor (measures 109, 111, 119). Measures 121-125 pre-
sent the third phrase of the chorale in F minor, and measures
125-129 end the coda with the fourth and final phrase of the
chorale (Gb major, measures 125, 126; F minor, measures 127-
129).
Thus the main sectional structure of the first movement
is as follows:
Fir st section (measures 1-11): Introduction (use offour-note motive (Figure 1).
Second section (measures 11-40): Fugue on inverted andexpanded introductory motive (Figure 3).
12
Third section (measures 40-62): Chorale sett ing ithinterludes of fugue subject.
Fourth section (measures 60-77): Fugato section on in-verted fugue theme.
Fifth section (measure 77-129): Coda using all the-matic material.
This co.iposite, or hybrid, structure is far-removed
from the conventional sonat a first movement; i.e., the sonata
allegro form which treats two thematic materials in an ex-
position, or presentation section; a development section ex-
panding one or both the;aes; and a recapitulation or repre-
sentation section usually followed by a coda.
Second movement.--The second Lo-vement of Sonata I is a
three-part song form in Ab major. The formi is not completely
regular, the only deviation from the regular song form pattern
being the appearance of section B in the relative minor key
of F minor, though it later appears in the dominant key of
b major, the more normal key relationship for 3 sections.
Sections A and A' are double periods in Ab major, and section
B is a phrase group. The c oda is long and extremely modula-
tory. It makes use of both xiand ii material.
Sections: A
i easures: 1-4 4-8 9-12 13-16
Cadences: LC cc
Phrases: a b at b
bKe ys: +
13
e-tions:
measures:
Cadenc&es:-
Phrases:
Keys:
sections:
Measures
Caences:
Phrases:
Keys:
Coda:
Lleasures
iMiaterial:
Keys:
B
16-20
410
F-
41-44
20-24 24 -2' -28 28-32 32-36 36-38-40
"0
at
f -
b b c
b b b - 13b.F- Br- B+ B, 4 B -
45-48
Ec;
49-52
c t
Eb+
53-56
cc
a"
114 b
56- 57 -59
Bc
b -b+ +D+l A
59-uo-61 63 -64
F- Eb_-Eb+ 4 b
Measures:
hiaterial:
65-68 69-72
.b
Aa (soprano)
Fig. 5.--ec ond movement, iirst Sonata
Third overalent.--The third rmovement of $onata I is based
upon a three-motive theme figuree 6), each miotive of u ich is
treated both separately and in context.
A'
14
Fig. 6.--Theme of third movement, First Sonata.
Contrapuntal imitation of these motives is used throughout,
and the movement is free of formal design. This movement is
in the key of F minor.
Measures 1-3 present the three-motive theme followed by
a chordal interlude (measure 4-5), both theme and interlude
being in F minor. Measures 6-8 are an imitative section on
the theme in two voices, and measures 8-10 modulate from F
minor to Bb major with use of ascending thirds and fourths
reminiscent of the final notes of the fugue subject of the
first movement. The chordal interlude reappears in measures
10 and 11 in Bb major, and measures 12-16 are a second imi-
tative section on the theme, this time with three voices and
in Eb minor. The chordal interlude modulates to F minor in
measures 16 and 17. In measure 17 soprano and alto appear
in sixths in the presentation of the second motive of the
theme and are joined by the bass and tenor in sixths in measure
18. In measures 20 and 21 the first and second motives of
the theme are presented in the bass wvith the other three
voices in a continuation of their material leading to a com-
plete cadence in F minor in measure 22. A chordal interlude
(measures 22-23) then modulates from F minor to C minor.
15
Measures 23-28 are an imitative passage on the second motive
of the theme in the key of C minor. The bass appears on the
first motive of the theme in measure 26. A chordal interlude
in measures 28 and 29 leads to a modulatory section made up
of diminished VII (measures 29, 30; 33-34) arpeggios inter-
spersed with presentations of the second motive of the theme
(measures 31-35) and with one chords. interlude (measures
32,33). The keys of A major (measure 31) and. major
(measure 35) appear. Measure 36 presents a chordal modula-
tion to D major, in which key the first thematic motive is
presented in measure 37. Measure 38 modulates to Eb major
with a chordal interlude, and in measure 39 the first thematic
motive appears in that key. Measure 40 is a chordal modula-
tion to F minor, in which key an imitative passage on the en-
tire theme is subsequently heard (measures 41-44). Measures
44-52 serve to end movement three in F minor, and act as a
chordal interlude leading to movement four. In measure 44
the final chord is a dominant seventh chord preparing for
the F major key of the fourth movement.
Fourth Movement.--The fourth movement is a long, fan-
tasia-like treatment of a two-period theme and almost con-
tinuous accompanying arpeggio figures. Measures 1-54 treat
only the accompaniment figures, being built of a series of
arpeggios, largely tonic and dominant sevenths, in a variety
of keys. The basic idea of this introductory material is a
four-measure presentation of ascending tonic arpeggio,
16
descending dominant seventh arpeggio, ascending tonic arpeggio,
and descending dominant seventh arpeggio in upper voice with
counter-motive in the tenor (e.Z., measuresl-4). The counter-
motive is derived from the a phrase of the A section of the
theme. This basic pattern is presented three times in toto
in the introductory measures from one to fifty-four. The
first presentation occurs from measures 1-4 in the key of F
major. Intervening measures between the first and second
presentations of the basic figure (measures 5-23) are arpeg-
giated and extremely modulatory, as are those between figures
two and three (measures 27-38) and between figure three and
the theme presentation (measures 43-54). The intervening
measures from 4-26 touch the keys of G minor (measure 5),
C major (measure 8), D minor (measure 12), A minor (measure
15), A major (measure 19), D minor (measure 20), and D major,
reached in measure 23, is the key of the second presentation
of the basic introductory figure which appears from measures
23-26. Measures 27-39, intervening between basic figures,
modulate through the keys of G minor (measure 29) and Ab
major (measure 37) to Db major (measure 39). Measures 39-42
present for the third time the basic introductory figure, now
in Db major. Measures 43-54 are a modulation to F minor, whiich
key is reached in measure 55, where the theme begins.
The theme is in reality a two-part song form a after the
style of the ogs Without Words in which case measure 1-54
might be considered an overly long and modulatory introduction
17
and measures 80-143 a long and expanded coda. The theme is
a melody in one voice (usually the upper) with arpeggiated
accompaniment in eighth-note figures. Its formal pattern can
best be summarized by diagram.
Sections: A
Measures: 55-58 59-62 62-65 66-68
Cadence: HC CC cc
Phrases: a b at b
Keys F- Ct C+
Sections: B
Measures 68 - 72 72- 76 76- 80
Cadences CC CC
Phrases: a at b
Keys: F# Bb Bb F Fj+ F+
Fig. 7.--Thematic section of fourth movementFirst Sonata.
The three-phrased _B section and the changing keys are
typical of Mendelssohn's song form treatment. Measures
80-102 are a series of entries in various voices of the first
two measures of the B section a phrase (measures 68-70)
against an arpeggiated accompaniment. These entries occur
first in the bass (F , measures 80-82) and the soprano (F
measures 82-84), followed by recurring fragments of the same
material in soprano and bass (measures 80-84). In measures
88-90 the first B section a phrase measures appear in the
18
soprano in the key of A minor. Measures 92-96 are an arpeg-
giated interlude in D minor. Measures 96-98 present the B sec-
tion a phrase measures in the soprano and in F major; frag-
ments of the material appear in the same voice and key in
measures 98-100. Measures 100-102 present the B section a
phrase in the tenor voice in F major. Measures 102-108 are
a sequence of ascending augmented seconds and perfect
fourths in soprano and alto with tenor voice filling out the
sequence, a series of chords in first inversion followed by
diminished seventh chords without thirds all against a 2edale
on C. A pedal passage built on descending second figures
begins in measure 108 and leads to a second presentation of
the B period of the theme in measures 112-122 in F major.
The B section, b phrase (measures 116-122) is made abnormally
long by a repetition in measures 119 and 120 of measure 118.
Section: B
Me asur es: 112-115 116-122
Cadences: HC cc
Phrases: a" I bt
Keys: F F+
Fig. 8.--Second presentation of B periodof theme of f ourth movement.
Measures 122-128 are a series of arpeggios in F major.
Measures 129-133 present fragments of the B section a phrase
in the soprano voice in F major. An F major chord is sus-
tained in upper voices from measures 133-136 against a
19
descending pedal passage built on seconds similar to that of
measures 108-112. Measures 137-141 are arpeggiated, and the
movement ends with an authentic cadence in measures 142
and 143.
Conclusion.--Sonata I, in F minor, is composed of four
movements in the respective keys of F minor, Ab major, F
minor, and F major. The first movement is amunique hybrid
form made up of introduction, fugue, chorale and interludes,
fugato passage, and coda all using only two basic thematic
materials. The second movement is a three-part song form.
The third movement is the polyphonic treatment of a three-
motive theme. The fourth movement is a fantasia-like treat-
ment of a theme, which is an irregular two-part song form, and
of a basic introductory sequence.
Second Sonata
The Second Sonata, in C minor, has three movements.
The first is in the key of C minor; it is composed of two
well-defined sections, the first section a free treatment of
the two phrases of one theme and the second section an irregu-
lar three-part song form. The second movement, in C major,
is a three-part song form with repetitions, using the formal
pattern A A' B A" B' A"' . The third movement is a fugue in
four voices in the key of C major.
First miovement.--The first movement is a composite of a
freely treated introductory theme and an irregular three-part
20
song form, the thematic material of which is different from
that of the introductory section. Both sections are in C
minor.
The introductory theme is composed of two phrases, the
last two measures of' which are in the key of F minor, the sub-
dominant key of C minor, in which key the theme has been pre-
sented until the advent of F minor in measure six. In
measures one to eight the theme is presented in the soprano,
the first phrase (a) being treated homophonically and the
second phrase (b) being treated polyphonically. In measures
one to four the a phrase appears in chords made up of four
voices and pedals. The b phrase (measures four to eight) is
presented polyphonically with the tenor giving the last two
measures of the b phrase against the soprano's first two
measures (four to six), followed by the last two measures of
the b phrase in F minor in the soprano against the first two
measures of that phrase in the tenor (measures six to eight).
In measures eight to ten the soprano has the final two b-phrase
measures in C minor against the tenor's presentation of the
two initial measures of the b phrase. Bass and alto com-
plete the C minor harmony with longer sustained notes. The
initial measures of the b phrase are then presented in the
upper voice against the pedal presentation of the final
measures of the b phrase and the G minor harmony of the inner
voices (measures ten to twelve). Measures twelve to fifteen
21
continue treatment of the b phrase (in G minor), as do measures
sixteen to twenty (in 0 minor). Measures 20-23 conclude the
introductory section of the first movement with chords ending
on the dominant in ; minor, and prepare for the introduction
of the song-form theme of the second section.
measures: 1-4 4-6, 6-8 8-10
Keys: 0- 0- F- 0-
Material: *&a Ab s Ab 2 s Ab2sAb2t Abit Abt
Measures: 10-12 12-15 15-20 20-23
Keys: GG-_-C-_ . 0-
Material: Abls 4b Ab ConcludingAb p chords
Fig. 9.--Introductory section of first move-ment, Second Somta. 2
The second section of the first movement of sonata II
is a three-part song form, though highly irregular as to keys
and as to the short 3 section. The first eight measures
(23-30) contain the " section in the key of U minor witha
modulation to U minor in the final measures 29, 30). Measures
30-38 contain the A' section in U minor (measures 30-38).
21n Figure 9, the letter s is used to represent melodyin the soprano; a, to represent melody in the alto; t, torepresent melody in the tenor; 2, to represent melody in thepedals; A, to represent the introductory theme; i&, to rep-resent measures one and two of the -b phrase; and .b 2 , torepresent measures three and four of the iib phrase.
22
ending in a key change to Bb major in the final measure.
The B section begins with measure 38, the first of the two-
measure phrases being presented in measures 38-40 and the
second in measures 40-42. The first phrase is in the key of
Bb major and the second in F minor. The At" section grows
into a coda after the presentation of the first phrase of A
material (measures 42-44) in F minor, modulating through
various keys (C minor, measure 45; G major, measure 47; F
major, measure 48; Eb major and Db major, measure 49; C
minor, measure 53; E major, measures 61, 63; and C minor,
measures 62, 62) with the use of _4 material throughout. The
thematic material is a melody with accompanying sixteenth-note
figures in two voices, usually in sixths. The melody is in
the upper voice mith the exception of the appearances in the
tenor of the A melody and of the melody of the second phrase
of B.
Sections: A A?
Measures: 23-27 27-29-30 30-33 33-38
Cadences: HC CC HC CC
Phrases: a b a' bt
Keys: C- C- G- G- G- Bb
Sections: B At (Coda)
Measures: 38-40 40-42 42-45
Cadences: cC cc
Phrases: a at a"
Keys: 0- F- F-
23
Sections:
Measures:
Keys:
Mat er ial:
A" (Coda)
52-55
C-
47-48-49
G+ F+ Eb
Aa
49-50 51-52
Dbi
Ac c ompanimentfigures
ons: A" (Coda)
ires: 52-55 55-60
C- C-
ial: Aa b
Fig. 10.--Song form sectionment, Second Sonata.
60 - 61- 62- 63 - 6 -66
C- EBt c- Eb+C
Conclusion
of first move-
Second movennnt.--The second movement of Sonata II is a
three-part song form with repetitions, in the key of C major.
It follows the regular pattern of such a form; i. e.,
B A" B A"' with A sections in tonic key and B sections in
dominant key; however, neither of the B sections adhere to
the key of G major throughout. Scalewise passages are used
as transitions from B sections to A sections (measure 25,
measures 42, 43) and in the coda (measures 51-68), in which
A material is expanded in scalewise passages.
Sections:
Measures:
Cadences:
Phrases:
Keys:
A
1-4, 4-8
cc HC
a b
C4-
Secti
Me a su
Keys:
Mater
A'
8-12,
CC
12-16
CC
al
24
Sections:
Measures:
Cadences:
Phrases:
Keys:
Sections:
Measur es:
Cadences:
Phrases:
Keys:
Sections:
Measures:
Cadences:
B
16-i8-18-m20
HO HO
a
Gf
A"
25-29
CC
at"
Ct
A"
43-47
cc
29-33
cc
20-24
b
B3+
B'
33-35
25
Transition
B+ C+
35-37 38-41 42, 43
a'
G+ At
47-51
DC
bt
B+
Transition
Bt C+
Coda
51-68
CC
Phrases:
Keys:
: f t f bt" A mate
C+ C+ C +
Fig. llr--Second movement, Second Sonata.
Section A is an irregular period because of the half
cadence.at the end rather than a complete cadence.
Section A' is a regular period.
Section B is an irregular period because of the key
changes.
Section A" is a regular period.
Section B' is irregular because of key changes.
Section A"' is a regular period except for the deceptive
cadence at the end rather than a complete cadence.
trial
Third movement.--The third movement of Sonata II is a
four-voice fugue in the key of C major. The three-motive
subject (Figure 12) enters in the tenor from measures 1-5,
Fig. 12.--Fugue (subject) of third move-ment, Second Sonata.
in the key of0 C major. There is no strict counter-subject.
The answer enters in measures 6-10, a real answer in the alto
voice and in the key of G major. The recurrence of the sub-
ject is preceded by a one-measure codetta (measure 11, Figure
13).
Fig. 13.--Codetta of fugal exposition ofthird movement, Second Sonata.
This reentry of the subject is in the soprano voice and in
C major (measures 12-16). The subsequent answer is in the
bass, or pedal, voice in G major (measures 17-21).
26
Following the exposition section (measures 1-21) the
subject appears in the tenor in D major (measures 22-26).
An episode follows in G major which treats subject and
codetta material (measures 27-39). In measures 39 to 48 a
second episode is presented which introduces a running
eighth-note accompaniment material, new material. In
measures 39-42 two initial motives of the subject are pre-
sented with the soprano and the alto in sixths against the
tenor accompaniment and the pedal point on the tonic G (major).
The two initial subject motives are next presented (D minor,
measures 43-47) in tenths in tenor and soprano against the
alto accompaniment material.
The subject appears in the pedal voice in measures 48-52
in E major. The running eighth notes are now used in the
soprano.. A short episode follows using these figures and
presenting a subject fragment in the tenor in A minor
(measures 55-56). The subject appears in the soprano in
measures 57-61 in F major with the running eighth-note figures
in the alto and tenor voices in thirds and sixths. The key
of D minor is entered in measure 61, and an episode using
subject fragments in the pedals appears in measures 62-66
(D minor, measures 62-64; E major, measures 65-66) with con-
tinued use of the eighth-note figures introduced in measure
39. These figures are used continuously from measure 39 to
measure 95 in various voices.
In measures 67-71 the subject appears in the pedal voice
27
in C major. An episode ensues which continues until measure
95. The material used in the episode is subject fragments
and the aforementioned eighth-note figures. The key of C
major is used from measures 72 to 85, in which measure G
minor appears and is subsequently used until measure 95.
Stretto is used between soprano and alto subjects in one
instance during the episode (measures 80-83). A pedal passage
using the typical eighth-note figuration appears in measures
92-95.
In measures 96-100 the final presentation of the subject
occurs. The pedal voice is given the subject in G major
against three-part manual chords. A final episode in C
major (measures 101-108) dras the movement to a close with
the use of subject material.
TABLE 3
ENTRIM AND KE YS OF THIRD ui10V7ENT, SECOND S ONATA
RL~o W r L 4
'To-nor w"lvfS 6ifex~
ow NO 0110 op "Lo eta sa 5
28
Conclusion.--Sonata II, in C minor, is composed of three
movenonts, the first in the key of C minor and the final move-
ments in C major. The first movement consists of two varying
sections, the first free of formal restrictions and the
second an irregular three-part song form. The second move-
ment is a three-part song form with repetitions. The last
movement is a long four-voice fugue.
Third Sonata
Sonata III is composed of two movements, being the only
one of the Six Sonatas having less than three movements.
This sonatu is in the key of i major with the first movement
A major, minor, and" major and with the second movement in
.4 major. The first movement is a composite of three well-
defined sections with the general pattern of A B A', and
the second movement is a three-part song form.
First movement.--The first of the three sections of the
first movement is in A major and is an irregular two-part
song form--irregular because of its key relationships and
because of the phraseology of the B section. The A a phrase
is in the key of A major; the A b phrase, which regularly
would also be in the tonic key, is in the dominant key of E
major (measures 4-8). The B section is made up of three
presentations, each in different keys, of a two-measure phrase.
The first presentation is monodic, appearing in the tenor voice
in the key of D major (measures 9-10), the second is chordal
29
and is in the key of F# major (measures 10-12), and the third
is chordal, appearing in measures 12-15, in the key of B
major. The coda begins in measure 15. It is largely based
upon the descending figures of the first measure of the
section, and is in the key of A major throughout with the
exception of measures 21 and 22 in D major. The section closes
with measure 24.
Secti ons : A
Measures: 1-4 4-8 9-10 10-12 12-14
Cadences: HC cc cc CC
Phrases: a b a a' a'
Keys: A+ Bt D+ F#- B
Sections: Coda (A material)
Measures: 15-20 21-22 23-24
Cadences: CC cc
Phrases:
Keys: A4D+ A+
Fig. 14.--Section one of first miovement,Third Sonata.
The second section of the first movement is in the key
of A minor. It is made up of two thematic materials, the
first is a modulatory fugue subject (Figure 7) which appears
in three keys (e.g., measures 24-26, minor; measures 26-27
E minor; measures 27-28, D minor).
30
Fig. 15.--Fugue subject of second section offirst movement, Third Sonata.
The second is a presentation of the chorale, _us tiefer
noth,3 in the pedals. The first two phrases of the five
phrases of the chorale appear as new material in the episode
of the fugue (measures 40-42, first phrase; measures 45-47,
second phrase; measures 51-53, third phrase). The second,
third, fourth, and fifth phrases appear with running sixteenth-
note staccato figures in manual accompaniment to the chorale
in the pedals (measures 68-72, second phrase; measures 73-75,
third phrase, measures 78-80, fourth phrase; measures 91-93,
fifth phrase).
As 1 * I ~I.~ I I I"
FOAI.11 ohleo eon.scin f- frs
Fig. 16.--Chorale of second section of firstmovement, Third Sonata.
3 Cf. Bach-Riemenschneider, 371 Chorales, p. 115.
31
The three-voice fugue begins in measure 24 in the key of
A minor. The exposition section occurs in measures 24-40,
with the subject (Figure 7) presented in the tenor in measures
24-28 in A minor (measures 24-26), later modulating to a minor
(measures 26-27) and to D minor (measures 27-28). The answer,
which is tonal, enters in measures 28-32 in the tenor voice
and in the key of Z minor (B minor, measures 30, 31 and A
minor, measures 31, 32.) The subject reenters in the alto
voice in measures 32-35, in '" minor. The counter-subject
(Figure 17) appears in the bass in measures 28-32, in the
tenor in measures 32-36, and in the alto voice in measures
36-40.
Fig. 17.--Counter-subject of fugue of secondsection, first movement, Third Sonata.
Measures 36-40 present the tonal answer in the soprano voice
in 1 minor (measures 36-38), B minor (measures 38, 39), and
A minor (measures 39, 40). In measures 40-42 an episode
appears in A minor, using the first phrase of the chorale in
the pedals. In measures 41-45 an altered presentation of the
subject appears in the soprano voice in A minor (measures 41-43),
32
and C minor (measures 44, 45). In measures 45-47 a second
episode appears with the second phrase of the chorale in the
pedals and a subject fragment in the t enor (measures 45, 46).
Measures 46-50 are a second presentation of the altered sub-
ject in the soprano in D minor (measures 46-48), in C minor
(measures 48, 49), and again in D minor (measures 49, 50).
"nother episode using the first phrase W the chorale in the
pedals appears from measures 51-58 in A minor with the fugue
ending in measure 58 on the 4 major tonic. subject frag-
ment in A minor appears in the t enor in measures 52, 53 and
54.
TABLE 4
TRIES AND KEYS OF FUGUE OF SECOND SECTION,FIRST MOVEMENT, THIRD SONATA
Measures 58-68 serve as introductory material preceding
the recurrence of the pedal chorale. The accompaniment
figures used throughout this section, running staccato
sixteenth-note figures, are used in these measures in A minor.
33
The second chorale phrase appears in measures 68-70 in pedals,
tenor, and bass (manual) against the soprano sixteenta-note
accompanying figures. The third chorale phrase enters in
measure 73 after an interlude of the accompaniment f igures.
Beginning in A minor, it modulates in measure 74 to -b major.
More accompaniment figures in D major bridge the measures
between the third and fourth chorale phrases (measures 76-78).
The fourth phrase (measures 78-80) returns to a minor. In
measures 80-91 a series of entries and fragmentary presenta-
tions of the fugue subject occur in the manual voices, com-
plete subjects being presented in measures 80-84 in the soprano
L_ minor, G minor (measure 82) and D minor (measures 83, 84j
and in the tenor voice in measures 85-88 L_- minor, B minor
(measures 86-87), and A minor (measures 88-89j7. Fragmentary
entries in soprano and tenor occur in measures 89-91 in
minor. The fifth phrase of the chorale appears in pedals in
measures 91-93 in i minor, and in measure 92 a series of frag-
mentary attacks of the fugue subject largely in i minor in
various voices against the accompaniment sixteenth figures.
In measure 103 a chordal presentation of a fugue subject
fragment appears against pedal figuration, and in measures
107 and 108 the fragment appears in the pedals ab-ainst the
sixteenth-note accompanying figures in the upper voice.
Measures 109 to 112 draw the second section of movement one
to a close with pedal figures beginning in ' minor and entering
A major (measure 111), the key of the third section, which
opens in measure 113.
34
Measures:
Key s:
Material
58-68
A-
Introductory
68-70
A-
Secondphrase ofchorale
70-73
A -
Ac c ampanimentfigure
Measures:
Keys:
Material:
Measures:
Keys:
Material
73-74-75
Third phraseof chorale
78-90
A-
Fourth phraseof chorale
76-78
Ac companimentfigures
80-82-83-85-86-88-91
F- Ca- D-w i-.B- A-
Fugue subject and sub-ject fragments
Measures: 91-93 92-109 109-111-112
Keys: .- A- A- At
Material: Fifth phrase Fugue subject Concludingof chorale fragments pedal figures
Fig, 18.--Chorale presentation of* secondsection, first movement, Third Sonata.
The third section of the first :Lovement returns to the
key of major and to the thematic material of the first sec-
tion. Like the first section, it is an irregular tvwo-part
song form; haever, there are changes in the presentation of
matErial. The A section has only one phrase, (measures
113-116), the b phrase being omitted. In contrast, harvever,
the B section is -rore fully developed than in its first
presentation tin the first section of the movement). It now
35
has two three-measure phrases (measures 117-119, 119-121),
the first in key of&A. major (in contrast with its . major key
in the first section), and the second in F4# major and B major
(the keys used for the corresponding portion of the first
section). The coda (measures 121-135) uses the same mateiAal
as the coda of the first section of the movement until the
complete cadence in measure 127, where a fragment of the fugue
theme appears and after which the descending figures of A
material and the fugue theme fragment alternate. The coda is
in A major with the exception of measures 127-128 and 129-130
where E major appears and of measure 132 where the key of
D major appears fleetingly. Measure 135 draws the first
movement to a close.
Sections: At B'
Measures: 113-116 117-119 119 -120 - 121
Cadences:. HC CC
Phrases: a" al altered bmediantleadingto F#7
Keys: A+ Alt- Fir+ B i-
Coda:
Measures: 121-127 127-128 128-129
Cadences: 0C
Keys: At - A +
Material A material Fugue subject A materialfragment
36
Measures: 129-130 130-135
Cadences: CC
Keys: E-
Material: Fugue subject A materialfragment
Fig. 19.--Section three of first movement, Third Sonata.
Second novement.--The second movement of the Third
Sonata is a three-part song form in a major. The formal
pattern is A B A', with the coda growing out of the 10 sec-
tion. The key scheme of sections is irregular both generally
and internally--generally irregular in that the B section,
which conventionally would appear in the dominant key of E
major, begins in the tonic key of major, goes to the sub-
mediant key of F# minor (measure 12), and touches the regular
dominant key in only the f inal two measures (14-16); inter-
nally irregular in that each section comprises a variety of
keys. The second phrase of _ (measures 4-8) is in Z major
rather than the tonic key of major, the B section is modu-
latory, and the "' section alternates between major and D
major. The coda xJhich grows out of A' (measures 16-40) uses
only _i material and is relatively long, covering about half
of the movement.
37
Sections:
Me asur es
Cadences:
Phrases:
Keys:
Sections:
Measures:
Cadences:
Material:
Keys:
A
1-4 4-8
CC CC
a b
A* E +
A' (Coda)
16-20
cc
B
8-12alteredmediantlead4.'ngto Fi minor
a
A i
20-22-26
CC cc
D+ Ai
12-14-16CC
b
26-30, 30-34
cc CC
A
At
Measures
Cadences
Mater i al
Keys:
34-35
CC
Di-
Fig. 20.--Second
35-36
CC
36-37
CC
37-40
cc
Conclusion
A+A-,A A
A -+ D +
mov ement, Thi1lrd Sonata
Conclusion.--Sonata III is composed of two movements.
The f irst iiovement is in A major, A minor, a major; the
sec and movement is in the key of A major. The first movement
f ollows the general structural plan of A B A'*. The A se c-
tion is an irregular two-part song form in A major. The B
section, in A minor, utilizes two thematic materials: a
fugue subject treated in a chorale fugue and a choral melody
derived from the chorale Cus teifer noth, which appears in
fugue episodes and which is subsequently treated homop onically
3:
3:
38
with running sixteenth-note figures in accompaniment. The
A' section, like section A, is an irregular two-part song
form; the thematic material of section A is used, again in
A major. The coda utilizes both A and B material. The
second movement is a short three-part song form in A major.
Fourth Sonata
The Fourth Sonata, in Bb major, is composed of four
movements. The first movement, in Bb major, consists of an
introduction and a fugato section. The second movement is a
three-part song form also in Bb major. The third movement is
a first rondo rorm, the only rondo to appear within the
Sonatas; it is in the dominant key of F major. The fourth and
final movement returns to the tonic key of Bb major in a
composite structure made up of a three-part song form and a
long fugue ending in the recurrence of the f irst period of
the song form.
First movement.--In designating the section of the first
movement (measures 22-84) following the introduction (measures
1-22), the term t best serves to illustrate the structure.
It seems most feasible to so designate the section because
its structure is fugal, though it is not a strict fugue in
that the first answer enters in the sub-dominant key (C minor,
alto, measures 24-26) rather than in the con ventional domi-
nant key, vhich is used by the second answer (D minor, pedals,
measures 28-30). The use of fugato to designate this section
from measure 22-84 is misleading only in that chords are
39
superimposed on the fugal material on strong beats (i.e.,
first and third beats of the 4 meter) in the first three of
the four entries of the exposition section (measures 22-24,
24-26, 26-28); nevertheless, bearing in mind this limitation,
it seems expedient to designate the section a fugato.
The introduction consists of a sequence (measures 1-18)
in various keys of groups of staccato arpeggios; the intro-
duction is ended with a series of chords and passing tones
growing from descending sixteenth-note figures in sixths
(measures 18-20) and with a pedal passage (measures 20-21)
leading to concluding chords in Bb major (measures 21-22.
The first of these arpeggiated groups appears in Bb major in
measures 1-4. after a pedal passage (measures 4-5) the
second group appears in F major in measures 5-8. The pedal
passage recurs (measure 8-9) leading to the third group.
This latter group is modulatory, appearing in the keys of
Bb major (measure 9), C minor (measure 11), and G minor
(measure 12). The fourth group of staccato arpeggios appears
from measures 13-16, a fter which a modulation to Bb major
takes place with use of the arpeggio figures (measures 16-18).
The concluding descending sixth series (measures 18-20), pedal
passage (measures 20-21), and chords (measures 21-22) a the
introduction in Bb major.-
40
Measures:
Keys
Material
Measures:
Keys:
Material:
1-4
Bb -+
First groupof arpeggios
9 - 11-12-13
Bb+ C- G-
Third groupof arpeggios
4-5
Pedaltransition
13-16
Ebt V
Fourth groupof arpeggios
F +
Second groupof arpeggios
vedaltrans it ion
16-18
Llodulation to Bb+
4 rpeggiofigur es
,e asu
Keys:
Mater
r es: 18-20 20-21 2
3 b+ Bb+ B
!ial: Chords and Cedal passage Cpa s sing tones cbased on des-cending sixths
xig. 21. -- Intr oduction, first movement,Fourth Sonata.
1-22
b
onclud inghords
The four-voice fugato section of the first movement
opens in measure 22 in the key off G minor. The diatonic
subject (Figure 22) enters in measures 22-24 in the soprano
voice and in G minor.
Y~flTr M~do1 1 I
Fig. 22.--Fugue subject of first movement,Fourth Sonata.
11 h
II
,--% I
41
The answer appears in the alto voice (measures 24-26), a
real answer in the sub-dominant key of C minor. The subject
renters in measures 26-28 in the tenor and in the key of G
minor. The subject and answer material fro n measures 22-26
has been rhythmically and harmonically reinforced on strong
beats with chords. The second appearance of the answer,
now a tonal answer in the conventional dominant key, occurs
in measures 28-30 in the bass. The exposition ends in measure
30. There was no counter-subject.
In measures 31-33 the subject appears in the tenor in
Eb major. An episode follows in Eb major in which subject
fragments are used in various voices. In measures 39-41 the
subject appears in the tenor in D minor. second episode
using subject material follows (measures 41-48) in D minor.
Measures 48-50 present the subject in the soprano voice
in A major. Lower voices reintroduce the staccaato arpeggios
of the introduction section of the first movement (measures
1-22). The ensuing episode (measures 50-65) treats this ar-
pe ggio mat erial and subject fragments. Keys are Bb major
(measures 51-54), Db major (measures 54-55), 0 major (measure
55) and the concluding Bb major (measure 62) reached through
a series of modulations utilizing dominant sevenths (Bb ,
measure 56; C0 , measure 57; D+, Measure 58; G- , measure 59;
C+ , measure 60; and F , measure 61). The episode ends in
measure 65 with a pedal passage. The following measures
(66-74) are a chordal episode treating subject material in
42
Bb major. The final episode (measures 74-84) treats subject
material and introduction material in Bb major. It is begun
with a series of subject fragments in the soprano with lover
voices presenting the arpeggio figures of the introduction
(measures 74-77). From measures 77-80 the pedals present
subject material against manual arpeggios. The series of
chords and passing tones based on descending sixths which was
used. to conclude the introduction (measures 18-20) is used.
in measures 80-82 followed by a pedal passage (measures
82-83). Concluding chords (measures 83-84) draw the movement
to a close.
TABLE 5
ENTRIES A\D IYS OF FUGATO OFFIRST IOTCEMNT, FOURTH SONATA
Second movement.--The second movement of Sonata IV is a
three-part song form in the key of Bb major. sections A
(measures 1-11) and _' (measures 25-33) are regular periods
in the tonic key of Bb major, and section B (measures 11-25)
43
is an enlarged period with repetition of the antecedent
phrase. The B section is in the relative minor key of minor.
The codia, uniLike any other song-form coda of the six sonatas,
is not developmental; it consists only of a few concluding
measures (33-37) following the present nation of A V It uses
the characteristic , material of 1endelssohn song-form codas
and material derived from the extension of ' section and 1B
section b phrases (measures 9-11, 19-21). This song form is
also unique in that it is not as modulatory as is typical of
the Mendelssohn song forms.
Sections:
Measures:
Cadences:
Phrases:
Keys:
sections:
Measures:
Cadences.
phrases:
Keys:
A
1-5
HC
a
Bb 4
5-9
c c
b
Bb
9-11
CC extension
B
11-13-15
110 C
a
G- C-
15-19
cc
b
G-
19-21
CCtextension
21-23-25
cc
Sections
Measures
Cadences
Phrases:
At:a
Coda
25-29 29-33 33-35 35-37
C C c CC CC
a' b' Extension material
Fig. 23.--Second movenant, Fourth sonata
44
The extension of the A section b phrase and of the B
section b phrase are the same material. The final measures
of the coda (35-37) are built of this extension material,
which is composed of an ascending diatonic passage in thirds
and a descending diatonic passage in sixths.
Third movement.--The third movement off onata IV is in
the key of F major. It is in first rondo form, with each
of the three sections, A B A', a song form, Sections A
measuress 3-23) and A' (measures 41-62) are two-part song forms
and section B (measures 24-40) is a three-part song form.
This treatment of first rondo form is irregular in that the
B section is in the relative minor key of D minor rather than
in the conventional dominant key and in that the A' section
utilizes B section material as well as A section material to
compose the first phrase of the first period of the song form.
The first two measures of the first phrase of the first
period of the A' song form (measures 44-46) are the first two
measures of the first period, first phrase of i (Measures 3-5);
the second two measures (measures 46-48) are the initial
measures of the first phrase, first period of the B song form
(measures 24-26). The transition from section 1 to section
B is short, covering only two measures (measures 23-24) and
utilizing the typical accompaniment material of the entire
rondo form; the return from section B to section M utilizes
th e same accompaniment mateLial and is somewhat longer
(measures 40-44). This accompaniment material used throughout
45
is made up of recurring sixteenth notes in groups of six using
diatonic and chordal notes. The introductory measures (meas-
ures 1-3) and the coda (measures 62-73) are composed of this
material.
Af ter the three-niasure introduction the _ section appears
from measures 3-23 in the key of F major. This two-part song
form is irregular in that the second period (measures 11-23)
is in the tonic key rather than in the dominant key, which is
conventional for second periods of song forms in major keys.
The first period is irregular because of its ending with a
half cadence rather than with a complete cadence (measure 11).
The second period is irregular in that measures 13-15 appear
in Bb major rather than in the original key of i major; this
period is enlarged by the repetition of the consequent phrase.
Section: Introduction
?eriods:
Measures: 1-3
Cadences:
Phras
Keys:
A
1. 2.
3-7 7-11 11-13-15 15-19 19-23
G HC 0ccCC CC Cc
es: a b b bt
F+ F + F + F+ B+ F+ F
Fig. 24.--Introduction and section A of rondoof third movement, Fourth onata.
The B section (measures 24-40) is an irregular three-part
song form beginning in D -minor. This song form is typical of
Mendielssohn song form treatment: the periods are extremely
46
modulatory; the second period (measures 32-36) appears in a
closely related key (G minor), but not in the conventional
dominant key; this second period is composer of two presenta-
tions of a two-measure phrase rather than of two varying four-
measure phr as es'; the third period (measures 36-40) does not
end with a complete cadence but grow s into conclusion mterial
(in this case the return to section _ rather than the usual
coda) after a short presentation of first period material
(measures 36-40); the third period appears in the tonic key,
D minor in this case.
3 ection:
Periods:
Measures:
Cadences:
Phrases:
Keys:
Perio
ideasu
Caden
Keys:
I.
24-26-28
a
1)- F -
28-32
cc
b
2.
32-34
cc
a
Gma
34-36tiC
at
D-
ds: 3. (Period 1. material) Nev matCri aJI
res: 36-38 38-40 40-44
ces: h hC 'Return to section A
Li-
Fig. 25.--Section B of rondo of third move-
ment, &ourth Sonata.
The third song form or _ section (measures 44-62) is
more conventionally regular than is section B. Phraseology
is clear-cut and the section as a -hole is less modulatory.
f 0 lk
47
2oth periods of the it two-part song form begin in F major, a
treatment hich - as used in the A section key scheme; however,
the phrases of the first period iodulate from 2 major to D
minor (phrase at, measures 46-48) and from F major to Bb
major (phrase bt, measures 50-52). The unusual feature of the
third (A') section is that two measures (measures 24-26) of
B section material appear in the last ne sures of period 1!
phrase a' (measures 46-48). Measures 6&-62 are an extension
of period 2'., phrase b', ending in measure 62 with a complete
cadence in F major in which key the coda appears.
Section A'
Periods: 1.1
Me assures: 44-46-48 48-50-52
Phrases: at bt
Keys: F4 - Fj Bb
Fig. 26.--Section A'movement, Fourth Sonata.
21.
52-56
a'
F r
of rondo
56-60-62
bt :Extension
F+
of third
The coda (measures 62-73) is built entirely on the ac-
companiment figures which have buen used throughout; i.e.,
six-note group of sixteenths in chordal and diatonic succes-
sions.
Coda:
Measures: 62-72 72,73
material: Ac companiment Concluding
Keys:
material chords
F + F+
Fig. 27.--Coda of rondo of third movement,Fourth Sonata.
48
Fourth movement.--The fourth movement of Sonata IV is
the comDosite of a three-part song form (measures 1-23)
and a fugue (measures22-8 3), both in Bb major. The first
period of the song form is repeated at the end of the movement
(measures 83-91), following the fugue and drawing the movement
to a close.
The three-part song form which opens the Luovement is a
typical Mendelssohn song form. The i period (measures 1-8)
is regular except for a modulation in the penultimate
measure to a final complete cadence in F major (measure 8),
the d cminant key. The B period (measures 8-14) begins in the
tonic key and appears throughout in that key with the excep-
tion of measure 13 in Eb major. This period is composed of
three two-measure phrases. Section A (measures 14-18) is a
one-phrase presentation of the . section a phrase followed by
a codetta using A material (measures 18-23).
Sections: A B
Measures: 1-4 4-8 8-10 10-12 12-13-14
Cadences: HC CC HC CC CC
Phrases: a b a at b
Ke y: Bb 4 Bk F , Bb. Bb Bb
49
Sections: At Godetta
Measures: 14-18 18-23
Cadences: DC cc
Phrases: at A material
Keys: Bb- Bb +
Fig. 28.--Song form section of fourth move-ment, Fourth Sonata.
The second, or fugue, section of the fourth movement
opens with a pedal entry of the subject in measures 22-26.
The subject is modulatory or chromatic (Figure 29) being in
Bb major (measures 22-23), P minor (measures 23-24), C minor
(measures 24-25) and Bb major (measures 25-26). There is
no strict counter-subject.
Fig. 29.--Fugue subject of fourth movement,Fourth Sonata.
The answer appears in the tenor (measures 25-29), a
real answer in the dominant key of F major (F major, measures
25-26 C minor, measures 26-27; G minor, measures 27-28;
F major, measures 28, 29). There is stretto (i.e., a literal
"drawing close" or overlapping ) between both the first and
50
the second presentations of subject and answer (measure 25,
measure 331. The subject reenters in measures 29-33 in the
<o and in the tonic key of Bb major, (Bb major, measures
29-30; F minor, measures 30-31; ( minor 31-32; Bb major 32-33).
The second answer presentation appears in measures 33-37 in
the soprano and in the dominant key of 2 major (F major,
measures 33-34; 0 minor, measures 34-35; G minor, measures
35-36; major, measures 36-37), with the end of the expo-
sition in measure 37, an episode using subject material is
begun in 1) minor, entering Bb major in measure 39 and ending
in that key in rrleasure 40. In measures 40-44 the subject
appears in mutation in the pedals, or bass voice, in the keys
of F major, measures 40-41; G minor, measures 41-42; D minor,
measures 42-43; and i major, measures 43-44. Measures 44 to
52 present an episode using subject fragments in the keys of
F major (measure 44), G minor measure 45), F major (measure
4b), ) minor (measure 48). In measure 52 there begins in
1) minor an episode expanding the first ten notes of the sub-
ject, which ends in measure 56 in Eb major, in which key the
entire subject appears in the pedals, or bass voice (measures
56-60). A short episode ensues (measures 60-62) in the keys
of Eb major (measures 60-61) and Q minor (measures ul- 62).
Measures 62 to 74 are a series aC presentations of. the sub-
ject. The first is in the soprano voice in the key of Bb
major (Bb major, measures 62-63; F major, measures 63-64;
o minor, measures 64-65; 3b major, measures 65-66). This
51
soprano subject is mutated; however, the unaltered subject
appears in the tenor voice in measures 66-70 in F major (F
major, measures 66-67; C minor, measures 67-68; G minor,
measures 68-69.; F major, measures 69-70). In measures 70-
74 the inversion of the subject appears in the bass, or
pedal, voice in the keys of C minor (measures 70-72), F
major (measures 72-73) and Bb major (measures 73-74). The
final episode (measures 74-83) treats subject material with
almost the entire subject presented in the soprano voice in
measures 76-80 (Bb major, measures 76-77; F minor, measures
77-78; C minor, measures 78-79; Bb major, measures 79-80).
The concluding measures of the final episode (measures 80-83)
lead into the recurrence of the first period of the song form
of the first section of the movement. A modulation to F
major takes place in measures 80-81, and a return to Bb
major takes place in measures 81 and 82. The second, or
fugue, section of the fourth movement ends in measure 83.
TABLE b
ENTRIES AND KEYS OF FUGUE OFFOURTH MOVEMENT, FOURTH SONATA
SO Q.-
&)RLeA
52
Thus the recurrence of the first period of the first
section song form occurs in the original key of bb major
(measures 83-91). The period. is regular, ending in a complete
cadence in Bb major rather than in F major as did the first
section presentation of this material.
Section: A"
Measures: 83-87 87-91
Cadences: HG c
Phrases: a" bI
Keys: Bb Bb
Fig. 30.--Recurrence of initial period of
song form, f ourth movement, Fourth Sonata.
The fourth movement, in summary, is made up of three
sections, each in Bb major: a three-part song form (measures
1-22), a fugue (measures 22-83), and a recurrence of the first
period of the first section song form (measures 83-91)
Conclusion.--The Fourth Sonata is composed of four
movements. The first is a four-voice fugato and an arpeg-
giated introduction section in Bb major. The second is a
three-part song form, also in Bb major. The third, in F
major, is a first rondo form, the only rondo form used in
the Six Sonata,:. The fourth noveent is a three-section
composite of a three-part song form, a four-voice fugue, and
a recurrence of the first period of the song form, all in
Bb major.
3
Fifth Sonata
The Fifth Sonata in J major has three iaovements. The
first is a chordal setting of a chorale, tile source of which
is debatable. It is the impression of Otto Goldschmidt that
the chorale is original with .endelssohn; 4 however, a striking
similarity exists between this chorale and the chorale, "lle
Lenschen miiussen sterben. (Figure 31)
iig. 3l.---A comparison of Alle Menschten mussensterben to chorale of Lirst qovesent, Fif'th Sonata.
The sour ce of the latter chorale is indeterminat e; the
4 F. G. Edwards, "MLenelssohn's Organ Sonatas," LMusic alTimes, December 1, 1901, p. 798.
.44
54
chorale, however, was harmonized by Bach. 5 ,hereas the
Lendelssohn chorale has five phrases, Alle lMenschen mussen
sterben is composed of six phrases; the initial phrases of
the two chorales are identical. The second is a three-part
song form with repetitions. The third is free in form,
treating twio well-defined thematic materials without evident
design. The key of the first movement is m rajor, of the
second B minor, and of the third major.
First movement.--The first movement of the Vifth Sonata
is the briefest movement of the -entire 3ix Sonatas. It is
merely a chordal setting of an adaptation of the chorale,
,lle Menschen mussen sterben, in the key of a major. I easures
20-26 serve as a conclusion to the movement.
Measures: 1-4 4-8 8-10-12
Cadences: cc cc CC
Phrases: First Second, Third
Keys : D+ A +14+B-
Measures: 12-15-16 16-20 20-26
Cadences: HC c cc
Phrases: Fourth Fifth (Concluding),I
Keys: E- F4f+ D -
Fig. 32.--First moveinent, Vifth Sonata
Second movement.--The second movement of Sonata V is a
50f. Bach, Riemenschneider, 371 Harmonized Chorals, p. 3 5.
55
three-part song form with repetitions, in the key of B
minor. The key scheme deviates from the normal pattern
in that section B of the A B A' B' A pattern begins in
tonic key of B minor, (It later modulates to the more
usual key o FF minor and ends in that key.) and in that
Section B' begins in G minor and ends in B minor, neither of
which keys are usually used, the relative major i ey (which
is used for tw-o bars within the B' section) or the dominant
key being the normal relationship. The internal structure
of sections A and ' are normal, being in the tonic key of
B minor t~haughout; the _M' Section, however, though beginning
in the tonic key of B minor, ends in the key of G major.
A" is a coda using the first phrase of A (Aa_) and a few con-
cluding measures.
Sections: A B
Measures: 1-4 5-8 8-10 10-12 12-16 16-20 20-24
Cadences: H 00 00 00 00 00 cc
Phrases: a b a b c ct
Keys: B- B- 3- A+ G+ Ff-r N
Sections: A'
Measures: 25-28 29-32
Cadences: HC cc
Phrases: a bt
Keys: B- B- G+
56
Sections:
Measures:
Cadences:
Phrases:
Keys:
B'
32-34-36
G0 CC
36-40
Go
40-44
DC
af bt Cf
G- D+ C+ Ba-B-
Fig. 33.--3econd movement, Fifth 6nnata
T hird movement.--The third movement of onata V treats
freely two well-defined thematic materials. The movement is
in D major in which key both the thematic materials f irst ap-
pear. The movement is modulatory, seeming almost improvisa-
tory, and the thematic materials are used and expanded freely
in the order _ B A 3B' Alt.
The first (A) material is made up of two phrases irregu-
larly presented The four-measure a phrase is presented
three times (measures 1-4, 4-7, 7-10), each time the last
measure of the phrase overlapping the first measure of the
following phrase. This phrase is used recurringly in various
keys throughout the composition (Figure 34)
Fig. 34.--Aa phrase o f irst thematic mat erial.
44-45
low
00-
ModVA pw
14
57
In measures 10-13 the b phrase appears, in measures 13-20
the a phrase material reappears, and in measures 21-25 b
material is used, ending with a complete cadence in D major.
Measures 25-30, using b material, end the first appearance of
the first, or, A, thematic section with a complete cadence
in D major. With the exception of measures 17-21, which are
in the keys of G major (17-19) and G minor (20), the entire
section is in I major.
Fig. 35.--Second thematic material, thirdmovement, Fifth Sonata.
The second thematic material, or B material, appears in
measure 31 after an introductory measure of the triplets
ahich are used as ac companying figures in the middle voice
throughout the first presentation of the B material and in one
voice throughout every presentation of B material. The 3
theme is fragmentary, all treatments being based on a one-
phruse melody with the triplet accompanyingg figures. Measures
31-54 use this phrase recurringly in various keys (31-35, D
major; 36-39, A major; 40-43, major; 44-47, B major, andL
major; 48-49, B major; 50-51, ajor; 52-54, aajor) and
58
in various voices (upper, middle, pedal). Measures 54-62
are modulatory and use the triplet Zigures to return to A
material.
In measure 63 the second presentation of a material (t)
appears. Beginning in major, it entails key changes to
F major (measure 67), B major (measure 71), and minor
(measure 73). Measures 73-79 serve to modulate to G. major and
act as a return to the second presentation of B material
(B').
The B' section is presented in measures 60-113. It is
extremely modulatory, presenting the B phrase in the various
keys of C major (measure 80), major (measure 87), J major
(measure 92) .a major (entering contrapuntally in measure 94),
G major (entering contrapuntally in measure 95), Q ma jor
(entering contrapuntally in measure 96) and major (measure
104).
In measure 112 the tieme breaks in, ushering in the
A"' section in the key of major. The a phrase is presented
three times as in section A, and the b phrase appears in D
major in measure 121. The b' phrase appears in measure 125,
now in B minor, ushering in a coda .hich modulates to E
minor (measure 127) and t o major in measure 128, where the
accompanying triplets of the B phrase are reintroduced.
Measures 128-133 use these figures in J major. In measures
133-139 a series of concluding chords are introduced, closing
the movement with a complete cadence in D major.
Thematic material:
L.easures:
Phrases:
Keys:
Thematic material:
Measures:
hrases:
Keys:
A
1-4, 4-7, 7-10
a
A
21-25
bt
D+
25-30
b"
D +
(A)
10-13
b
D t-
(B)
30
Introductory
D +-
(A)
13-17, 17-20-21
at
D + G+ G-
(B)
31-35
Upper voice
D +
Thematic material
Measures:
Theme in:
Keys:
Themrtic materia
Theme in:
le asur e s
Keys:
l1: (B)
36-40
middle voice
A+
l: (B)
middle voice
48-49
B +
(B)
41-43
p ed al
D +
(B)
upper
50-51
E --
(B)
44-47
upper voice
B+.A +
(B)
pedal
52-54
A-I-
(B)
conclusion
54-62
Thematic materials:
Ileasures:
Keys:
Thematic materials:
Theme in:
Measures:
Keys:
A'
63-67 67-71
F1 +
(A') Bf (Bt)
upper voice uppervoice
73-74-79 80-6 86-91
E- Modulation 0+to 0-
(At )
71-72
B +
(Bt )
uppervoice92-94
D+
60
Thematic materials:
Th eie in:
measures:4
Keys:
Thematic material:
Measures:
Keys:
Thematic materials:
Measures:
Keys:
Thematic materials:
Measures:
Keys:
(B' ) overlapping entries
middle upper pedalvoice voice
93-95 94-96 95-97
At D + G +
(B3')
109-110-113
A-v Dt*
b
121-125
D t
middlevoice
96-98 98-100
A"t
112-115, 115-118, 118-120119-121
Di-
Coda (A") (B)(b') ac c ompaniment
f igur e s125-127-128 128-132
B- E- D- D +
Concluding chords
133-139
D A
Fig. 3o.--Third movement, Fifth Sonata.
Conclusion.--Sonata V is composed of three movements
in the respective keys of D major, B minor, and major.
The first movement is ,the shortest of all movements in the
six sonatas: it is a harmonization of a chorale probably
adapted by i endelssohn from .lle Menschen mussen sterben.
The second movement is a three-part song form with repeti-
tions. The third movement is free in form; it treats two
thematic materials alternately.
Sixth Sonata
Sonata TI in D minor is composed of three raovements of
which the first consists of chorale variations on Vater unser
m Himmelreich; 5 the second is a fugue, the subject of which
is an adaptation of the chorale melody; and the third is a
three-part song form. The first and second. movements are in
the key of D minor, and the third is in major.
First movement.--In measures 1-26 of the first movement
there appears in the key of ) minor and in 2 time the chordal
harmonizationi of the chorale. pleasures 25-26 conclude the
chor le as harmonized by Jendelssohn, anm lead into the
first variation.
Measures: 1-5 5-9 9-13 13-17 17-21 21-25
Cadences: 0 c cc C G
iKeys: D- D- D- - FD
Phrases Oirst Second. ihird 1?curth Fifth Sixth
Fi 3 . 37.--iarmonization of chorale, firstmovement, Sixth Sonata.
The first vriation appear from measures 27-55 in the
key of D minor and in 4 time. The chorale is presented in4
the treble cith running sixteenth-note figures as acooani-
ment in the middle voice. Leasurss 27-32 introduce these
aceompaniment figures. The chorale a-,pears from measures
32-51, and the final asures (51-55) use acco.paniment
figures to end. the first variation nQ to pre are for the
second variation..
f* .B.ach-hiemenschnei.er, 371 choral es, p. 121.
61
62
Measures:
Keys:
Phrases:
27-32 32-34
D- D- picardythird
(Introductory) First
Measures: 41-45 45-46 -47-48 49-53 53-55
Keys: A- - Ft B+ DA-- D-
Phrases: Fourth Fifth Sixth (Concluding)
Fig. 38.--First variation, first movement, SixthSonata.
The second variation appears from measures 55-71 in the
12key of minor and in 8 time. The choraleis presented as
the upper note of chords. The pedal has staccato three-note
groups of eighths in continuous figuration against the dotted
quarters typical of the chorale melody in this variation.
The third phrase of the melody is modified by the addition of
eighth-note passing tones in the first measure (measure 61).
Measures 71 and 72 serve as a conclusion to the second
variation.
Measures: 55-58
Keys: D-
Phrases: First
58-61
D-
Second
61-63
Third
63-65
A-or+
Fourth
Measures: 65-66-67-68 68-70 71-72
Keys: G- 04 F* - D-
Phrases: Fifth Sixth (Concluding)
Fig. 39.--Second variation, first movement,Sixth Sonata.
35-38
D-
Second
38-41
D-
Third
63
The third variation appears from measures 72-92 in the
key of J minor and in ' time. The chorale appears in the4
tenor voicewith soprano and alto voices, usually in sixths
or thirds, presenting counter-melodic fragmentary figures in
sixteenth and eighth notes against the quarter notes of the
chorale melody. Slight modifications of the chorale melody
occur in measures 76, 78, 79, 85 and 88, with passing tones.
measures 91 and 92 conclude the third variation with soprano
and alto counter-melodic figures in sixths.
1 easures: 72-75 75-78 78-81
Keys: J- -D-
Phrases: First Second Third
I1easures: 81-84 84-87 88-91 91-92
Keys: A- D- D- D-
Phrases: Fourth Fifth Sixth (Concluding)
Fig. 40.--Third variation, first movement,Sixth Sonata.
The fourth and final variation appears from measures
93-164 in the key of D minor and in 2time. In measure 164
a coda begins, using fourth variation material until measure
182. In measures 183-_191 the movement is ended with the
final phrase of the chorale in chordal setting such as that
of its presentation in measures 1-25. The fourth variation
is a double presentation of the entire chorale, first in the
pedals (measures 95-136) and then, after a few interlude
measures (measures 136-140), alternately in the upper and
64
middle voices. 3oth pedal and upper-and-middle-voice presen-
tations of the chorale melody are accompanied by staccato
sixteenth-note arpeggios. At the end of each phrase of the
chorale in its initial, or pedal, presentation successive
staccato arpeggios, eighth rests, and chords are used against
the final sustained pedal note of the chorale melody (e.Z.,
measures 100, 101, 102). This erpeggio-rest-chordal succession
is also used between the pedal presentation of the chorale
and the upper voice-middle voice presentation (measures 137,
136, 139, and 140). Slight modifications of the melody occur
with the addition of passing tones in measures 110, 111, and
133. Measures 93-95, using the staccato sixteenth-note ac-
companying figures, introduce this fourth variation.
Measures: 93-95 95-99 99-102 102-106
Keys: D- D- D- D-
Phrases: (Introductory) First Intervening Second
Chorale .elody: (none) pedal Pedal 99, 100 PedalNone 101, 102
Measures: 106-110 110-114 114-116 116-120
Keys: At D- D-
Phrases: (Intervening) Third (Intervening) Fourth
Chorale Pedal 106-109 Pedal Pedal 2edalLelody: None 110
65
Me as ures: 120 -124
Keys: ft-
Phrases: (intervening)
Chorale Melody: (,edal)
124-128
D-
Fifth
Pedal
128-132
Bh
(Intervening)
(xedal)
Me asures:
Keys:
Phrases:
Chorale Melody:
Measures:
Keys:
Phrases:
Chorale Melody:
Measures:
Keys:
Phrases:
Chorale Melody:
132-136
D-
Sixth
Pedal
140-144
j-
Ffirst
Upper voice
152-156
A-
Fourth
Upper voice
136-140
D-
(Interveninj)
(Pedal)
144-148
Dow
Second
Middle voice
156-160
A- D)-
Fifth
Middle voice
148-152
Ti-
Third
upper voice
160-164
Do-
S ixth
Upper voice
Coda
Measures: 164-181
Keys: D-
Material: Fifth Setting
Melody: Upper voice
181-182
D-Ac c ompanyingfigure of fifthsettingnone
Fig. 41.--Fourth variation, firstSixth Sonata.
183-187, 187-191
D)-
First setting
Two final phrasesof chorale, uppervoice
jiovement,
66
Second movement.--The second movement of sonata VI is a
four-voice fugue in the key of ) minor. The subject is an
adaptation of the chorale melody of the first movement; it is
diatonic and is divided into three well-dUfined motives,
-Su6 .Icat)
Fig. 42.--Fugue subject of second movement,Sixth Sonata.
The exposition section of the fugue appears in measures
1-29. The subject enters in the tenor voice in D minor
(measures 1-8). The answer enters in the alto voice; it is
tonal and appears in the dominant key of man or in measrcs
8-15. The second presentation of the subject occurs in D
minor from measures 15-22. in the soprano voice, and the second
entry of the answer occurs from measures 22-29 in the pedal
voice in the key of A minor.
The counter-sub ject (Figure 42) appears in measures 8-14
in the tenor (A minor), in measures 15-21 in the alto (D minor),
and mutated in measures 22-28 in the soprano voice (" minor).
Later in the fugue it is briefly treated (measures 40-42,
55-70) as an episode, the first few notes being presented and
67
the diminished second intervals of the first three notes
being treated. ter than this brief treatment of counter-
subject material the episodes utilize subject material.
.ollowing the exposition the subject reappears in the
tenor in the key of F major (measures 31-381. Next appears
an episode using material derived from the subject. The
first motive of the subject appears in G minor from measures
39-40 in the soprano voice, and almost the entire subject
appears in that voice from measures 41-47 in the key of
minor. The third motive of the subject appears in the tenor
in measures 47-49. Three presentations of the first motive
of the subject then appear from measures 50-55 in the key of
G minor. The entire subject is presented in the pedals in
the key of D minor from measures 56-63, (third motive slightly
modified) and in the tenor from measures 63-70. The measures
from 70-86 are an episode made up of subject fragments in the
key of minor, i final presentatioL of the subject in the
soprano voice then dravs the fugue to a close. The final
four measures of the pedal are the first four notes of the
answer followed by the tonic pedal in .D minor.
68
TABLE 7
ENTRIE3 AND KYS OF FUGUE,SECOND MOVEMENT, SIXTH SONATA
Third movement.--The third movement, or Finale, of
Sonata VI is a three-part song form in the key of a major.
The sections are A A' B _A'', of which the final section (A"
measures 20-36) is in reality a coda growing out of the first
phrase of A. The 3 section is comparatively short, being
composed of tiio two-measure phrases (measures 16-18, measures
18-20). The key scheme of the song form as a whole is that
normally used, the h sections being in the tonic key of JJ
major and the B section being in the dominant key of x major.
The internal structure of the sections, however, is composed
of periods irregular because of the modulatory nature of
their key schemes.
Sections: A
measures: 1-4 4-5-6-8 8-12 12-13-14-16
Cadences: h cc 1C C
Phrases: a b a bt
Keys: D+ B-F#- D+ F#- C-
Sections:
Measures:
Cadences:
Phrases:
key :
B
16-18
cc
a
A t
18 -20
b
F#- C#-
A" (Coda)
20-25
cc I
Material: A"
Measures: 25-30 30-36
Cadences: cC cc
Keys: D t D +
Fig. 43.--Finale of Sixth Sonata.
Conclusion.--3onata 7I, in D minor, is composed of
three movements in the respective keys of ) minor, a minor,and D major. The first movement is a chorale and variations;
the second movement is a four-voice fugue; the third move-
ment, or Finale, is a three-part song form.
CIL.' T ER III
ST-'RUC T12 CL 01*1TRIS TICSL~~QTULLLC' "IT22TI 10
General Structural Plan
The six Organ Sonatas do not adhere to conventional
sonata form except in the most general sense. There are only
two factors that conform to the &eneral concept of the teim
sonata: the Sonatas consist of three or four movements (with
the exception of Sonata III, ,-ich has only two), and the
movements of each Sonata are in closely related keys.
The tempo of movements, w ich in conventional sonata form
is invariably fast-slow-fast, varies from Sonata to Sonsta.
The slo-> second movement is used in all the six Sonatas; how-
ever, the conventional fast tanpo for first and last movements
is disregZarded in the initial movements of Sonata II and V and
in the final movements of Sonatas III and 7.L Thus only two
of the Sonatas (Sonatas I and IV) have the fast-slow-fast
tempo plan of the conventional sonata.
Forms used within the Six Sonatas are also far removed
from those of the conventional plan of sonata form. A signi-
ficant feature is that no use whatsoever is made of sonata-
allegro form, of which sonata first movements are almost in-
variably composed. Furthermore, the rondo form, which is
generally used in at least one movement of a sonata, appears
70
71
only once in all the Aix Sonatas. Conventional forms are
replaced by such structures as fugues, free forms, and
hybrid forms. A comparison of the structures of the sonatas
is delineated in the iolloing table.
Initial Intermediate FinalSonata movement Movements Movement
I Three-part Intro duc tionF minor Composite song horm Free Song form(Four Movements) (F-) (AU) (i- (F+)
II Three-part song0 minor Composite form with repeti- FPugue(Three Movements) (C-) tions (Ct) (Ct)
III Three-partA major Composite song form(Two Movements) At,A-, A+ (A)
IV Three-part FirstBb major Composite song form Rondo Comoosite(Four Movements (B+) (Bb+) (F+) (B+)
V Chorale Three-part songD major ..armoniza- form with repeti- Free(Three Movements) tion (D+) tions. (B-) (D+)
VI Chorale Three-partD minor and varia- 'ugue song form(Three 1ovena nts) tions (D-) (D-) (1 )
No two of the six sonatas show parallel construction as
to key relationships, formal patterns useu, or recurrence of
thematic material. Lack of unified design is also evidenced
72
in the number of movements of which the sonatas are respec-
tively composed, Sonata III being made up of two movements,
Sonatas II, V, and VI of three movements, and sonatas I and
IV of four movements.
The keys of the movements within one Sonata are always
closely related; however, the key relationship of movements
varies from Sonata to Sonata, and in no two Sonatas are the
relationships parallel. Key relationships of movements never
digress beyond those of relative majors or minors, tonic
majors or minors, ana in only one instance (Sonata IV, third
movement), the tonic-dominant relations ip. The entire om-
position is centered on one tonic in three of the 3onatas;
namely, Sonata III, the two movements of which are in i Lajor;
Sonata II, of which the first movement is in C minor and the
subsequent two movements are in C major; and Sonata VI, a
which the first two movements are in D minor and the final
movement is in ) major. The three movements of Sonata V are
based entirely upon major tonic and relative minor keys, the
four movements of Sonata IV are in major tonic and dominant
keys, and the four .ovements of Sonata I are more complexly
built upon minor tonic, relative major, and tonic major keys.
All final movements, whether in Sonatas of major or minor
keys, are in major. The following table shows the key rela-
tionships of the movements within the Sonatas.
73
TABLE 9
KEY RELATIONSHIPS OF THE Sox0ITA XOVE ENTs
First Second Third FourthSonat a I% vement fiovement Mov ement movement
Minor Relative Tonic Tonic MajorI (F-) (F-) Major (Ab) (F-) (Fi)
Minor Tonic Ma jor TonicII (C-) (C-) (C+) maj or (C+)
Lajor-Iinor TonicIII (AL) major (AA-A (A+)
I b Ma* or Togic Dominant TogicIV(B )(B ) (B ) (F+-) (B +)
V (+)) Major Relative Tonic(Dt) Linor (B-) (D+)
VI (D-) Minor Tonic Tonic Major(D-) (P-) (D+)
Initial movements of the six Sonatas are of two types,
composite structures and chorale settings. Sonatas I, II,
III, and IV have initial movements which are hybrid struc-
tures made up of two or more well-defined sections of varying
design and texture. The first movements of Sonatas V and
VI are made up entirely of the treatment of a chorale.
whereas 6onata VI has an initial chorale and variations,
Sonata V is merely a simple chorale harmonization. INo two
of the hybrid structures which form the initial movements
of the first four Sonatas are parallel in composition. The
714
Follwoing table elucidates their individuality of structure.
TABL 10
FIR ST M0VE1MENT COMPOSITE STRUCTUREIS
Section Section Section Section 'SectionSonata One Tiwo Three Four Five
I Introduction Fugue Chorale & F Iv 6to Coda(F-) (F-) Interludes (B -
(C-, F-)
II Introduction Three-part(C-) song Form
(C-)
III Two-part Kugue and First periodSong Form Chorale of song Form
(.+)( -)( )
IV Introduction Fugato(Bb )(G-, B t)
The second movements, except that of Sonata V, are song
forms. The third movement of Sonata I, iiich has four move-
ments, is a free treatment of a three-motive subject; the third
movement of Sonata IV, also a four-movement sonata, is a
first rondo.
No generalization can be made as to any characteristic
structural plan for final movements of the Sonatas. No two
final movements are similar in form. The final movement of
Sonata I is a song form after the style of the Songs without
Words; the final movement of Sonata VI is a three-part song
75
form. Sonata II has a fugue f or a last irovement, and Sonata
IV ends with a composite Kovement consisting of a thr ee-part
song form, a, fugue, and a repetition of the initial period of
the song form. The final movement of Sonata V is fro _e and
somewhat improvisatory. In none of the Sonatas is found the
rondo form most frequently used as a final movement of the
conventional sonata.
Characteristic Treatment of Forms
The Song Form.--Of all the forms which compose the
Sonatas, the song form is the most frequently used, forming
an entire movement alone or appearing in the- ingenious inter-
weaving of the composite miovements. Of the eleven song forms
within the Sonatas six are three-part song forms, two are
three-part song forms ,ith repetitions, and three are two-part
song forms. The comparative structures of the song forms can
best be made clear by tabulation.
SONG FOR1 STRUCTURES
Location Sections and Initial Keys Type of Song Form
Sonata I Sec. A B A' Coda Three-partov ement two ey-. 4 - +
Sonata I Sec. A ' 6 Two-partoioveaent four ey. F- C+ F
Pleasures 55-80
76
TABLE L. Count .
Type ofLocation Sectiuns and Initial Keys Song Form
Sonata IIMovement one Sec.: A A' B A" CodaMeasures 23-66 Key: 0- G- - F- Three-part
Sonata .LI Three-partSec. A 1 B ' B' A"'coda with repeti-
Movement two Key: 0+ + G-+ + - -Gtions.
Sonata III Sec.: A BMovement one Key: At D+ Two-partMeasures 1-14
Sonata IIIMovement one Sec.: A BMeasures 113-121 Key: A4 A+ Two-part
Sonata III Sec.: A B At codaMovement two Key: A + A.- Thre e -part
Sonata IV Sec.: A B A' codaPlovement two Key: Bb G- Bb, Three-part
Sonata IV Sec.: A b coda1A ove ment fLour Key: Bb B 4 Bb+ Thre e-part
Sonata V Three-partec.: A B 32 B' A" coda with repeti-
bioverdent two Key: B- B- B- G- B- tion.
Sonata VI Sec.: A A B 2' codahVovemlent three Key: D+ D+ A+ D+ Three-part
77
It cannot be said conclusively that the period structure
of the song forms is either characteristically regular or
characteristically irregular. lany of the periods are com-
pletely regular in form; i.e., they are composed of two phrases
in one key, the first ending in either a half cadence or a
complete cadence and the second ending in a complete cadence.
The irregularities found in the period structure are brought
about by the modulatory nature of the internal key scheme
(e.p., Sonata III, second movement, measures 8-16).
Principal periods (A sections and their modification)
appear in their respective tonic keys and are generally
characterized by structural regularity. B periods, on the
other hand, are characterized by less restriction in phraseo-
logy and key scheme. B periods appear most frequently in the
tonic key;without exception, however, the periods so initiated
modulate to at least one other key and often to several.
The dominant is used as the initial key of the B periods of
two of the eleven song forms (Sonata II, second movement,
measures 38-42; Sonata WI, third movement, measures 16-20),
and the sub-dominant key is so used in one instance (Sonata
III, first movement, measures 9-14). The relative minor key
is used to initiate b periods in two song forms (Sonata I,
second movement, measure s 16-24; sonata IV, second movement,
measures 11-25).
A unique treatment of the B periods is the characteristic
two-measure motive about which the entire period centers.
78
Generally, the first phrase of the B period consists of two
presentations of this subject varying either in key or in
harmonization. Thus there is formed a regular four-measure
antecedent phrase after which there appears a consequent
phrase very closely related in thematic material (e.f.,
Sonata II, second movement, measures 16-24). In one in-
stance (Sonata III, first movement, measures 9-14) such a
two-measure motive is used exclusively, appearing three times
in varying keys to form the three two-measure phrases of
the B section; moreover, the use of three phrases to consti-
tute the B section is not uncommon within the song forms of
the Sonatas (e.., Sonata IV, fourth movement, measures '-14).
All the song forms with the exception of the theme of
3onata I, fourth Movement, have codas. These codas are
generally based upon material derived from the A periods.
The exception is the coda of sonata IV, second movement,
measures 33-37, which is based upon material introduced in
extensions of the e period b phrase and of the B period b
phrase. A characteristic treatment of the coda is its
appearance as an outgrowth of the final A section (e.a.,
Sonata III, second movement, measures 16-40). Before such
codas the initial A phrase (Aa) is presented, directly followed
by a coda developing "material, often without repetition
of the final phrase of the " section (Ab_). The coda of
Sonata V, second movement, (measures 48-55) is an exception;
only a short conclusion follows the initial phrase.
79
The song forms display a marked preponderance of
material, whereas B sections are typically short and obviate
an economy of thematic material, the 4L periods are generally
two full phrases (except in tae case of outgrowing codas),
both often repeated before the appearance of the I section
and one or both often developed in the coda. The epitome of
such treatment is reached in the final movement of Sonata VI
in which only four of the 36 measures of the song form are
devoted to B material. Despite this lack of variance in the
preference of thematic material, the A material is so art-
fully varied and expanded and so closely interwoven with the
B material that only the perfection of the union of the two
is conveyed to mind and ear.
The Fugue.--Every Sonata except the Fifth has a fugue
;ithin it. Some fugues compose entire movements (Sonata II,
third movement; SonatLL VI, second movement); othEsC are a
phase of the structural evolution within a movement (Sonata
I, first movement, measures 11-40; Sonata III, first move-
ment, measures 24-58; and $onata IV, fourth movement,
measures 22-83).
aiith the exception of the fugue in the first movement of
Sonata III (measures 24-58) all the fugues of the Sonatas are
strict four-voice fugues. In the fugue of Sonata III only
the three manual voices--tenor, alto, and soprano--appear
in the exposition; however, in subsequent episodes the pedal
voice introduces a chorale, thus making, in reality, a four-
voice fugue.
14o generalization can be made as to the order of entry
of voices in the exposition sections of the fugues. The
soprano or the tenor voice generally enters first. The alto
never has the first subject entry, and the bass voice intro-
duces the subject in only one instance Lonata iM, fourth
movement, measures 22-26). The following table wiLL make
clearer the manner in which the voices enter.
TABLE 12
FUGUE STRUCK TUEw
LocationOrder andKeys of Entry Subject answer
Lipisodematerial
Counter-subject
Sonata IMovement Subject
one materialMeasures S T B
11-40 F-,0-,F-,C- Diatonic Tonal None
SubjectSonata II mat er ial,Movement T S B new
three C+,G+ ,C+ ,G-t Diatonic Real matCr ial None
Sonata IIIMovement Subject
one material,Measures T S new Counter-
24-58 - E- a- Chromatic Tonal material subject
Sonata '"Movement
fourmeasures B3T A S Subject
22-83 B iB Ft Chromatic Real material None
81
TAB3L1 12.--Cont.
Or der and VEpis ode C ounter-Location Leys ofEntryjSubject .Knswer Material Subject
Subject
Sonata VI counter-Movement T A S B subject Counter-
o - 0- A- jDiatonic Tonal material
Subjects are generally diatonic. The two chromatic sub-
jects used in the fugues of the Sonatas are those of Sonata
III, first movement (measures 24-28), and Sonata IV, fourth
movement, (measures 22-26) . Three of the five fugal answers
are tonal; two are real. Counter-subjects are used in only
to of the five fugues (Sonata ii, first movement, measures
28-32; Sonata VI, second movement, esures 8-16).
Little use is made of stretto; it is used fleetingly in
only two instances. In Sonata II, third movement (measures
80-83) alto and soprano appear on tihe subject in stretto.
The second instance of stretto is in Sonata IV, fourth move-
ment (measures 25, 33) between bass and t&nor and between
alto and soprano entries of the exposition section.
uSgal episodes are almost wholly based upon subject
material. In only one fugue is new material introduced in
episode; n aely, the fudue of the first movement of Lonata
III, in .which a pedal chor Ie is introduced. Uounter-subjct
material is used e-isodically only in sonata TI, second
movement (measures 56-70).
Fugatos.--Two fugatos appear in the *onatas, the first
in the first movement of $onata I (measures 60-77) and the
second in the first movement of Sonata IV (measures 22-84).
The fugato of the Zirst 0onata deviates from the strict
fugues in that its keys of entry are irregular, the first
entry of the answer appearing in the tonic rather than the
conventional dominant key and the second entry of subject and
answer both appearing in the sub-mediant minor rather than
in the conventional tonic key of subjectsand dominant key of
answers. The fugato of the Fourth Sonata deviates from the
strict fugue in that the answers appear in the sub-dominant
rather than the dominant key. In the exposition section of
this fugato chordal accompaniment is superimposed on the fugal
entries on the strong beats of the 4 meter, an extremely un-
conventional treatment of fugal exposition. In the first
movement of sonata IV the introduction material is reintro-
duced in episodes of the fugato. Otherwise the fugatos are
treated as are the strict fugues of the sonatas.
Other forms.--Besides the song form, the fugue, and the
fugato, only three structural types are used in the Sonatas:
the chorale settings, the first rondo, and those movements
which are free of formal restrictions.
The presentation of a simple chorale harmonization as a
sonata movement Sonata V, first movement) is unique. No
less an innovation is the use of interludes between the phrases
of the chorale harmonization (Sonata I, first movement,
measures 40-62). The use of theme and variations as a sonata
movement is not unprecedented; however, aendelssohn's use
of a chorale and variations as an initial movement (Sonata
VI) is without counterpart. he use of chorale settings in
the SixS Sonatas is ascribed to 14endelssohn's deep admiration
and appreciation of J. . B3ach and of his artistry in the
treatment of the chorale. 1
There is little to distinguish the one first rondo form
of the sonatas (Sonata IV, third movement), which was dis-
cussed in Chapter II (page 44). It is neither highly de-
velopedor completely regular.
Those movements which are free from Zormal restrictions
(Sonata I, third movement; Zonata V, third movement) seem
aluiost to be ex-1emporizations, althiough history refutes the
conjecture that they were actually improvisations. Their
union of an economy of thematic material with an abundance
of constructive genius makes them compositions whose artistry
is undenied by any except the most confirmed formal -urist.
l1dxards, 4. cit., p. 100.
83
CHJPTER IV
SUI RIY 1ND C ONCLUSION
Summary
The general structure of the vMendelssohn Six Sonatas
may be summarized as follows:
1. The Six Sonatas do not adhere to sonata form except
in the most general sense: they cannot be generally said to
conform to the fast-slow-fast tempo plan of the conventional
sonata.
2. No two of the Sonatas are parallel in structure:
there is no consistency in key scheme of movements; there
is no consistency in number of movements constituting a
Sonata; there is no consistent form used for initial, inter-
mediate, or final movements.
Conclusion
The general lack of adherence to any conventional or
inviolable structural design in no way signifies the want of
formal artistry. The structure of the Oonatas might be im-
peached only on the grounds of the lack of syiaetry resulting
from the admixture of formal patterns; yet in the unity ul-
timately achieved by the whole lies the revelation of
Mvendelssohn's genius as a creative artist.
84
BILBLI OGiHY
W&rds, F. G-., rnendel-sohns rg sonats, "Lusical Times,:LII (December 1, 1901), 794-798, XLVII ("February 1,1906), 95-100.
.i emenschneider, -lbert, editor, }_7 Harmonized hcr ales and69 Chorale elodies by Johann ebastian ,acih,1ew ork,G. 3chirmer, Inc., 1941.