MANNERS OF DYNAMIZARION OF REPRISE IN THE SONATA FORM WITH THE CLASSICISTS

Abstract

Summary The classicists achieved the realization of the reprise, in sonata, in many different ways. The content of the exposition would be taken up, and restated, variously. Looking at this analytically, we are especially drawn to one of their methods, namely, the dynamization. Our primary purpose in this paper is to question the very notion of dynamization, with a look into the literature, but also to propose our own views as to the role and intent of dynamization as it ought to be, in such repetitions of musical content. Examples would be Beethoven’s piano sonatas Op. 49 number 1 and Op. 14 number 1, in our paper, we examine two types, differently conceived, of reprisese circumstances, in the musical flow, that will initiate a dynamization attempt. Although the dynamization was applied in different sections of the reprises, we can observe a similarity in the use of compositional procedures which initiated the dyna mization of the musical content. To do this, the composer primarily intensified the activity of the musical components in the accompanying voice, namely: of the rhythm (in the sense that the values of notes were shortened by half); in the melody (change of register); and, in the factura (which would be organized in the homophonic, and in the polyphonic, manners, alternately).