Experiment in Form" Since This Movement in Particular Represents A

Good morning everybody, today Im going to talk about the first movement of
Schuberts sonata in A minor number 4 op.164. I named my presentation an

experiment in form since this movement in particular represents a
compositional stage of transition and maturity in Schuberts life. This sonata was
composed between the spring and summer of 1817 although it was published
posthumously along with two other piano sonatas (op.122 and op.147).
Firstly, I would like to discuss the form of the piece. Please refer to the example
number 1 in the handout. The exposition of the movement comprises measures
number 1 through 65 with a repeat bar by the end of the section as it is typical of
the sonata form. The primary theme of the exposition is presented on measures
number 1 to 16. This theme is characterized by a rhythmic descending chord
pattern which is followed by an ascending arpeggiation on the right hand. Measures
16 to 27 present the same motivic pattern of the primary theme which works as a
transition material to connect with the secondary theme. This secondary theme,
which is lyrical in nature, comprises the measures 28 to 52. Following this
secondary theme represented by a tone pedal in the left hand and a lyrical motive
in the right hand which will be further developed in the development section, comes
the closure theme and section found in measures 53 to 65. The closure theme of
the exposition will serve to connect with the development section which comprises
measures number 65 to 124. Please refer again to the example number 3, measure
76. Notice the repeat bar. This is one of the reasons I titled my presentation an
experiment in form since this is atypical of the sonata form and it represents
Schuberts experiment with form. This being said, the possibility of considering the
overall of the piece as ternary form remains open. The development is
characterized by a virtuosistic material and a change in the dynamic level. This
material comprises the measures 76 to 96. Followed by a fermata comes the new
development theme which is constructed out of material already presented on
measures 54 and 55. The lyrical theme of the development will serve to connect
with the recapitulation. Please refer to example 3 measure 126. The recapitulation
starts here. Notice how the material already presented in the exposition is exactly
repeated from measures 126 to 189 but in another key. The difference lies in the
repeat bar located in measure 185. To end the piece. Schubert locates the coda in
measures 191 to 199.
Now, I would like to discuss the harmonic plan of the piece. Please refer to example
number 3 of the handout. As it has been analyzed by music theorists, one of the
characteristics of the style of Schubert is his treatment and experiment with
harmony which followed the steps of Beethoven and opened the doors of the
harmonic explorations of the Romanticism. The piece starts in the tonic which is
presented from measures 1 to 8. On the next 5 measures, a tonicization to F major
is presented. Measures 16 to 23 present small inflections to E flat major, F minor, F
major and D flat major. These inflections will lead to the dominant of F major on
measure 24. Measures 28 to 60 are presented in the key of F major which is
supported by the use of the IV degree in measure 36. It is interesting to notice the
coloristic effect that the D flat of the left hand produces in measures 28-31. The
introduction of the Bb minor chord on measure 66 will serve to connect with the
next inflection to G flat major which comprises the measures 68 to 75. From
measures 76 to 97 we can observe a series of inflections to E major, D major and C
major. Following these inflections which reinforce the purpose of the development,
comes a tonicization to A flat major on measure 100. This tonicization comprises
measures 100 to 111 which will suddenly connect with the chord of A major
presented in measure 112. It is interesting to notice the unexpected resolution to D
minor on measure 123 which will keep on developing from measures 126 to 133.
This presentation of D minor will be followed by a tonicization of B flat major
presented on measures 136 to 140. The inflections presented on the exposition are
now transposed and presented from measures 141 to 148. It is also interesting to
notice that instead of going to the sixth grade as Schubert presented on the
exposition, he instead changes the harmonic direction towards A major on measure
149 to prepare for the return of the tonic. A major develops from measure 149 to
185 and the dominant of this key serves to connect with the A minor chord
presented in measure 191. Schubert then ends the piece in the original key.
Finally, I would like to discuss a Schenkerian approach to the piece. Please refer now
to example 4 of the handout. The kopfton (E) is located in the top note of measure 1
being 5 harmonically supported. It could be argued that 4 could follow the
progression on measure 3 due its metrical position but it is not receiving harmonic
support thus, this possibility cannot proceed. We can then argue that 5 is prolonged
throughout the exposition. It is important to notice that the top note of beat 1 of
measure 27 (which is the F) can be regarded as a neighbor tone of the kopfton. On
measure 126 we can regard the top note A as a secondary kopfton of the
recapitulation since this section is not presented in the original key. We could have
been expecting the same neighboring motion on measure 149 that was presented
in the exposition but the use of A major as a return to the home key prevents this
possibility. The fourth progression from measures 186 to 189 reestablishes the
kopfton on measure 191. 4 is now presented on an inner voice on measure 194
since now its harmonically supported. We can argue that 3 is displayed on the left
hand on measure 195 although there is a shift of register. Notice how 3 is displayed
on 196 but is not metrically supported. We can then argue that 3 is now located in
the corresponding register (left hand, top voice) and is followed by 2 on the next
beat arriving to 1 in measure 198.
Recording:
Exposition minute 0
Development: 3:33
Recapitulation: 5:09

Experiment in Form" Since This Movement in Particular Represents A

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Good morning everybody, today Im going to talk about the first movement of

Schuberts sonata in A minor number 4 op.164. I named my presentation an

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