Style Change in the Mid-18th-Century Keyboard Sonata

Author(s): Roger Kamien

Source: Journal of the American Musicological Society , Spring, 1966, Vol. 19, No. 1
(Spring, 1966), pp. 37-58
Published by: University of California Press on behalf of the American Musicological
Society

Stable URL: https://www.jstor.org/stable/830870

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 Style Change in the
Mid-i8th-Century Keyboard Sonata1
BY ROGER KAMIEN

THIS STUDY SEEKS TO SHOW some aspects of stylistic change in the sonata-
allegro movement of the solo keyboard sonata during the middle of
the I8th century.2 In order to deal with an extraordinarily large body of
material, I have adopted a procedure that is widely employed in the sci-
ences but has been uncommon in musicological research. I use statistical
techniques to derive information about a large body of solo keyboard
sonatas from a "random sample" of 70 movements drawn from this "pop-
ulation." ("Population" is the statistician's term for "any set of individ-
uals (or objects) having some common observable characteristic."3 A
"sample" is a subset of a population. The sample is called a "random sam-
ple" when "every individual in the population has an equal and independ-
ent chance of being chosen for [the] sample. ..." ).4 If one knows, for
example, that characteristic A occurs in y% of the members of the sample,
one can say with a given degree of confidence5 that the true proportion of
characteristic A in the whole population lies between x% and z%. Table
i shows the 95% confidence limits for several observed proportions in a
sample containing seventy members:6
1 This article is an expanded version of a paper read at a meeting of the Greater
New York Chapter on January i8, 1964.
2A good summary of the main changes of style in the sonata during the i8th and
early i9th centuries may be found in William S. Newman, The Sonata in the Classic
Era (Chapel Hill, 1963), pp. 119-133. Rudolf von Tobel, Die Formenwelt der klas-
sischen Instrumentalmusik (Bern, 1935), summarizes the results of studies dealing with
middle and later I8th-century instrumental music. A more recent survey may be
found in Hans Engel, "Die Quellen des klassischen Stiles," International Musicological
Society, Report of the Eighth Congress, New York z96z (Kassel, 1961), vol. I, pp.
285-304. A useful description of "sonata form" in the mid-i8th-century keyboard
sonata may be found in Immanuel Faisst, "Beitraige zur Geschichte der Claviersonate
von ihrem ersten Auftreten an bis auf C. P. Emanuel Bach" (Berlin, x845), reprinted
in Neues Beethoven-Jahrbuch I (1924), pp. 7-85.
3 Wilfred J. Dixon and Frank J. Massey, Introduction to Statistical Analysis (2d
ed., New York, 1957), p. 30. My deepest thanks go to Mr. Cuthbert Daniel for his
extraordinary kindness in helping me with questions of statistical method. Of course,
I alone am responsible for any errors that may occur.
4 Ibid., p. 33.
5 All statistical inferences in this study will be made at the 95% confidence level.
This means that the true population proportion can be expected to lie outside the
stated limits one time or less in twenty. The true proportion will not often lie far
outside these limits.
6 The confidence limits in this table were obtained from A. Hald, Statistical Tables
and Formulas (New York, 1952), Table XI, pp. 66-69.

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38 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
TABLE I

95% confidence limits for several observed

proportions in a sample of 70
95% confidence limits
Observed proportion on the true population
of a sample of 70 proportion
I
- (1%) o-8%
70
IO
- (14%) 7-25%
70

35(50%) 38-62%
70
60
- (86%) 75-93%
70

70
6(99%) 92-100oo%

If ten (14%) of the 70 sonatas in the sample are in minor keys, one can
say with 95% confidence that the true proportion of minor in the whole
population lies between 7% and 25 %. When, as here, the sample is a small
(6%) proportion of the population, the precision with which the sample
approximates the population depends only upon the size of the sample,
not upon the proportion of the population included within the sample.7
The population from which our sample was drawn consists of solo
keyboard compositions entitled "sonata," "lesson," "sonatina," "diverti-
mento," or "partita," published 1742-1774. The following categories were
excluded from the sample: i) keyboard sonatas with obligato or ad libitum
accompanying instruments; 2) compositions not published during this
period; 3) compositions appearing only in anthologies of works by differ-
ent composers; 4) compositions by Domenico Scarlatti. The first category
was excluded because the use of an accompanying instrument could con-
ceivably cause a difference in the design of the exposition. Sonatas in
manuscript and sonatas appearing in anthologies were excluded because
they frequently are difficult to date accurately. In the case of the an-
thology, a publisher might well have included a relatively old composition
simply because it was readily available. A composer preparing a set of
sonatas for publication might have done this also, of course, but it seems
more likely that he would have preferred to issue his latest works. The
compositions of Domenico Scarlatti were excluded because they are gen-
erally believed to be very different in style from other works of the
period. Since many of Scarlatti's sonatas were published, a small sample
might contain so many that it would be unduly "biased" in favor of a
very individual style.
The span of 33 years (1742-1774) was considered long enough to per-

7 Frederick C. Mills, Statistical Methods (3rd ed., New York, 1955), p. 671.

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 39

mit us to observe changes in style. The year 1742 is significant as the date
of the first sonata publications of Carl Philipp Emanuel Bach and Gio-
vanni Platti. The year 1774 provides a convenient ending point since it
was the year in which Mozart composed his first solo keyboard sonatas.
A list of og90 works was compiled by searching through all available
library and union catalogues, catalogues of I8th-century publishers, and
modern studies of I8th-century publishers and dealers.8 Also consulted
were studies dealing with the keyboard sonata.9
These Io090 works were divided into two groups: the early popula-
tion, consisting of 544 works published 1742-1759, and the later popu-
lation, consisting of 546 works published 1760-1774. The date 1760 was
chosen as a dividing point because it was believed that works composed
after this date tended to differ markedly from those composed before.
A random sample of 35 movements (from 35 different sonatas) was
taken from each population. These samples will be referred to as "Group
I" and "Group II." The entire sample of 70 movements will simply be
called "the sample." The procedure employed to insure randomness in
the selection of the sample was as follows: each of the sonatas in both
populations was given a number (early population: 1-544; later popula-
tion: 1-546). Two sets of 80 numbers each were then taken from a table
of random numbers given in Frederick C. Mills, Statistical Methods, p.
665. Attempts were made to obtain microfilms of the 80 plus 80 or 16o
sonatas corresponding to these numbers. After about three months, the
sonatas that had been obtained were examined in order of their appear-

8 The main sources used in compiling a list of the sonata population were as fol-
lows: I) Library and union catalogues: Robert Eitner, Biographisch-bibliographisches
Quellenlexikon der Musiker und Musikgelehrten ... io vols., (Leipzig, 1899-1904);
Gaetano Gaspari (ed.), Catalogo della Biblioteca Musicale G. B. Martini di Bologna
(reprint of the original ed. of 1890-1905, 4 vols., Bologna, I961); Edith B. Schnapper
(ed.), The British Union-Catalogue of Early Music (2 vols., London, 1957); Alfred
Wotquenne (ed.), Catalogue de la Bibliothdque du Conservatoire royal de musique
de Bruxelles (4 vols., Brussels, 1898-1912); Bollettino dell'Associazione dei musicologi
italiani, I909-: Biblioteca del R. Conserv. di Napoli (in Series X), Biblioteca estense
de Modena (Series VIII), Citta di Firenze: Biblioteca del R. Conservatorio di musica
(in Series IV); Library of Congress Cataloguing Division: Classification M 23, Sep-
arate works (sonatas, sonatinas); 2) Catalogues of IS8th-century music dealers and
publishers: Catalogue Thematique ou Commencement de touttes les Oeuvres de
Musique qui sont du propre fond de I. I. et B. Hummel, Amsterdam; Catalogo delle
sinfonie [soli, duetti, trii .. .1 che si trovano in manuscritto nella officina musica di
Breitkopf in Lipsia (6 parts, Leipzig, 1762-1765); i6 Supplements, 1766-1787 (the last
ten supplements were not available to this study); 3) Studies of I8th-century music
dealers and publishers: Hannelore Gericke, Der Wiener Musikalienhandel von 1700
his 1778 (Graz, i96o); Albert G6hler, Verzeichnis der in den Frankfurter und Leip-
ziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien (Leipzig, 1902);
Carl Johansson, French Music Publishers' Catalogues of the Second Half of the Eigh-
teenth Century (2 vols., Stockholm, 1955); Lothar Hoffmann-Erbrecht, "Der Niirn-
berger Musikverleger Johann Ulrich Haffner," and "Nachtriige," Acta Musicologica
XXVI (1954), pp. 114-126 and XXVII (1955), pp. 141-143.
9 William S. Newman, op. cit., appeared too late to be of use for this purpose.

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 40 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

ance in the sets of random numbers. The first 35 movements of each group
that conformed to certain criteria became part of the sample.'0
The following criteria governed the selection of movements:
i) The movement must be the first or second of the sonata. Conclud-
ing movements may not be chosen.
2) The movement must be divided into two parts by a repeat sign
or a perfect cadence. The first part must end on V or III and the second
on I. The first part must be at least ten measures in length.
3) The tempo indication must not be slower than "Moderato" or
"Allegretto." A movement with no tempo indication or with the indica-
tion "Cantabile" may be chosen if it seems to move at a pace no slower
than "Moderato" or "Allegretto."
Only sonatas whose date of publication could be determined within
a few years were admitted into the sample. A publication date is given
on the title pages of fifteen of the sample sonatas. In six other cases, a
date is given in a preface, a dedication, or in an announcement printed
in the edition. There were several important tools for determining the
dates of the remaining pieces. A very helpful article by Lothar Hoffmann-
Erbrecht dates the output of the Nuremberg publisher J. U. Haffner
through newspaper advertisements and plate numbers."1 A study of pub-
lishers' numbers by Otto Erich Deutsch was useful in dating the publica-
tions of Balthasar Schmid of Nuremberg.12 The British Union-Catalogue
of Early Music provided us with the dates of a number of sonatas pub-
lished in London.
In the appendix to this study, we give the full title of each sonata of
the sample. The movements of the sample are numbered in the approxi-
mate order of publication, and will be referred to by number.13
We shall now briefly describe certain aspects of our sample of 70
movements.14 Fifty-three composers are represented in the sample. The
following list indicates the number of sonatas contributed by each:
10 From several instances where we can exactly determine the true proportion of
a characteristic in the whole population, we can judge how representative our sample
actually is. The following lists the sample and population proportions for three classes
of sonatas: I) sonatas by C. P. E. Bach: 5.7% (sample); 4.9% (population); 2) sonatas
published by J. U. Haffner: 12.8%; 16.6%; 3) sonatas published in London: 37.1%;
43.9%.
" Lothar Hoffmann-Erbrecht, "Der Niirnberger Musikverleger Johann Ulrich
Hoffner," op. cit.
12 Otto Erich Deutsch, Musikverlags Nummern, eine Auswahl von 40 datierten
Listen 1710-1900 (1st ed. rev.; Berlin, 1961). A more recent study of Schmid's output
is Horst Heussner, "Der Musikdrucker Balthasar Schmid in Niirnberg," Die Musik-
forschung XVI (1963), pp. 348-362.
S7The 70 movements of the sample are included in the writer's "The Opening
Sonata-Allegro Movements in a Randomly Selected Sample of Solo Keyboard Sonatas
Published in the Years 1742-1774 (Inclusive)," (Princeton University Diss., 1964),
vol. 2.

14 Here we are interested only in the composition of the sample. In the following
sections of this study, we shall infer information about the population.

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 41

FOUR MOVEMENTS: Carl Philipp Emanuel Bach, Giovanni Marco Placido

Rutini.
THREE MOVEMENTS: Christoph Nichelmann.
Two MOVEMENTS: Johann Christian Bach, Charles Burney, Ernst Eichner,
Samuel Jarvis, Adolf Carl Kunzen, James Nares, Christian Gottlob Neefe,
Friedrich Theodor Schumann, Georg Christoph Wagenseil.
ONE MOVEMENT: Johann Joachim Agrell, Domenico Alberti, Samuel Ar-
nold, Felice Bambini, Georg Benda, George Berg, Christlieb Sigismund
Binder, Johann Philipp Breidenstein, John Burton, Legrenzi Vincenzo
Ciampi, Muzio Clementi, Giacomo Croce, De Virbes, Richard Eastcott,
Johann Gottfried Eckard, William Felton, Baldassare Galuppi, Elisabetta
de Gambarini, Gillier (the Younger), Johann Adolf Hasse, Joseph Haydn,
Leontzi Honnauer, Philippe le Roi, Georg Simon Lihlein, Vincenzo Man-
fredini, Friedrich Wilhelm Marpurg, Padre Giambattista Martini, Johann
Gottfried Miithel, Pietro Domenico Paradies, Ferdinando Pellegrini, Gio-
vanni Benedetto Platti, Henri Joseph Rigel, Giuseppi Sarti, Christoph
Schaffrath, Christian Friedrich Schale, Theodor Smith, Georg Andreas
Sorge, Johann Nikolaus Tischer, Thomas Vincent, Elisabeth Weichsell
(Mrs. Billington), Ernst Wilhelm Wolf.
Table 2 classifies the sonatas of the sample according to the composer's
country of birth:15

TABLE 2

Sonatas classified according to the composer's country of birth

No. of sonatas

Composer's Group I Group II

Country of Birth (1742-1759) (176o-1774) Totals
Germany 18 13 31
Austria I 2 3
Italy 10 7 17
England 4 8 12
France or Belgium o 2 2
Sweden I o I
Country unknown I 3 4

35 35 70

Sonatas by German
Table 3 shows wher

15We have considere

place of birth is not k
Clementi, George Berg
in France, are classifie
born in Strasbourg, i
and Smith are placed i
that the last two com

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 42 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
TABLE 3

Place of publication
City Where
First Published Group I Group II Totals
London 14 17 31
London and Amsterdam o 2 2
Nuremberg 16 o 16
Leipzig o 6 6
Vienna I 2 3
Dresden I o I
Berlin I o I
Paris o 6 6
Bologna I I 2
St. Petersburg o I I
City unknown I o I

35 35 70

We see that almost

worthy is the declin
in Nuremberg. Beca
and Austrian cities
better represented in
By comparing the
Group II, we can de
quency in the earlie
a frequency (a) obs
served in another t
level) given two sam
lated for 4 values of
seven (20%) of the
the 35 movements o
is more common in
would occur by chan
In this study we at
TABLE 4

Frequency, a, required for

Observed frequency, statistically significant
b, in sample I (35) difference in proportion
in sample II (35)
7 15
14 23
21 29
28 34
16 These figures
Differences in Ob
pp. 826-830.
17 Since each statement made in this paper is significant at the 95% confidence
level, we would not consider it statistically significant if a given characteristic oc-
curred in seven movements of Group I and twelve movements of Group II.

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 STYLE CHANGE IN THE MID- 18TH-CENTURY KEYBOARD SONATA 43

presence or absence in a given work is easily verifiable. Terms like "Ba-

roque style," "style galant," or "Classical style" are not employed. Every
statement is based on the frequency with which observable characteristics
occur in our sample.1s
Sonata-allegro movements of the period 1742-1759 differ in many re-
spects from those of 1760-1774. These differences relate to almost every
aspect of musical style, including texture, harmony, melody, rhythm, and
phrase structure. First I shall indicate the style characteristics more com-
mon in early works, then those more frequent in later works. This study
will deal almost exclusively with the exposition section of the sonata-
allegro movement. The reason is that few important changes were found
in the procedures employed within the second part of the movement.
Four rhythmic or melodic patterns, shown in Examples i to 3, are
employed in a greater proportion of expositions published during the
early period. The pattern shown in Examples ia and ib is found in the
top voice on either the first or third beat of the measure. It usually serves
to mark the end of a melodic unit.
Ex. ia

or r or r-o-.. or
Ex. ib G. M. P. Rutini, Sonata in F, Op. r, No. 2, Allegro, numm. 1-3

This pattern occurs in eight expositions of Group I and one exposition

of Group 11.19 (Henceforth, statements of frequency of this form will
be abbreviated as follows: I: x; II: y.) A rhythmic pattern that is more
frequently employed in the bass register of early expositions is shown in
Examples 2a and 2b (1:9; 11:2).20
Ex. za 1nFc78iorrst m .
Ex. 2b G. A. Sorge, Sonata #2 in F (c. 1748), First mvt., mm. 1-2

ftQQM r I W

18 In studying a random sample, we obviously give equal

"bad," original and conventional works. We describe only t
a period. By establishing what was "normal," we provide a b
what was original.
19 Nos. 5, 6, 7, 1o, 14, 27, 32, 35, 43.
20 Nos. 2, 3, 6, II, 12, 15, 17, 21, 27, 45, 67.

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 44 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

The patterns shown in Examples I and 2 may occur in any section

of the exposition. If we confine our observations to the top voice of
the first measure of the exposition, we find two other "early" rhythmic
patterns. One, shown in Examples ib and 2b, is the subdivision of

the first two beats into seven or eight I6th-notes: " ff? f7 or
f ' . (1:6; II:o).21 The other, illustrated in Example 3, is
the pattern J or J J j j where i) the eighths or quarters
surrounding the central rhythmic value may be subdivided in any way
(e.g., or _ J .J ), and where 2) an appoggiatura on the
middle note is not considered a change of the basic pattern (I: Io; II:2).22

Ex. 3 T. Vincent, Lesson in A, Op. 2, No. 6, Con spirito, mm. I-z

We shall now mention three "early" characteristics relating to texture,

harmony, and phrase structure. The first is the use of imitation or ex-
change of voices. By imitation, we mean the placing of a motive first in
one voice and then, not more than two measures away, in another. Ex-
change of voices will signify two motives that are first presented simul-
taneously in two voices and then repeated with the voice position of the
motives reversed (Ex. 4).

Ex. 4 G. Benda, Sonata #2 in G (7 5 7), Un poco allegro, mm. 12-16

h -O -P- -!
f" iiL F L

m m

21 Nos. I, 10, 14,

22 NOS. 5, 6, 7, 8, I

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 45

As one might expect, during the time period of the sample there is a
real decrease in the proportion of expositions containing imitation or
voice exchange (see Table 5).23
TABLE 5

Imitation or voice-exchange in the exposition

No. of expositions

1742-1749 1750-1759 1760-1774 Totals

Imitation or
voice-exchange 9 3 2 14
No imitation or
voice-exchange 7 16 33 56

Totals 16 19 35 70

These procedures are

published in the "Ger
Berlin, than in exposit
considers the entire
and 6B).24
TABLE 6

Imitation or voice-exchange in expositions published in Nuremberg,

Leipzig, Dresden or Berlin ("Germany") and in
expositions published elsewhere

A-The 70 expositions of the sample

Imitation or No imitation or
voice-exchange voice-exchange Totals
Published in "Germany" 12 13 25
Published elsewhere 2 43 45

Totals 14 56 70
B-The 35 exposit
Imitation or No imitation or
voice-exchange voice-exchange Totals
Published in "Germany" II 8 19
Published elsewhere I 15 16

Totals 12 23 35
It may be recalled t
published in these c
the date or the place

23 Nos. 2, 3, 5, 6, 7, o, 1
24We have included N
publication is not kno
weighting the evidence
imitation or voice-exch

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46 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
ing the observed decrease in the frequency of imitation and voice-ex-
change. Unfortunately, the answer to this question cannot be inferred
from our data.
One harmonic progression occurs more frequently in early exposi-
tions. This is a succession of at least five chords with roots descending
by fifths or ascending by fourths (1:8; II:o).25 In all cases, the harmonic
sequence is associated with a sequentially repeated melodic pattern
Ex. 5 F. W. Marpurg, Sonata #2 in G minor (c. 1755), Vivace, mm. 17-2 1

9:F J . . , : , _ . - .P

Early expositions more frequently begin with a unit whose phrase

structure can be represented as ABB', where i) A, B, and B' are each
one or two measures in length, 2) the beginning of B' is thematically
and harmonically identical with that of B, and 3) the end of B' does not
coincide with the beginning of the following unit (I: 10; II:2).26 This
design is illustrated in Example 6.
Ex. 6 Padre Giambattista Martini, Sonata #1 in A (0747), Allegro, mm. I-3

_A
.-3 tr --
11B

Ok: - . .. -] f1'p IN
B'

i , -:. . .

We shall now consider some characteristic features of later ex-

positions.
There is a difference in length between later expositions and exposi-
tions dating from the beginning of our early period. Within the sample,
25 Nos. 3, 9, 13, I5, 17, 20, 22, 23.
2B NOS. 5, 8, 14, I8, 20, 25, 27, 29, 32, 34, 40, 54-

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 STYLE CHANGE IN THE MID- I 8TH-CENTURY KEYBOARD SONATA 47

the average number of measures in the expositions of 176o-1774 is ten

measures greater than that in the expositions of 1742-1749 (see Table 7).27
TABLE 7
The number of measures in expositions of 1742-1749
and in those of 1760-1774
No. of Expositions
No. of Measures
in the Exposition 1742-1749 1760-1774
10-14 3 o
15-19 3 3
20-24 5 4
25-29 2 6
30-34 0 7
35-39 I 5
40-44 2 3
45-49 o 5
50-54 o 2

16 35
1742-1749 average: 1760-1774 average:
23 measures 33 measures

This difference indicates that in the populatio

measures in expositions of 176o-1774 is greate
of 1742-I749.28
One can also observe further differences
motivic pattern, texture, harmony, and phras
expositions and those of 1742-1759. Piano indic
greater proportion of the later expositions (1:
less connected with the increasing popularity
A melodic formula characteristic of later
Example 7 (I:o; II:8).30 The intervals between t
but the other intervals are as shown in the examp
Ex. 7
or
q -iJL F
how aft-'

27 It may be
might be no m
meet this obje
puted a secon
did not affect
28 The observe
whether there
the aid of th
within each sa
Mills, op. cit.,
number of me
29 Nos. 2, 4, IS
6I, 63, 64, 65,
80 Nos. 38, 55

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48 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
At the end of later expositions, one more often finds the closing formula
illustrated in Example 8. This consists of an ending chord that is repeated
at least twice, with at least two of the chords containing three notes or
more (I:o; II:9).31
Ex. 8

Several accompaniment patterns are employed more often in later

expositions. The most striking difference is in the use of the Alberti bass.
This term will refer to accompaniment patterns of the type illustrated in
Example 9. There must be at least two successive occurrences of the
figure.
Ex. 9

~~blows

The A
positio
exposi
propo
Newm
1740's
indicat
employ
Harmo
period
of the
key (V
exposi
eral be
two m
and 3
a new

s 1Nos.
82 Nos.
83 New
8 By a
of the I.

35 This
that slo
p. 286,
86 Nos.

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 49

"IV " chord does not constitute a harmonic change.) The ending chord
of the exposition is extended by a pedal of at least three full measures in
length in nine movements of 1759-1774 and none of 1742-1758 (see
Table 8).37
TABLE 8

Expositions of 1742-1758 and 1759-1774 in which the final chord is

extended by a pedal of at least three measures in length.
No. of Expositions

1742-1758 1759-1774 Totals

3 m. pedal ending o 9 9
No 3 m. pedal ending 30 31 61
Totals 30 40 70

Also, Group II has a

cadence in the seco
tained for at least th
duration of the IV (1
quarter-notes (1:6; II
an important change
The study of phrase
early and later expos
units of the form A
employed when the f
A Length
i-A thematic unit, A, is at least one measure in length.
2-The unit immediately following, A', is equal in length to A or one meas-
ure longer.
B Motivic and Harmonic Identity
i-At least the first half-measure of A must be repeated at the beginning of
A'. There may be some melodic variation, but the initial harmonies must
be identical.
2-If A is only one measure in length, at least the first three-quarters of the
measure must be repeated at the beginning of A'.40

Ex. Io C. P. E. Bach, Sonata in C, W. 53/5, Allegro moderato, mm. 17-20

I A 1 A1 'z
oe
::- i"- __ -' J
II

7 Nos. 32, 33, 34 3

88 Nos. 4, 33, 40, 4
89 Nos. 4, II, IS, 2
67, 68.
'o When less is retained, the second measure tends not to sound as though it is
paired with the first.

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50 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

A greater proportion of the later expositions begin with an AA' pair.

There is a linear change in proportion as we move from 1742-1749 to
176o0-774 (see Table 9).41
TABLE 9

AA' opening in expositions of 1742-1749, 1750-1759, and 1760-I774-

No. of Expositions

1742-1749 1750-1759 1760-1774 Totals

AA' opening 2 6 19 27
No AA' opening 14 13 i6 43
Totals I6 19 35 70

Similar results are obtain

to which the entire expos
was as follows: for each m
of exposition measures th
of measures in the expos
proportion of measures in
then computed the aver
average percentage of the
is 54%. (In other words, a
tion in Group II occur wit
have a higher average prop
Early and later exposition
in which sections are sep
Scholars have observed th
area material is often so s
that there is no effect of
sumed that well-defined b
common during the later
one has demonstrated this
employed with greater fre
We have isolated a type o
terial beginning in V fr
will be referred to as th
like the "second theme,"43
corresponds with the begi
caesura, we consider only
expositions in minor, un
keys, the V or III.) The do

4x Nos. I, 16, 22, 26, 30, 32, 34,

63, 64, 66, 69, 70.
42 See, for example, Faisst, op.
,4 The term "second theme"
will not be employed in the rem

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 51
will be called the "A section" and the "B section" (see Exx. i ia and IIb).
Ex. Ira G. S. Loehlein, Partita in A, Op. i, No. 4, Poco allegro, mm. 7-8
A section B section

r.] 61 IL-
,,

Ex. rib F.lBamb

A section B section

-k '"#-

It is defined
break betwe
B section:

I ENDING OF SECTION

a) Section ends on V/V or on a semi-cadence in I.

b) The last measure is not a sequential repetition of a previous measure.
c) The end of the section is separated from the beginning of the immediately
following section by one or more of these means: I) rests in all voices,
2) rest in the top voice, 3) appoggiatura in the top voice, 4) all voices held
for at least one quarter-note.
II BEGINNING OF IMMEDIATELY FOLLOWING SECTION

a) Section begins on V, V/V, or on an inversion of one of these chords.

b) The first phrase does not begin or end with a progression that could be
read as V-I in the tonic.
c) The first full measure does not contain the V7 of any triad other than the
dominant.
d) The opening phrase is not a varied repetition of the last phrase of the im-
mediately preceding section.

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52Z JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Dominant caesuras are found in a significantly higher porportion of
major expositions in the later group (see Table io).44
TABLE IO

Dominant caesuras in expositions in major keys of Group I and Group II

No. of Expositions

Group I Group II Totals

Dominant caesura 11 26 37
No dominant caesura 17 6 23

Totals 28 32 60o

The definition of the do

studying thematic contr
section immediately fol
which contrast in volum
are found in a higher pro
begins p or mf in eleven
Also, a higher proportion
five or more notes and co
than two simultaneous no
Ex. 12 J. C. Bach, Sonata in D,

1I=. I-2

A section B section

-m. I8-2o
mm. 18-zo

44 Nos. I, 2, 15, 19, 20, 21, 22, 26, 29, 34, 35, 38, 40, 4 s 43, 45, 46, 47, 48, 49, 50, 53, 54,
55, 56, 57, 58, 59, 61, 62, 63, 64, 65, 66, 67, 68, 70.
45 Nos. 38, 45, 46, 48, 49, 55, 57, 58, 59, 61, 67. It could be argued that B sections of
the earlier group may well have been played piano even though not so indicated.
This, however, could have been true of the later expositions as well.
46 Nos. 43, 48, 49, 57, 59, 6i, 65.

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 53

We have been able to find only one significant difference between the
second parts of early and later movements. In most movements, the sec-
ond part begins with the thematic material of m. i of the exposition. Sec-
ond parts beginning with new material or with a section of the exposition
other than m. i are more frequent in later than in early movements (1: 3;
II: 1).4T
So far, this article has mainly been concerned with style characteristics
taken separately. We shall now consider a group of coordinated style
characteristics.
Sonata movements are sometimes said to fall into several basic types
or styles. Scholars have spoken of the "symphonic," "chamber," and
"empfindsamer" styles.48 We have been able to isolate only one set of
characteristics which co-occur with some frequency and which may be
said to constitute a special "exposition type." Five expositions of our
sample,49 all from Group II, contain at least five of the following six
characteristics: 50

i) Opening chord of the exposition containing five or more notes and first B
section beginning with not more than two simultaneous notes51
2) First B section beginning piano52
3) First A section ending with a) rests in both hands, or with b) a chord
whose top note is repeated at least twice and whose bottom note is not con-
nected to the following section by a scale segment53
4) Final chord of the exposition repeated at least twice, with at least two of
the chords containing three or more notes54
5) Tremolo or repeated double-third in the right hand for at least one meas-
ure55

6) Exposition at least 42 measures in length58

We shall refer to the expositions in this group as "Type S expositions."

They appear to be similar in style to expositions of sonata-allegro move-

'7 Nos. 14, 34, 35, 48, 49, 5o, 57, 59, 60, 64, 65, 67, 68, 69. This difference does not
appear to have been noticed before now.
4s See, for example, Newman, op. cit., pp. I22-I23, 222-223, and 332. A good de-
scription of the "symphonic style" in the sonatas of Carl Philipp Emanuel Bach may
be found in Erich Herbert Beurmann, "Die Klaviersonaten Carl Philipp Emanuel
Bachs," (unpublished Ph.D. dissertation, Georg-August Universitait, Gijttingen, 1952),
pp. 48-54.
40 Nos. 48, 49, 55, 57, 59.
50 Two readily available examples of expositions of this type may be found in
Johann Christian Bach's Sonata in D major, Op. 5, No. 2, Allegro di molto, in Ludwig
Landshoff's edition (Johann Christian Bach: Zehn Klavier Sonaten, Leipzig: C. F.
Peters, 1925), and W. A. Mozart's Sonata in D Major, K.284, Allegro.
51 Nos. 48, 49, 57, 59. A total of seven of the thirty-five expositions of Group II
share this characteristic. A statement of this type will henceforth be abbreviated as
follows: (II: 7/35).
52 Nos. 48, 49, 55, 57, 59 (II: 10/35).
53 Nos. 48, 49, 55, 57, 59 (II: 7/35).
54Nos. 48, 49, 55, 57, 59 (II: 9/35).
55 Nos. 49, 55, 57, 59 (II: 4/35).
51 Nos. 48, 49, 55, 57 (II: 9/35).

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 54 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

ments in symphonies. The true proportion of Type S expositions lies be-

tween 5% and 30% of the later population. The observed difference in
the frequency of Type S expositions in Groups I and II (I:0; 11:5) does
not meet the level of confidence we have set for ourselves. However it
does suggest that further investigation might prove fruitful.
This study has shown that expositions of 1742-1759 differ significantly
from those of 1760-1774. A greater proportion of the early expositions
contain I) imitation or voice-exchange; 2) harmonic progressions down-
ward along the circle of fifths, with attendant melodic sequences; 3) open-
ing units with the phrase structure ABB'; and 4) the melodic and rhyth-
mic patterns shown in Examples 1-3.
More characteristic of later expositions are units with the phrase
structure AA or AA'. This is true whether one considers the opening or
the exposition as a whole. In later expositions, harmonies tend to be sus-
tained longer. A greater proportion of the later expositions contain I)
Alberti basses, 2) piano indications, 3) well-defined caesuras before the-
matic material beginning in V, and 4) thematic units in V which contrast
in volume or texture with the opening of the exposition. Expositions of
1760-1774 tend to be longer than those of 1742-1749.
The conclusions arrived at in this study could be verified by tabulat-
ing the frequency of our characteristics in another randomly selected
group of works. Preferably, the population should include some of the
compositions we have not considered, such as unpublished sonatas. It
would also be interesting to study a sample of compositions for orchestra
to discover whether "modern" characteristics occur earlier in this medium
than in the keyboard sonata.
We hope this investigation has shown that significant information
about musical style can be obtained through the study of a randomly
selected group of works.

Queens College, New York

APPENDIX

THE MOVEMENTS OF THE SAMPLE

With three exceptions, the movements of the sample are listed in order of their
date of publication. Two movements, No. i and No. I4, are not listed in this order,
because they appear to have been published seven or more years after they were com-
posed. Another movement, No. 23, is slightly out of order, because a recent study
(Heussner, op. cit.) has led us to change our original dating by one year. Information
about the means used in determining the publication date of each sonata of the
sample may be found in Kamien, op. cit., pp. 82-94.
GROUP I
Domenico Alberti
VII Sonate per ii cembalo, Opera prima, I. Walsh, London [published 1748 bu
presumably composed before c. 1740].
I--Sonata No. 7 in F, Allegro
Carl Philipp Emanuel Bach

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 55
Sei Sonate per Cembalo, che all'Augusta Maesta di Frederico II, Re di Prussia,
Balthasar Schmid, Niirnberg [1742].
2-Sonata No. 5 in C, Poco Allegro (composed 1740)
Giovanni Benedetto Platti
VI Sonates pour le Clavessin sur le Goat Italien, J. U. Haffner, Niirnberg [1742].
3--Sonata No. 6 in E, Allegretto (second movement)
Carl Philipp Emanuel Bach
Sei Sonate per Cembalo, dedicate all'Altezza Serenissima di Carlo Eugenio, Ducca
di Wirtemberg ..., Opera II'a, J. U. Haffner, Niirnberg ['744].
4-Sonata No. 6 in B Minor, Moderato (composed '744)
Christoph Nichelmann
VI brevi Sonate da Cembalo, massime all'uso delle Dame, Balthasar Schmid, Niirn-
berg [c. 17451, Publishers no. XXIV.
5-Sonata No. 3 in B Minor, Un poco allegro
6-Sonata No. 4 in G, Allegretto
7--Sonata No. 5 in C Minor, Un poco allegro
Padre Giambattista Martini
Sonate per l'organo e il cembalo, Bologna, 1747.
8-Sonata No. I in A, Allegro (second movement)
James Nares
Eight setts of lessons for the harpsichord, J. Johnson for the Author, London, I747.
9--Lesson No. 4 in F, Allegro
Io-Lesson No. 5 in A, Allegro
Johann Joachim Agrell
V1 Sonate per il Cembalo Solo, accompagnato da alcune Ariette, Polonesi, Menuetti
Etc., Op. 2, J. U. Haffner, Niirnberg [1748].
i i-Sonata No. 2 in G, Allegro assai
Elisabetta de Gambarini
Six sets of lessons for the harpsichord, Printed for the author, London [I748].
12-Sonata No. 3 in F, Allegro moderato
Johann Nikolaus Tischer
Sechs Galanterie-Parthien zur Clavier-Cbung ffir das Frauenzimmer in einer leich-
ten und applicablen Composition dargestellet, IIItr Theil, J. U. Haffner [1748].
I3-Partita No. 6 in G, Vivace
Giovanni Marco Placido Rutini
Sei Sonate per cembalo, dedicate al nobile Signore Giovan Giulio Pizzini de Thur-
imberg, Op. Ima. [The dedication is dated i748].
I4--Sonata No. 2 in F, Allegro
Georg Andreas Sorge
Erste Lieferung von XII Sonaten vor die Orgel und das Clavier in neuen Styl
gesetzet, Balthasar Schmid, Niirnberg [c. '748], Publishers no. XXIX.
15--Sonata No. 2 in F
Christoph Schaffrath
VI Sonates pour le Clavessin, Op. 2, J. U. Haffner, Niirnberg [c. 1749].
i6-Sonata No. 5 in Bb, Allegro
Legrenzi Vincenzo Ciampi
Sonate per cembalo, Printed for I. Walsh, London ['75' ].
17-Sonata No. 4 in Bb
Georg Christoph Wagenseil
VI Divertimenti da Cimbalo, Op. i, Agostino Bernardi, Vienna, 1753.
IS--Divertimento No. 3 in F, Allegro assai
Pietro Domenico Paradies
Sonate di gravicembalo dedicate a sua altezza Reale la Principessa Augusta etc.
John Johnson for the Author, London [c. '754].
Ig--Sonata No. i i in F, Moderato
Johann Philipp Breidenstein
I1 Sonates pour le Clavessin, Oeuvre II, J. U. Haffner, Niirnberg [1753-1755].
20-Sonata No. I in F, Allegro.
Thomas Vincent

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56 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
A sett of familiar lessons for the harpsichord, Opera 2d", John Cox, at Simsons...
for the Author, London [1755].
2 i-Lesson No. 6 in A, Con spirito.
Johann Gottfried Miithel
III Sonates et II ariosi avec XII variations pour le clavessin, J. U. Haffner, Niirn-
berg [c. 1756].
22-Sonata No. i in F, Allegro
Friedrich Wilhelm Marpurg
Sei Sonate da clavicembalo, Balthasare Schmid, Niirnberg [c. 1755] Plate no.
XXXXI.
23--Sonata No. 2 in G Minor, Vivace
Georg Benda
Sei Sonate per il Cembalo solo, George Ludwig Winter, Berlin, 1757.
24--Sonata No. 2 in G, Un poco allegro
Adolf Carl Kunzen
XII Sonatas for the Harpsichord, Opera prima, Printed for John Johnson, London
['757].
25--Sonata No. I in D, Allegro
26-Sonata No. 2 in F, Allegro molto
Gillier (the Younger)
Six setts of lessons for the Harpsichord, Opera seconda, John Johnson [1757].
27-Lesson No. 3 in F, Allegro
William Felton
8 Suits of easy lessons for the harpsichord, Vol. II, Opera sesta, John Johnson,
London ['757].
28--Lesson No. 13 in D, Allegro
Christian Friedrich Schale

Sei brevi sonate per cembalo, parte secunda, Balthasar Schmid, Niirnberg [1757-
1758], Publisher's no. XXXXVII.
29--Sonata No. 5 in C, Allegro
Johann Adolph Hasse
Sonate per Cembalo, Opera VII, Printed for I. Walsh, London [I758].
3o-Sonata No. 4 in Eb, Allegro
George Berg
Twelve sonatinas or easy lessons for the harpsichord, Op. III, J. Johnson, for the
author, London ['759].
3 i-Sonata No. 4 in D Minor
Christlieb Sigismund Binder
Sei Suonate per il cembalo, Opera ima, Alle spese dell'Autore in Dresda [I759].
32-Sonata No. 5 in A minor, Allegro
Baldassare Galuppi
Sonate per cembalo, Opera 2da, Printed for I. Walsh, London [1759].
33--Sonata No. 4 in C minor, Capricio
Giovanni Marco Placido Rutini

VI Sonate per il cimbalo, Opera Vt', J. U. Haffner, Niirnberg [c. 1759].

34--Sonata No. I in D, Allegro (second movement)
35--Sonata No. 6 in G, Allegro spiritoso (second movement)
GROUP II
Charles Burney
Six sonatas for the harpsichord, Printed for the Author, London [1761].
36-Sonata No. I in A, Allegro moderato (second movement)
37--Sonata No. 6 in D, Allegro Assai
Carl Philipp Emanuel Bach
Fortsetzung von Sechs Sonaten fiirs Clavier, Berlin, G. L. Winter, 1761.
38--Sonata No. I in C, Allegro moderato
Johann Gottfried Eckard
Six Sonates pour le clavecin, I" Oeuvre, Paris [ 1763].
39--Sonata No. I in Bb, Cantabile

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 STYLE CHANGE IN THE MID-I 8TH-CENTURY KEYBOARD SONATA 57

Georg Christoph Wagenseil

VI Divertimenti da Cimbalo, Op. 4, Vienna [1763]
4o-Divertimento No. I in G, Allegro
Philippe le Roi
Six Sonates Pour le Clavecin, Oeuvre Premier, Huberty, Paris Ic. 1763].
41--Sonata No. 4 in Eb, Allegro
Leontzi Honauer
Six Sonates pour le clavecin, livre second, chez l'auteur, Paris [1763].
42-Sonata No. 2 in B Minor, Allegro Maestoso
Ferdinando Pellegrini
Six lessons for the harpsichord, Op. 5 Printed for R. Bremner, London [c. 1763].
43-Sonata No. 2 in Bb, Allegro
Vincenzo Manfredini
VI Sonate da clavecimbalo, dedicate alla Sacra Maesta Imperiale di Caterina Sec-
onda Imperatrice di tutte le Russie etc., Saint Petersburg, 1765.
44-Sonata No. 5 in A, Allegro non Molto (second movement)
Georg Simon L6hlein
Sei Partite per ii Clavicembalo, Opera prima, Alle spese dell' Autore, Leipzig
[c. 1766].
45-Partita No. 4 in A, Poco Allegro
John Burton
Ten Sonatas for the harpsichord, organ, or piano forte, Printed for the Author,
London [1766].
46-Sonata No. 7 in C, Presto
Carl Philipp Emanuel Bach
Sechs Leichte Clavier Sonaten, Bernhard Christoph Breitkopf und Sohn, Leipzig,
1766.
47-Sonata No. 5 in C, Allegro moderato (composed 1762)
Henri Joseph Rigel
Six Sonates pour le clavecin, Oeuvre er, Paris [c. 1767].
48-Sonata No. 5 in Bb, Allegro Spiritoso
Johann Christian Bach
Six Sonates pour le Clavecin ou le Piano Forte, Hummel, Amsterdam, 1768, also
Welcker, London [c. 1768].
49-Sonata No. 2 in D, Allegro di molto (composed 1765 or before)
5o-Sonata No. 4 in Eb, Allegro (composed 1765 or before)
De Virbes
Six sonates pour le clavecin dont la 3" avec accompagnement de violon, Paris
[1768].
5x--Sonata No. 6 in A Minor, Allegro molto
Samuel Jarvis
Six lessons for the harpsichord or forte piano, Opera secunda, Printed for H.
Thorowgood, London [1769].
52-Lesson No. 2 in F, Allegro moderato
53-Lesson No. 4 in F, Allegro moderato
Giuseppi Sarti

Three sonatas
54-Sonata No.for the
I in G,harpsichord, Henry
Allegro (second Fougt, London [I769].
movement)
Felice Bambini
Six Sonates pour le clavecin, dedides au Roy de Dannemark, Bailleux, Paris [c.
1769].
55-Sonata No. 3 in D, Allegro
Giacomo Croce
Six sonatas for the harpsichord, H. Fougt, London [c. 1769].
56-Sonata No. 4 in C, Allegro
Friedrich Theodor Schumann
Six sonatas for the Piano Forte or Harpsichord, Opera 5th, The Author, London
[c. I769].
57-Sonata No. 3 in E, Allegro assai

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58 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
58--Sonata No. 6 in G, Moderato
Samuel Arnold
Eight lessons for the harpsichord or piano forte, Opera VII, J. Blundell, London
[c. 1770].
59--Sonata No. 7 in F, Allegro Assai
Giovanni Marco Placido Rutini
Sei sonate per cembalo dedicate a la Signora Contessa Antonia de Wratislaw etc.,
Lelio dalla Volpe, Bologna, 1770.
6o-Sonata No. 5 in Eb, Allegro (movement after opening "Preludio" ending
on a semi-cadence)
Theodor Smith
Six sonatas for the harpsichord or piano forte, Opera VI, Welcker, London [1771].
61--Sonata No. 2 in Eb, Allegro Maesto
Christian Gottlob Neefe

Zwdlf Klavier-Sonaten, E. B. Schwickert, Leipzig, 1773.

62-Sonata No. 2 in D, Allegretto grazioso
63-Sonata No. I2 in A, Tempo giusto
Richard Eastcott

Six Sonatas for the Harpsichord, or Piano Forte, Opera prima, Welcker [1773].
64-Sonata No. I in Bb, Con Spirito
Muzio Clementi
Six Sonatas for the harpsichord or piano forte, Opera primo, Welcker, London
[c. 1773-1775].
65-Sonata No. 4 in F, Spiritoso
Joseph Haydn
Sei Sonate da clavicembalo, Kurzb6ck, Vienna, 1774.
66-Sonata No. 4 in D, Allegro
Ernst Eichner

Six sonatas for the harpsichord or piano forte, R. Wornum, London ['774].
67-Sonata No. 2 in Bb, Allegro Moderato
68--Sonata No. 6 in F, Allegro
Ernst Wilhelm Wolf

Sei sonate per il clavicembalo solo, Alle spese dell'Autore, Leipzig, 1774.
69--Sonata No. 3 in D Minor, Allegro moderato
Elisabeth Weichsell (Mrs. Billington)
Three Lessons for the harpsichord or piano forte, Welcker, London [c. 1775].
7o--Sonata No. I in D, Allegro

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