From the reprise overture to Liszt’s B minor Sonata. Romantic creations in an eighteenth century formal ‘corset’?
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Date
2013
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Katedra Muzykologii, Wydawnictwo Naukowe PTPN, Wydawnictwo Naukowe UAM
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Abstract
The present paper summarises the general affi nities that link the great romantic piano
fantasies (Schubert’s Op. 15, Schumann’s Op. 17, Chopin’s Op. 49 and Liszt’s B minor Sonata) by means
of the presence of dual structures of various kinds, including the tonal, formal and an extramusical,
interpretational ‘false bottom’, the latest often of autobiographical nature. One of the most prominent
dual structures present in all the above mentioned fantasies is a so-called ‘duble-function form’ (apart
from far-reaching individualism in detailed solutions) which have no roots in the tradition of keyboard
fantasia written by predecessors. As possible source of inspiration some oeuvres of Beethoven are often
evoked. However, the paper juxtaposes them with the tradition of the so-called reprise-overture,
a particular kind of sonata form (called also ‘interpolated sonata form’ as its key element consists in
an intrusion of slow movement within the course of sonata form) that emerged in the circles of Italian
18th century opera, widespread often in conjunction with the scope to link an operatic sinfonia with
the rest of the drama. Examples by Salieri, Mozart and Haydn are briefl y analyzed to show the variety
of solutions and posing the hypothesis that reprise overture might be (as transferred well into the 19th
century by many operatic composers and ‘kleine Meisters’ that used it in purely instrumental pieces)
one of the possible – and unexpected – roots of the formal design of the greatest oeuvres in piano
literature ever composed.
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Keywords
reprise overture, Italian operatic overture, double-function form, sonata forms, romantic piano fantasies, symphonic poems
Citation
Interdisciplinary Studies in Musicology 13, Poznań 2013, pp. 29-42
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ISBN
ISSN
1734-2406