TCHAIKOVSKY: SONATA-FORM STYLE AND TENDENCIES

Abstract

William Caplin’s Formal-Function Theory and James Hepokoski and Warren Darcy’s Sonata Theory were designed to analyze the tendencies of sonata forms written during the eighteenth century, particularly in the works of Haydn, Mozart and Beethoven. During the nineteenth century, this musical structure became altered in significant ways by many composers. Nonetheless, Caplin’s and Hepokoski and Darcy’s theories can still be used to analyze nineteenth-century sonata forms. Tchaikovsky made major changes in the sonata-form structure of his works by modulating to apparently unrelated or distant keys in his expositions. The relationship between the keys becomes clear once you analyze the recapitulation. He would also have unclear boundaries between the sections of the sonata form by not implementing the standard cadential ending. Instead, Tchaikovsky would use various augmented-sixth chords to signal the end of these sections. Another major change is the implementation of smaller form structures within the large sonata-form structure by way of fusion. Doing this would often create an internal-ternary structure hidden within the sonata form itself. Lastly, Tchaikovsky would typically bring back the introduction theme in the coda section, instead of the usual main-theme material. When doing this, he would frequently utilize the “Introduction-Coda Frame,” as labeled by Hepokoski and Darcy, where the main theme takes on more of a main theme role. This thesis aims to provide some of the key elements that characterize Tchaikovsky’s sonata forms, as well as a guide to analyzing nineteenth-century sonata form and what to look for when doing so.