He adds that H.C. Koch came closest to such
recognition in his explanation of the first movement of the symphony, with,
however, an implication that the sonata was somewhat different and more
intimate in style than the symphony. A study of Koch's writings as they appear
in Newman yields little in terms of the sonata cycle as a whole. In general,
the only requirement that seems to be mentioned in writings from this time is
that of contrast between the movements. Suggestions regarding the choice of
form and character to be used for each movement were barely touched upon.
Furthermore, dictionary definitions were hazy at best.
J.A.P. Schulz's 1775 discussion of a sonata mentions the fact that it is an
instrumental piece consisting of two, three, or four successive movements of
different character. He adds that the sonata is the best form with which a
composer could depict his feelings without words. Nothing is mentioned about
first-movement sonata form, or the form of the sonata work as a whole. This is
also evident in a 1755 article by Rousseau.
Newman considers the appearance of an eight-page
discussion of "La grande coupe binaire" ("fully-developed binary design") from
Anton Reicha's Traité de haute
composition musicale in 1826 as the next step in the process of recognition
of sonata form. Although Reicha does not mention the word "sonata," nor
recognise the ternary implications of the design, he does cover the basic
essentials, including the terms "exposition" and "development." He also
establishes the proportions of both parts of the binary design, saying that
they should be in a 1:2 or 1:3 relationship. More importantly, he fixes not
only the arrangement of the themes in the exposition, but also the key
structure.
Newman also refers to Adolph Bernhard Marx who, in 1845,
published a detailed 137-page section on "sonata form" in the first edition of Die Lehre von der musikalischen Komposition.
He states that Marx "devoted much attention to details of phrase-and-period
syntax, he preferred a ternary to a binary concept of 'sonata form,' and he
included among the other movements the overlapping of types like the 'sonata
rondo' and the 'fugal sonata.'"
