"But this point being in apposition to the starting point, leaves the mind dissatisfied and in expectation of fresh disclosures; so they made the balance complete by resuming the subjects and melodic figures of the first part in extraneous keys, and working back to the starting point; and they made their final close with the same figures as were used to conclude the first half, but in the principal key instead of the key of contract." This is a somewhat more elaborate method of describing the sonata form than I have adopted in the division of this book relating to the pianoforte.
Later on in his book, Sir Hubert, in discussing the type of sonata movement which was fairly established by the time of Haydn and Mozart, gives a simpler esthetic explanation, pointing out that the first part of the movement aims at definiteness of subject, definiteness of contrast of keys, definiteness of regular balancing groups of bars and rhythms, definiteness of progressions. By the time this first division is over the mind has had enough of such definiteness, and wants a change. The second division, therefore, represents the breaking up of the subjects into their constituent elements of figure and rhythm, the obliteration of the sense of regularity by grouping the bars irregularly; and aims, by moving constantly from key to key, to give the sense of artistic confusion; which, however, is always regulated by some inner but disguised principle of order. When the mind has gone through enough of the pleasing sense of bewilderment--the sense that has made riddles attractive to the human creature from time immemorial--the scheme is completed by resuming the orderly methods of the first division and firmly re-establishing the principal theme which has been carefully avoided since the commencement.
The earlier symphonic writers usually wrote their symphonies in three movements: the first or sonata movement; a second slow movement in a simpler type of form, usually of the song, aria, or rondo type; and a final movement in lively time, also usually adapted to the rondo form. Concerning this three-movement symphony of the early writers, it was said by an old-time wit that they wrote the first movement to show what they could do, the second movement to show what they could feel, and the third movement to show how glad they were it was over--and this may be said to describe the view of the ultra-modern music-lover toward rigidity of form in general.
