‘The Secondary Theme (S) and Essential Expositional Clbsure (EEC) 145 to lose its grip ew route. Such a smoother shift into more normative S-activity—S"? merging santo St! —may be observed in the initial move= ‘ment of Beethoven's Piano Sonata in F Minor, op. 2 no. 1, A-flat-major S-space sets forth in sm, 21 over what seems to be an MC-dominant “frozen” or locked into place. The dominant “thaws” into mobile chordal activity in mm. 25-26, eventually driving to the EEC at m. 4. $0 of St? Following a HC Medial (Caesara in Major-Mode Sonatas Here the contextual situation is different. In tis cate the V underpinning the S? of S* (in the new key) and the V articulated at the end of the MC aze different pitches. § of the original key (tay the pitch G in a C-major sonata, the root of the LHC MC) lesps suddenly t0 8 ofthe new key (inthis case the pitch D in the newly produced G major) asa pedal point underpin- hing S or, less often, as a dominant chord in is cown tight. Asa result chere can be no sense of prolonging the MC dominant and with i the acsura-gap. Instead, one gets the impression of alurch tothe V of the new key—asif one were peremptorily correcting an unsatisfactory MC (thatis asf one would have prefered the VHC. firs-level-default option). The $!° theme often ions, wall then be held over the dominant for a few measures—pethaps asthe apparent presen tation of a sentence—before the gears re-en- gage and a new theme, SU, takes of, beginning is drive toward the EEC. Asis the case with all types of §° and 5. the secondary-theme zone proper begins with the zero SH. A perfect example occurs in the first move- nent of Mozart's Syinphony No, 33 in B-fat K. 319, The EHC MC is sounded in m. 54 Mim. 5562 comprise eight lazily drifting bars over V of Fal functioning as a broad anacruss to the new theme atm, 63 (over an F tonic). M 55 is best heard as Sm. 63 8S. Another clear example, probably more likely to be labeled 5° the frst movement of Mozart, Symphony “No. 3 in Beta, K, 22, m, 1. nodule, rot with, Other 8° and S!° Types [Related varieties of $° theme (in major-mode sonatas after a VIHC MC) ate encountered when § begins at a set of either off-tonic se= quences or looping, rotary chord successions that finally settle onto the tonic—and 3 new thematic module —several measces later, The former occurs in Mozart's (E-lat-major) Over= ture to The Mape Flat, After a stractaral-domi- nant lock within TR (as. 53, including a mix ture with B-flat minor, a common strategy of tension 3 this point of a TR), one encounters a VHC MC in on, 57, bridged with caesues-il lnm, 58 the fill sprouts into a gensine theme, a 2 piano dynamic, chat suggests that S-space (and the normative release into B-flat major) must rave heen entered, But she opening chord of this theme is Vi/ii of B-Aat major, and this initiates, a sequence buil largely on the descending cir cle of ithe that Soats downward and eventeally serves as the broad anacrusis fo a new theme on the B-Ast tonic atm. 64, “On hola” fiom m. 58 through m. 63 (S!—similar to an extension of cacsstsfill),the forward course ofthe exposition relaunches 3m. 64: the gears re-engage (S!). ‘A complementary S! type is provided in Mendelssohn's Eemajor Overture to A Midsumn- tmer Night's Dream, with its impeession of spin~ ring wheels atthe opening of S-space, Here 5° ‘begins clearly enough on the B-major tonic, but the instal effect i rosary, non-progressive, Twa 4 forward-directed S! at four-bar cycles of an S? module (mm, 15 1348) lead to a final 1m, 159, Lurking in the background here might alo be the normative gestures of standard sea Additional Issues within $-Space Gendered S-Themes? (Masculine/Feminine) Ig was only around 1845 with A. B. Marx's Die Lehre vor der musikalischen Komposition— in a fleeting metaphor whose imagery appa ently spread like wildfire in the mid- and later nineteenth contury—that the P- and S-themes were characterized as masculine and feminine In this instance Mare, in a characteristically146 Elements of Sonata Theory smid-nineteenthecentury move, was underscor ing the tendency for Sto serve as a contrast to B.S was “the [idea] created afterward [Nachge- sche) serving as contrast, dependent on and determined by the former—consequenty. and according to its nature necessarily, the milder [idea]. one moze supple [schmiggsam] than em phatically shaped, as if it were [glichram) the feminine to that preceding masculine."2® Marx did nor intend the metaphor so concretely a8 ta pursue itn his own analyses. On the contrary, at times he came to completely different, ad ho conclusions. In 1859 and subsequent years, for instance, he interpreted all of Beethoven's Over- ture, Lenore 1, sa representation of “Leonora gentle image” (Leomorens miles Bild das Ales geht 30 mensch, s0 deutsch 1} und eb her dn which P strides forth “with an exsy fersinine sep” [leiden wesblchew Schrits}, while the ightier, Florestan-dominated Leanore 2 and 3 hie conversely believed that Leonora qua charac~ ter was nowhere to be found. There he under= ood § a5 “Florestan’s lament [feom the dun- geo)” (tit wrederum ie Klage Florextans), even while problematiging the theme as estranged fom the spirit of what precedes it, nonorganic, 4 citation from the aria-melody introduction and not a proper [eigentihe] Seitensats ‘Today one should be cautious in bringing the masculine-feminine stereotype uncriti- cally to works before 1825 or 30." At best the concept is deeply problematic when applied to the eatly nineteenth century and even moze so when transferred back to the eighteenth, No- body could doubt that initial S-themes of the contrasting type could bring 4 new topic into view—a change of emotion, sometimes from a vigorous or mazch-like P to & moze sentimental, perhaps even amorous S, Such occurrences may for may not have some gendered implications, bu the evidence uncovered along these lines so far is scamty or vietually nonexistent, Deciding this matter seems not to have been a significant preoccupation of eighteen {ators on the music 1t seems likely that the “feminine-S-theme” claim is based on an absorption of a few lte-nineteenth or early-twenticth-century ak sertions combined with an underconsidered view of how S-zones actually work within cighteenth-century sonatas. The dole S is by no means the only $ type available: many other styles — energetically bustling, forte, fagal—re~ sist or even contradict the sentsmentalized nine teenth-century stereotype, Moreover, Haydn's S-themes often begin by restating certain fer tures of P, with real thes for the C-theme, Recall also that within So- rata Theory, $ is construed as the active agent driving toward and securing the EEC—often heroically, as in Beethoven—which role does not square with the common “passive-partner,” “domestic,” oF “inspirational” stereotype that “Marx and later commentators on the form seem tic contrast reserved. to have ha in mind Nor are these the only sticking points in the gender-argument, should it be pushed back nto the decades around 1800, Late-cightoenth- century Sones ate anything but consistent fn character or topic, Its not uncommon for S to house three oF mote contrasting modules (St, St2, SU, and so on). the last of which is decisively cadential, Are al ofthese to be co lapsed under the simple adjective “feminine” ‘And what about the many varieties of C? Is ie all of part 2 that is supposedly gendered as feminine —on the grounds, perhaps, of some proposed ideology of subordination egueding sks key?—or is st only S (or past of S—oaly 48s opening?) and not the normally emphatic sometimes vehement C (which, as it happens. often recaptures the P-idea)? 28. Mare, Die Lehve son der muskalichen Kompostion 2nd ed. vol. 3 (Leiprg. 1845). p. 221. CE. the wansh- tion in Mare, Misial Form inthe Age af Beethoven: ted Whigs on Theory and Material ed. and ans. Scott Burmham (Cambridge: Cambridge Univerity Prev, 1997), p. 133, 29, Marx, Ladaip vox Beethoven, Leber und Safe, et fd, (Belin: Oxto Janke, 1859), 1, 335,338 (des Ale) 337 (ihto weblion Scr) 3rd ed, (Berlin: Janke 1875), 1, $52 (die Klage Pretam), 353-54 (organic issues with this 8) 530. The Mare ine har been treated inthe scholarly Iiverature ofthe 1990s. Se James Fepokosk, "Mascu line/Feminine.” The Musical Timer 135 (August 1994), 494-99, and Scott Burnham, “A.D. Marx nd the Get dering of Sonata Form,” ia Muse Theory othe ge af Romain, ed. Ia Bent (Cambridge: Cambridge Uni= ‘verity Pros, 1996), pp. 163-86.‘The Secondary Theme (S) and Essential Expositional Closure (EEC) 147 Yer in the nineteenth century, vadeniably feminine secondary themes did exist—juxta~ posed with masculine first themes. The first ex pliitly éminine Shere within an influential, Widely admired composition —a gendering that 4s certain because of the piece’s program—sap- pears to be the “Agathe” theme from Weber's Overture to Der Freichitz (1821), although sims have been made since the mid-nine- teenth century thatthe S-theme of Beethoven’ Coralan Overvare represents feminine beseech ang the contemporary evidence for this is any thing but cleat), and (peshaps) chat an image of Clirchen is implicit in part ofthe S-theme of the Egmont Overture.9! Even if one were to concede these dubious cases, no general stereo- type was in place in the initial decades of the nincteenth century. What does one make, for example, ofthe programmatically feminine fat theme of the frst-movement “sonata form” of Beclioe's Symphonie fantastique (1830)? Instead, the concept seems to emerge more leaely and consistently in certain strands of ater ninetecnth-century gender representation, The ‘dea ofa masculine P (stormy, threatened, tou bled) counterposed toa feminine (or otherwise eroticized or idealized) 8 did inform certain kinds of expositions from about 1840 onvraed "These picces not only tended to set $ into maxi- smal relief to P but also generally conceived the exposition’ parts 1 and 2 as separate blocks, each of which often displayed a relatively consistent sometimes even monolithic character. One of the earliest examples was Wagner's program matic Overture to The Flying Dutchman (Brst version, 1841), with its antithetical epresenta- tions of the Dutchman and Senta. This nine- keeath-century expositional format, empha- sieing maximal contrast and alterity between parts 1 and 2, may be considered the “Duteh« man type” of exposition, and it was frequently adapted by later composers.® But there is no reason to suppose that its implications should be retzojected into eatlier decades Some Schenkerian Implications At this point, it may be instructive to compate the S-paradigi outlined here with the broader, Sclienkerian view of sonata fori (see example 77a and 778), As ie well known, Schenker was convinced that sonata form grew out of the in terruption principle, whereby (for example) an Unatz of the #4 f variety, spanning an entire s0- nnata-form movement, attains the specific mid Aleground form #4 Il $3.) In Schenker’ view the first branch of the intercuption structure is completed in the exposition, and its concluding 4is prolonged by the development; the recapita- lation sebegins on fand progeses this time tof. Ia the exposition fis reached at the beginning of our part 2, and is prolonged by motion into an inner voice —that is, by the linear ffth-progree sion (Zug) (1321 in the key of the dominant. (This th-progression thus occurs atthe second level ofthe sniddleground.) During the second past ofthe recapitulation the transposition of this, fiih progression to the tonic effects the ulinnate closure of the interruption structure. Obviously, within an exposition the frst st- isfactory PAC in the key of the dominant is of- ten idenical with the firs satisfictory termina tion of the middlegcound fifth progression in the exposition’ part 2, Te might be reasonable, therefore, to claim that this EEC, tis “frst sat isfactory PAC in the key of the dominant” (the V-PAC that terminates 8), is equivalent to the EIPAC terminating the Zug that prolongs § a the second level ofthe middlegzound. (We shall henceforth refer to this Zug-terminating PAC a+ 31. See, eg, Laweence Kramer, “The Stange Case of cethoven's Corilan: Romantic Aesthetic, Modern Sebjectvity, and the Ca of Shakespeare,” Tie Musial Quertny 79 (1995), 265-80, which argues on behal of the feminine-gendering ofthe § theme of Coroton (Grhich seems to have begun with Wagner. Tovey (5 sayt Mavcal Analyst) mentions the Clirchen poribil- ity. The Conn is brought up again inch. 14 32, The “Dutchman” exposition i discussed as nineteenth-century type in Hepokoski, "Masculine Feminine,” and idem, "Becthoven Reception: The Symphonic Tradition,” in The Cambnidge History of Nineeenth-Centary Mase, ed. im Sanson (Cambridge: Cambridge University Press, 2002), pp. 448-50. 13, The scenario is basially the sme ifa8-line Ueto isinvolved: the exposition moves FE, and fie prom longed by the ftprogeenion (hich now atins the stats of te “Uinits parallelism’)