Formprinzipien in Sinfonien Mannheimer und französischer Komponisten und ihre Herkunft

Abstract

The author challenges Stefan Kunze's narrow view regarding French dependence on the Mannheim symphony and chronologically assesses compositions from German-speaking countries published in Paris, concentrating on analyses of the main theme's recapitulations and the conversion of secondary material to tonic in the final sections of Baroque sonata movements (Scarlatti, C.P.E. Bach, Mondonville etc.), overtures (Leo, Jommelli), and symphonies (Sammartini, Guillemain, J. Stamitz, Richter, Saint George, and Gossec). Comparisons between formal sonata procedures in all three movements are revealing, notably the reprise of secondary material, which stimulated the recapitulation's evolution in the classical symphony.