Analysis of first movement of String Quartet in A major by Alexander Borodin
...e harmony is based on the second inversion chord. In Beethoven's examples of sonata-form, the second subject group might be restated initially in a key other than the tonic in the recapitulation. This would increase the dramatic tension of the movement, as the driving force of sonata form is perceived to be the tension generated by tonic-dominant polarity, or the tonic-[second subject key] polarity. Thus, ultimate large-scale tonal and harmonic resolution is only achieved when the second subject is presented in the tonic key. In the first movement of the Waldstein, the second subject is only stated in the tonic right at the end, allowing the music to crave tonal resolution up to this point. So the presentation of the second subject in the tonic (so early in the recapitulation) would seem to upend the dramatic expectations of a sonata-form movement. Yet, the return to A major after un poco meno mosso cannot be appreciated as the true moment of recapitulation because of the 6/4 chord, obscuring the tonic key slightly. Thus, this sets up an opportunity for the second subject group to reappear later in the movemenxt to provide a fuller tonal resolution. So the harmonic tension of the movement is maintained during this passage. But this A major passage could be seen as the beginning of the recapitulation, the early stage of recapitulation providing even more tonal tension which must be resolved later on. The presence of a full statement of the second subject later on in the recapitulation serves to confirm the fact that its initial recurrence at un poco meno mosso is not its definitive, resolved version. This implies that un poco meno mosso is still development material, or that the recapitulation has began by discussing thematic material without allowing the necessary sense of resolution. A seemingly logical and convincing location for the start of the recapitulation is Tempo I, which presents the first subject material in the tonic key, the necessary features of a 'double return'. There are, however, some incongruities which undermine the structural presence of this recapitulation. Firstly, the tonic key has already returned emphatically in the un-thematic bars preceding Tempo I and, although more irresolutely, as a 6/4 chord at the restatement of the second subject. There is not even an appearance of the dominant preceding Tempo I, which might act to separate, or delineate, the development from the alleged start of the recapitulation. A key feature of an effective recapitulation is the return to the tonic, providing a sense of home-coming, placing a meandering, or even goal-directed, development section into context. Thus, the tonic key has already been established when the first subject returns at Tempo I, lessening the prominence of this structural event. (Yet, the first subject, due to its subdued nature, does not require a forceful recapitulation. This is also true for the second subject, which is also lyrical in disposition. Perhaps this lack of a bold subject contributes to the reasons for the absence of a resolute and clearly-defined start to the recapitulation) This postulates that a well-constructed tonal plan is indispensable to the movement possessing an adequate level of structural clarity. The fact that A major is stated before the start of the recapitulation also negates any dramatic effect that might be obtained from a 'double return'. For instance, the return to the tonic can be prolonged significantly, thereby increasing the listener's sense of expectancy and adding to the feeling of arrival when the recapitulation finally begins. These objective criticisms only arise from a combination of the subjective expectancy of the listner and theoretical models of sonata form movements. The sensation of recapitulation is consolidated by the fact that the first subject is being presented, giving more structural weight to this passage than the preceding section which states the second subject. This adheres to the classical priniciples of sonata form, but the Romantic period saw many contortions of the basic foundations of sonata form, so the second subject would often be recapitulated before the first. But the formal haziness of this movement is not the only problem associated with its adherence to sonata form. In classical sonata-form movements, the first theme would be triumphant and rousing, yet here the first subject is pastoral and lyrical in nature. On its own, this is not a huge aberration, but the lack of gestural contrast between the first and second subjects causes a deviation from the norm. Both subjects are cantabile, the second being more lilting and shapely, the first being strongly pastoral, probably due to the tonic pedal. Borodin has thus subverted one of the defining features of sonata-form movements by reducing the contrast of mood between first and second subject. Furthermore, the potent tonic-dominant polarity, a feature of classical sonata-form movements, is absent on small-scale and large-scale terms. The A major at the opening Allegro section is prepared by little reference to the dominant chord at the end of the introduction. The chord preceding the first subject group is merely an E in octaves. Thus, the presence of a well-opposed dominnant-tonic relationship is immediately undermined. E major is not granted any ability to prepare the tonic, and moreover, is unable, throughout the work, to oppose the tonic tonally or dramatically. There is virtually no reference to E major in the development section, which does not reflect classical principles of sonata-form movements. At either of the possible points of recapitulation, E major does not prepare A major or act as some sort of antagonism to the tonic key. The first inversion chord of E major is the only true appearance of E major in the recapitulation. Even at the conclusion to the movement, a dominant - tonic progression is avoided as a plagal cadence with added sixth precedes the tonic. Thus, the tonic-dominant polarity which is supposed to exist (due mainly to the fact that the second subject is in the dominant key, which keeps to the classical model) is severely undercut. In fact, the main source of tonal and harmonic conflict seems to be between A major and C major. C major interru...