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organically coherent substance of the work. As against Newman's three
sections of the primitive Mozart first movement, the reality is the
Mozart first movement as it is actually experienced in a symphony–
experienced not instantaneously in its schematic entirety, but as a
progression presenting itself, detail after detail, in time, and producing
on the mind the continuous, elaborated, and cumulative effect of its
successive details, with in addition the effect of departure, in the
development, from what has been presented in the exposition, the
effect of seeming return, at the beginning of the recapitulation, to
what was presented in the exposition, and the effect of the unexpected
changes, in the recapitulation, in what is repeated from the exposition.
And when the first movement is that of a Mozart piano concerto the
reality is that of a more elaborately organized progression, with the
additional effect of the differences in what first the orchestra and then
the solo piano state in the exposition, and the changes in this distribu–
tion of material between them, and in order and context of ideas, in
the recapitulation. As against Newman's idea of Beethoven's discarding
of sonata form in his last sonatas and quartets, there is the reality
that this first-movement framework was the one Beethoven used from
the beginning of his creative activity to its end, and for all the varieties
of his musical thinking including the last: the explosively vehement
thought of the first movement of the last piano sonata, Op. 111, (after
the slow introduction) and the quiet thought of the first movement of
the last quartet, Op. 13.'), both follow the clearly marked sonata-form
course of exposition, development, recapitulation and coda-the clear
markings being the prescribed 'second group' in the prescribed related
key in the exposition and in the prescribed tonic key in the recapitula–
tion, and, in the sonata, the prescribed first and second endings of the
exposition-the first leading back to the beginning of the exposition
for its customary repetition, the second leading on to the development.
As against Newman's idea of what happened after Beethoven, there
is the reality that the first-movement framework he used to the last
was one that Schubert used for the further varieties of
his
thinking:
whereas Brahms, striving to write greater than he felt, could indeed
only, in the first movement of the Symphony No.1, fill out the frame–
work with aridly synthetic substance contrived mechanically by
formula [e.g. the sawing away in cross-rhythms], Schubert deployed
in the first movement of his Symphony No.9 the substance that issued
from genuine poetic impulse-substance that occasioned unprecedented
episodes in which Tovey sees Schubert, "like other great classics, . . •
pressing his way toward new forms." There is also the reality of
