Review of Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin, eds. Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (University of Rochester Press, 2015)

[1] In the nearly twenty years since the appearance of Classical Form (1998), the impact of William Caplin's work has been remarkable and shows no sign of abating. The time seems ripe to step back and survey this area of the discipline in its larger context; to forge new connections and explore new directions. The essays in this volume include a heavy representation of Caplin's circle at McGill, including doctoral advisees and faculty colleagues, along with a liberal sprinkling of voices from outside.[2] Some logical extensions of Caplin's formal-functional approach readily come to mind, but three broad categories in particular suggest themselves. First, it has enormous potential to work together with other analytical perspectives, either specific to the Classical period--topics, schemas, Sonata Theory (vis-a-vis or contra)--or of a more general nature--e.g., Schenkerian analysis and hermeneutics. Second, there is great scope to extend its explanatory reach. This would incorporate historical perspectives, especially the evolution of thematic syntax in the 19th century, and its application to ever-larger formal scales, including so-called "double-function" forms. From a geographic viewpoint, the growth of local traditions of formal syntax in different musical centers is an area ripe for exploration. And there is still much work to be done on the question of the extent of its relevance to vocal genres. Third, given its rootedness in the ideas of Schoenberg, there is surely untapped potential here: in analytical application to Schoenberg's own music, and by extension to his compositional successors, as well as his influence on other theorists/analysts/musical thinkers. All of these possible avenues are represented here, and, of course, not all of them are new to this volume. To be sure, it is easy enough to think of others that are not included: for example, the pedagogy of formal functions, their perception and listening psychology, and their applicability to repertoires before the Classical period. Even so, this substantial volume gives us plenty to be going on with. It is organized in six parts: Theoretical Studies in Haydn and Mozart; 19th-Century Taxonomies; Schubert; Text, Texture, and Form; Analysis and Hermeneutics; and Schoenberg and Beyond.[3] The topic of Poundie Burstein's "Functial Formanality" (sic--the facetious title is in the spirit of the subject matter) is Caplin's concept of "formal dissonance" between intrinsically expressed formal function and actual temporal position. Burstein explores its witty compositional exploitation by Haydn, of all composers surely the most natural candidate for such an investigation. Under the category of "deviating middle," the development section from the first movement of the Symphony No. 80 in D minor "seems to express a type of assertion of human will against convention, as though refusing to engage in the violent emotions expected of it" (15). This quality is effectively conveyed by an analysis combining topical content with a Schenkerian reading. In the first movement of the next symphony, No. 81 in G major, the use of a typical "after-the-end" gesture (Gjerdingen's Quiescenza schema) as the main theme's basic idea has long-range consequences, in particular for the point of recapitulation. Here, Burstein problematizes the notion of identifying a definitive location for the "double return," a topic that is revisited by Giorgio Sanguinetti. In the slow movement of another symphony, No. 65 in A major, an "unrepentant" formal function stubbornly persists, unresolved to the end, and contrary to the familiar narrative trajectory of a "problematic" element finding eventual normalization.(1)[4] Nathan John Martin's "Mozart's Sonata-Form Arias" offers a valuable reappraisal of a contentious topic, one with a history of attracting extreme positions. From the most inclusive perspective, represented by Charles Rosen, the "sonata principle" is ubiquitous in this repertoire; at the other extreme James Webster admits only one aria to what is a very exclusive club indeed! …