HYPOSTASIS OF THE SONATA FORM IN THE OVERTURES OF THE LYRICAL DRAMAS OF WOLFGANG AMADEUS MOZART

The evolution of the sonata form, from its birth in Baroque to the radical transformations imposed by the extending of the tonal thinking and, later on, by its disappearance has recorded some decisive steps in forming and underlying its constructive principles. Already outlined in the creation of Joseph Haydn, the sonata pattern will see a diversification of its hypostasis in the instrumental music of Wolfgang Amadeus Mozart, in a particular manner in the overtures that precede its vocal-dramatic works. Each of the preliminary numbers of the lyrical dramas of Mozart show a particular variant of the sonata form, with multiple structural or tonal exceptions, that constituted milestones for the twentieth century composers in addressing the sonata pattern: the sonata without development, exposure to fugato of first theme, second theme superimposed with the first theme in the exposition, etc. With new lines opened in the design of the sonata, Mozart provides an overview of the pattern, which will anticipate its modern takeovers until nowadays.