would be direct and vigorous in
nature--a summons to attention--cast in sonata-form, with a wealth of
material organically treated, and requiring from the listener
concentrated attention. The second movement was generally much simpler
in form, affording relief after the tension of the preceding
movement--its themes of a lyric nature, often with great depth of
emotion, sometimes even of tragic import. The third movement, Minuet
or Scherzo, would portray the light, humorous side of life; and the
Finale, joyful and optimistic--its themes often bearing strongly the
sense of finality--would close the work with a general feeling of
satisfaction. It was Beethoven who first modified these principles to
suit his own poetic needs. Thus we find some of his Sonatas with only
two movements; some have three, some have four. One of Schumann's
Symphonies contains five movements and Rubinstein's _Ocean Symphony_
seven! When we reach the modern school, we shall see further freedom
as to number, order and type of movements.

[Footnote 92: The form is also sometimes used independently, as in
Brahms's _Rhapsody in G minor_ and often, of course, in the Overture.]

[Footnote 93: _I.e._, 1st Violin, 2d Violin, Viola and Violoncello.]

We are now prepared to sum up the essential characteristics of the
Sonata-Form; for there is no structure in which it is more important
for the music-lover to acquire the art of listening easily, naturally
and with a minimum of friction. The Sonata-Form is the instrumental
form "par excellence"--the Gothic Cathedral[94] of music--and has
retained its place, not because of any slavish regard for form as
such, but because it has been worked out, perfected and utilized by
the greatest of the composers. Any form with a beginning, a middle and
an ending, _i.e._, presenting material worthy of consideration, which
allows this material to grow and realize its inherent possibilities
and then sums the matter up in a convincing, objective close; which,
furthermore, exemplifies the great principle of Duality, _i.e._,
reveals _two_ musical personalities, has as little need for
argumentative sanction as a tree or a human being. The Sonata-Form--often,
to be sure, with free modifications--predominates in all the large
instrumental compositions of the Classic, Romantic and Modern
Composers, notably of such men as Beethoven, Schumann, Brahms, Cesar
Franck, Tchaikowsky, d'Indy and Sibelius. Anyone unable readily to
follow movem