Abstract
The form of the second movement of the String Quartet in A major, Op. 7 is original not only in Dohnányi’s oeuvre but in music history in general, as well. This new musical idea is a fusion of two traditional forms: a variation and a ternary form. The theme of the movement is followed by four variations, but at the end of the second one there is an unexpected break: a contrasting Trio-like section comes in between and the flow of variations continues only after it finishes. This unique structure is analysed in detail for the first time in present study. Relying on analyses of Dohnányi’s compositions, this study traces similar formal characteristics in other works of the composer too. Finally, the article provides with an example for this hybrid form in one of its three closest relatives: the second movement of the Piano Quintet in Eb minor, Op. 26.
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