Structural Acceleration in Nielsen's Sinfonia espansiva

Abstract

ABSTRACTThe form of the first movement of Carl Nielsen's Sinfonia espansiva rejects the traditional three‐part sonata form in favour of an experimental two‐part strategy. The dialogue between the two types of sonata has an important impact on the way we hear this movement; from a rhetorical perspective, the absence of a normative simultaneous return of theme and key invites a new analytical approach. This is informed by the idea that the movement's form, relative to the signposts set up in its exposition, appears to speed up as it continues – a phenomenon which I call ‘structural acceleration’. The reception of Hepokoski and Darcy's Type 2 sonata is unpacked before an investigation of aspects of modular layout, tonality and cadential structure which contribute to the movement's sense of formal urgency.