Both are highly formal in their structure, employing the sonata form. Both present their ideas in three movements, following an arc that goes from spritely to introspective to exuberant. And yet Haydn was writing at the dawn of Europe’s classical period and embodying the formalism of the new Enlightenment (1756), while Detroit native Paul Schoenfield's "Cafe Music" (1987) is expressing the whimsy and energy of the 21st century urban metropolis. In this "informance" the Saint Michael Trio shows how two utterly different composers use the same tools to express the sentiment of their age.

1. The Saint Michael Trio
presents
The Sonata
Yesterday and Today

2. The “Chapter” Format
First movement:
Broad, expansive. States basic character of piece.
Second movement:
Slow. Introspective.
Third movement:
Minuet. Later, scherzo. Provides comic relief.
Last movement:
Energetic. Provides resolution.

3. The Sonata Form

4. The Sonata Form

5. THE SONATA
FORM
First Theme
Second Theme
Development
Recapitulation
Coda

6. THE SONATA
FORM
1. EXPOSITION
First Theme in the home key (tonic)
Second Theme up a 5th (dominant)
Preliminary Coda still up a 5th
2. DEVELOPMENT
1st & 2nd themes in free association
3. RECAPITULATION
First Theme back in the home key
Second Theme in the home key
Coda home key

7. Trio in C Major, No. 43
Hob. XV:27
Franz Joseph Haydn
1732 - 1809

8. Haydn Trio in C Major, No. 43
The Exposition:
The first
theme
Established in the home key
(Haydn has chosen C Major, a “happy” key)

9. Haydn Trio in C Major, No. 43
First movement
The Exposition:
The first theme
continues
This is an elaboration of the initial idea, and its
treatment becomes more complex

10. Haydn Trio in C Major, No. 43
The Exposition:
Modulating to a new
key
Haydn is moving into the “dominant,” which is 5
steps above the home key.

11. Haydn Trio in C Major, No. 43
The Exposition:
The second theme
Now we are playing in the Key of G, a 5th above
the home key.

12. Haydn Trio in C Major, No. 43
The Exposition:
Preliminary coda
We are reaching the end of the second theme.

13. Haydn Trio in C Major, No. 43
The Exposition:
Back to the
beginning!
After the exposition of the first and second
themes, the tradition was to go back to the
beginning and repeat it all over again.
Why repeat? To make sure both themes are
completely engrained before you get into the
development. Note: in the modern era many
performers consider the repeat optional and omit

14. Haydn Trio in C Major, No. 43
The Exposition:
The first theme,
again
We’re back in the home key

15. Haydn Trio in C Major, No. 43
The Exposition:
Modulating to the new key,
again
Haydn is moving into the “dominant,” which is 5
steps above the home key.

16. Haydn Trio in C Major, No. 43
The Exposition:
The second theme,
again
Now we are playing in the Key of G, a 5th above
the home key.

17. Haydn Trio in C Major, No. 43
The Exposition:
Preliminary coda
We are reaching the end of the second theme.

18. Haydn Trio in C Major, No. 43
END OF THE
EXPOSITION!
Now we begin the “Development”

19. Haydn Trio in C Major, No. 43
The Development:
Free
associations
The composer gets to do anything here, and it is
completely unstructured.

20. Haydn Trio in C Major, No. 43
The Development:
“The Fugue”
In most of his music Haydn inserts a reflective
fugue-like passage into the development. It
sounds like something Bach would write for
church music, with notes of equal length (16ths)
in an uninterrupted stream. It signals the moment
of reconciliation and the return to the first theme
(and the home key).

21. Haydn Trio in C Major, No. 43
The Development:
Returning home!
Haydn is really pouring it on here! For dramatic
effect, he is staying in this transition key for a
very long time, and our anticipation for the home
key and the recapitulation just builds and builds.

22. Haydn Trio in C Major, No. 43
The Recapitulation:
We have landed!
At long last we are back in the home key and we
are listening to the first theme again.
The treatment of this first theme has extra
flourishes this time, and a triumphant feeling.

23. Haydn Trio in C Major, No. 43
The Recapitulation:
Second Theme!
But this time the second theme stays in the home
key.

24. Haydn Trio in C Major, No. 43
The Recapitulation:
Second theme,
continues
You’ve heard all of this before, but now you’re
hearing it in the home key.

25. Haydn Trio in C Major, No. 43
The Recapitulation:
The Coda
“Coda” means “ending” and you can tell the piece
is coming to a close. And in this case Haydn is
choosing to wrap with a gradual fade-away,
rather than a big flourish. But he will tack on
some final chords that signal a clear end.

26. Haydn Trio in C Major, No. 43
The Recapitulation:
Finished!

27. Trio in C Major, No. 43
Hob. XV:27
Franz Joseph Haydn
1732 - 1809

29. The Saint Michael Trio
presents
The Sonata
Yesterday and Today

30. Café Music
Paul Schoenfield
b. 1947

31. The Saint Michael Trio
presents
The Sonata
Yesterday and Today

32. Schoenfield Café Music
The Exposition:
First Theme
The theme is a honky-tonk melody, and
Schoenfield is establishing it in C minor for the
home key.

33. Schoenfield Café Music
The Exposition:
First theme
continues
Schoenfield is elongating the first theme with this
secondary idea.

34. Schoenfield Café Music
The Exposition:
Second Theme
Schoenfield introduces the second theme in a
higher key, just like Haydn did. It invokes ragtime,
to contrast to the honky tonk in the first theme.

35. Schoenfield Café Music
The Exposition:
Second theme
continues
Schoenfield gives the theme an elaborate
development. The main motif is played
alternately, using four fast notes, or two slow
notes. It is also played in the major key and the
minor key.

36. Schoenfield Café Music
The Exposition:
Second theme
hijacked by the piano!
Now Schoenfield has the piano run away with the
second theme and vamp for awhile before the
strings reign it back in.

37. Schoenfield Café Music
The Exposition:
Preliminary Coda
Now the exposition is completed. Schoenfield
takes a dramatic pause before beginning the
development.

38. Schoenfield Café Music
The Development:
Total chaos
Schoenfield goes completely crazy! The two
themes are layered on top of each other but the
meters change, the rhythms are irregular, the
intervals are strange, and general chaos breaks
out.

39. Schoenfield Café Music
The Development:
Free associations
continue
As developments go, Schoenfield’s is getting
extremely long and drawn out! The piano has
escaped again. Ragtime is layered on top of
honky-tonk, and the keys are helter-skelter.

40. Schoenfield Café Music
The Development:
Returning home!
You can tell Schoenberg is transitioning back to
the home key for a big recapitulation, and just like
Haydn he is drawing it out for a long time to
heighten the drama! When the recap finally
comes it will be an enormous release of tension.

41. Schoenfield Café Music
The Recapitulation:
We have
landed!
At long last we are back in the home key and we
are listening to the first theme again.
Just like in the Haydn, the treatment of this first
theme has extra flourishes this time, and it is

42. Schoenfield Café Music
The Recapitulation:
The second
theme!
You have heard this before. It is identical to the
first time, but now it is in the home key instead of
a secondary key, identical to Haydn.

43. Schoenfield Café Music
The Recapitulation:
The second theme
continues
The piano escapes again, and gets reigned in
again, and all is as before but in the home key.

44. Schoenfield Café Music
The Recapitulation:
The Coda
This too is identical to Haydn. We are reaching
the end, but Schoenfield is winding it down
gradually and peacefully, before tacking on some
final chords.

45. Schoenfield Café Music
The Recapitulation:
FINISHED!

46. Café Music
Paul Schoenfield
b. 1947