Beyond the Classical Cadence: Thematic Closure in Early Romantic Music

Building on my 2004 article “The Classical Cadence: Conceptions and Misconceptions,” this article examines the fate of the classical cadence in the hands of the first generation of Romantic composers (Schubert, Chopin, Schumann). It identifies seven characteristics of Romantic compositional style that, compared to classical practice, bear on issues of cadential morphology and function: (1) a more extensive use of chromaticism and dissonance; (2) a greater emphasis on root-position harmonies; (3) a more uniform harmonic rhythm and harmonic density; (4) a circularity of formal organization; (5) an ambiguity between sequential and cadential harmonies; (6) a lack of cadential closure for thematic units; and (7) an ambiguity between penultimate and ultimate dominants at points of potential cadence. Though I focus largely on cadence and closure, I also take the opportunity of pointing out other aspects of musical form that distinguish Romantic practice from the earlier classical style.