HT Bryan Townsend--Rick Beato proposes why people hate jazz (they don't understand it) cross referencing accounts in classical music of why virtuoso variation forms have been frowned on for two centuries

So Bryan Townsend linked to a video explaining why people hate jazz.  He couldn't get past five minutes into it.  I ... skimmed into about ten minutes.  

http://themusicsalon.blogspot.com/2020/08/rick-beato-on-why-people-hate-jazz.html

Diabelli Op. 29, No. 3 in F major: Diabelli reaches his peak and provides a fine example of a sonata that only recapitulates the dominant key themes

Diabelli, Op. 29, No. 3 in F major

https://www.youtube.com/watch?v=EPxsEBA86mY

This is the most ambitious and effective of Diabelli's Op. 29 guitar sonatas.  It also threw me off when I was studying it because it's the best example of an exposition that presents a Theme 1 that never comes back in the recapitulation.

Diabelli Op. 29, No. 2 in A major: the one in the three solo guitar sonatas that actually has a "textbook" sonata form

Diabelli Op. 29, No. 2 in A major

https://www.youtube.com/watch?v=Q4kcx9IGYHk

Diego Milanese does some fine work on Matiegka's Op. 23 guitar sonata, by the way, but we're discussing Diabelli here so that's just a passing comment for folks interested in listening to more early 19th century guitar sonatas.

Diabelli's opens this bright and glittery sonata with a descending major scale that's reminded me of a similar descending scale-line in a B flat major piano sonata by Haydn.  We get the tonic scale-run, and then we get the dominant scale-run.  This is another case where the theme is, to my ears, two-thirds of the way to being ragtime material.  There are some fun, almost Giuliani-worthy tunes in this sonata movement.  Theme 1 and the transition are moderately easy to hear for what they are.

Diabelli, Op. 29, No. 1 in C major, movement 1: an incomplete recapitulation that brings back Theme 2 because there's only ever half of Theme 1

Diabelli Op. 29, Sonata in C major

https://www.youtube.com/watch?v=J6kM2pcxjXE

This is the first and weakest of the three Op. 29 sonatas for solo guitar composed by Diabelli.  The first movement may provide the simplest evidence for my assertion.  Movements two through four are solidly made (rounded binary, menuet and rondo forms) but the opening sonata sticks out like a sore thumb. It's on the basis of the opening sonata form that I regard this as the weakest of the three guitar sonatas but it may be a useful case study through which to demonstrate that even in the early 19th century it was well within compositional norms to have a sonata form with a Theme 1 in an exposition that never comes back in the recapitulation.  The fact that Diabelli botched this where Chopin didn't shouldn't distract us from the fact that if both Diabelli and Chopin tried their hands at this approach to sonata form that it may not have been as non-normative as would later be implied by the prescriptions of books promulgating ideas about what sonatas should be.

A survey of early 19th century guitar sonatas, starting at the end with this year's reading on sonata forms and a preliminary proposal about recapitulatory processes in sonata forms

ELEMENTS OF SONATA THEORY:
Norms, Types, and Deformations in the Late-Eighteenth Century Sonata
James Hepokoski & Warren Darcy
Copyright (c) 2006 by Oxford University Press
ISBN-13:978-0-19-977391-6

CLASSICAL FORM:
A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
William E. Caplin
Copyright (c) 1998 by Oxford University Press
ISBN 978-0-19-510480-6
ISBN 978-0-19-514399-7

Five years ago, when I was blogging about "an overview of structural concerns in the sonata forms of Sor, Giuliani, and Diabelli" I was unfamiliar with either of these books or their authors.  I only discovered these two books in the last year thanks to a couple of doctoral dissertations on the guitar sonatas of Sor (and Giuliani, in one of the cases) that can be read over here:


https://arizona.openrepository.com/arizona/bitstream/10150/268374/1/azu_etd_12490_sip1_m.pdf

http://scholarlyrepository.miami.edu/cgi/viewcontent.cgi?article=1889&context=oa_dissertations

The two books are treasure troves of study for 18th century sonata forms and they have different strengths and weaknesses.  The strength of the Caplin book is that Caplin explored each level of formal development in a sonata form; whether it's the four to eight-measure sentence or period, or compound thematic modules at the lower level; or ranging up to the highest intra-movement and multi-movement cyclical patterns.  The weakness is that such a general survey of music can skip over interesting details such as variants of forms.