Literal and Symbolic Cyclic Form in Debussy's Sonata for Flute, Viola, and Harp.

Abstract

In his Sonata for Flute, Viola, and Harp, Claude Debussy presents the listener with a fascinating handling of cyclic form. This skillful manipulation is seen not only in the literal return of the opening musical material, but also extends symbolically into Debussy's own irretrievable past.