AcknowledgementsIntroductionChapter 1 Two‑Dimensional Sonata Form: A terminological and conceptual frameworkLevels of formAnalogies between levelsProjection of hierarchiesIdentification, interpolation, and exocyclic unitsIntegration, process, and tensionFurther terminological considerationsNotesChapter 2 L iszt’s B-minor SonataThe locus romanticus of two‑dimensional sonata formThe exposition of the overarching sonata formIdentification: first movement and expositionInterpolation: the slow movementIdentification: scherzo–finale and recapitulation–codaNotesChapter 3 L iszt: Tasso and Die IdealeTwo‑dimensional sonata form in the second half of the nineteenth centuryForm in Liszt’s symphonic poemsTasso: Lamento e trionfo (1847–54)Die Ideale (1856–57)NotesChapter 4 S trauss: Don Juan and Ein HeldenlebenStrauss and LisztDon Juan Op. 20 (1888–89)Ein Heldenleben Op. 40 (1897–98)NotesChapter 5 Schoenberg’s Pelleas und MelisandeBefore PelleasPelleas und Melisande Op. 5 (1902–03)NotesChapter 6 S choenberg’s First String QuartetFrom program to absolute musicIssues of form in the overarching sonata formIdentificationInterpolation and integrationOverall form and tonal planNotesChapter 7 S choenberg’s First Chamber SymphonyOverviewIdentificationInterpolationRecapitulation, coda, and finaleNotesChapter 8 Z emlinsky’s Second String QuartetFirst approachIdentificationInterpolationNotesConclusion: The significance of two-dimensional sonata formAppendix: M easure-Number TablesBibliographyIndex of Names and WorksThe first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form.Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin’s theory of formal functions, and Hepokoski and Darcy’s Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss’s tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky’s Second String Quartet.Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin’s theory of formal functions, and Hepokoski and Darcy’s Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss’s tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky’s Second String Quartet.