Textural transitions in Fauré’s Violin Sonata No. 1 in A major, Op. 13

This paper examines the seamless textural merging of distinct sonata form sections derived from its lack of form-defining cadences, linear bass lines, and mediant modulations in Fauré’s Violin Sonata No. 1 in A major, Op. 13 (1875-76). This violin sonata—the composer’s inaugural chamber music work and hallmark of his early chamber music style—was premiered at the Société nationale de musique in the Salle Pleyel in 1877 and published by Breitkopf & Härtel just weeks after its premiere. Fauré’s First Violin Sonata is both innovative and notable for its lack of form-defining cadences, modulatory harmonies over linear bass lines, and modulations by thirds that foreshadow the tonalities of subsequent movements. The lack of cadences at formal junctures in the first, second, and fourth movements of this sonata results in increased textural cohesiveness between formal sections. Moreover, chromatic basslines not only enhance textural continuity within formal sections, but also underpin pivot chords that facilitate modulations by thirds. Finally, mediant and chromatic mediant modulations within the first movement foreshadow the tonalities of this violin sonata’s subsequent movements.Musi