The classical sonata form, according to the tradition set by the first Viennese school, is generally described as a harmonically driven, thematically based structure. The form is based on the conflict and resolution of thematic groups in contrasting keys within a tonal idiom. But when tonality is abandoned, must we also abandon the sonata form structure? The first movement of Roberto Gerhard's String Quartet no. 1 is composed in sonata form, yet it is also governed by a twelve-tone row. While this was not a completely foreign idea during the 1950s when the work was composed, Gerhard's merging of tonal and atonal elements on the surface helps to reinforce the traditional features of this design.

Gerhard's implementation of the sonata-form principle, like those of other twelve-tone composers, is at odds with the views of those theorists who adhere to a definition of sonata form that emphasizes key relations since non-tonal music, by definition, contains no keys. On the other hand, there are some theorists who view the sonata form from a thematic perspective, finding that it can provide the framework needed to accommodate both themes of a tonal and non-tonal variety.

According to Joseph Straus, the most refined, twentieth-century examples of sonata form are those that address the harmonic and thematic struggle presented by the nature of the form, something that I suggest Gerhard accomplishes in his first string quartet. Harmonic contrast is noted in his unique treatment of related and unrelated hexachords. Thematic contrast is achieved through his use of clearly delineated primary and subordinate themes. Furthermore, Gerhard presents both thematic and harmonic material in a formally balanced structure. In this paper, I will explore these issues as they pertain to the opening movement of Gerhard's first string quartet and suggest reasons for the idiosyncratic nature of this work among its kind.