The First Rondo-form


This consists, then, of a Principal theme

(generally Two-Part or Three-Part Song-form); a Subordinate theme in a

different key (probably a smaller form); a recurrence of the Principal

theme (usually more or less modified or elaborated); and a coda.

Thus:--



Principal Theme. Subordinate Theme. Prin. Theme. Coda.

2- or 3-Part Period, Double-period, As before, Optional

Song-form. 2- or 3-Part usually

Probably a form. Different variated.

perfect cadence. style and key. Sometimes

Possibly a few Possibly a brief abbreviated.

beats or measures codetta; and

of transitional usually a few

material, leading measures of

into next theme. Re-transition.



The design is that of the tripartite forms. But it is not to be

confounded with the Three-Part Song-form, because at least one of its

Themes, and probably both, will be a Part-form by itself. It is an

association of Song-forms, and therefore corresponds in design to the

Song with Trio. The first Rondo differs from the latter, however, in

being more compact, more coherent and continuous, and more highly

developed. This manifests itself in the relation of the Themes to each

other, which, despite external contrast, is more intimate than that

between the Principal and Subordinate Song (or Trio); further, in the

transitional passages from one Theme into the other (especially the

Re-transition, or returning passage); in the customary elaboration of

the recurring Principal Theme; and in the almost indispensable coda,

which often assumes considerable importance, and an elaborate form and

character.



The evolution of the First Rondo-form of the Song with Trio may be

clearly traced in classic literature. Many intermediate stages appear,

naturally; and it is sometimes difficult to determine whether the

design is Rondo or compound Song-form, simply because it is scarcely

possible to decide just when the Trio assumes the more intimate

relation of a Subordinate theme, or when the freedom and comparative

looseness of association (peculiar to the Song with Trio) is

transformed into the closer cohesion and greater smoothness of finish

which fuses all the component Parts of the design into one compact

whole,--the distinctive stamp of all so-called higher forms.



The thoughtful examination and comparison of the following four

examples will elucidate the matter:--



1. Beethoven, first pianoforte sonata (op. 2, No. 1), Menuetto and

Trio. Already analyzed as a perfectly genuine Song with Trio.



2. Beethoven, pianoforte sonata, op. 28, second movement, Andante.

The principal Song is in the Three-Part form, with exact repetitions.

The subordinate song differs so radically in style, and each song is so

complete and distinct from the other, that the form is almost certainly

Song with Trio; but there is a strong intimation of the Rondo-form in

the elaborate variation of the da capo, and in the treatment of the

coda (last 17 measures), in which motives from both Songs are

associated so closely as to vindicate their kinship. In a word, this

movement possesses,--despite the apparent independence of its

Songs,--some degree of that continuity, compactness and artistic finish

which culminate in the genuine Rondo-form.



3. Mozart, pianoforte sonata, No. 10, second movement (Rondeau en

polonaise). The continuity and unity of this composition is so

complete that it is certainly a Rondo-form; the principal theme is a

fairly large Three-Part form; the subordinate theme (measure 47-69) is

a Two-Part form, the second part corresponding in contents to the

second Part of the principal theme; the recurrence of the principal

theme is abbreviated to one of its three Parts, and is merged in the

coda (last seven measures), which assumes the nature of a mere

extension. Despite all this evidence, there still remains a certain

impression of structural independence, which, so to speak, betrays the

seams, and militates somewhat against the spirit of the perfect

Rondo-form. See also, No. 13, Adagio.



4. Beethoven, pianoforte sonata, op. 2, No. 2, Largo; the unessential

details omitted in the following (in order to economize space) appear,

of course, in the original,--to which the student is expected to refer.





This is a genuine First Rondo-form. All the factors of which it is

composed, Phrases, Parts and Themes, are so closely interlinked that

the continuity, cohesion and unity of the whole is complete. The

variety of contents which these factors exhibit (greatest, naturally,

between the two themes), does not disturb the impression that the whole

movement is a unit. This is due, at least partly, to the manner in

which the perfect cadences are disguised; each one is passed over with

the least possible check of rhythmic movement (measures 8, 19, etc.),

thus snugly dove-tailing the structural factors. The coda is elaborate

and unusually long; it consists of several sections, as follows (see

the original): from measure 1 (the last measure in Ex. 54) to measure

4, a phrase, derived from the second Part of the Principal theme;

measures 5-7, an abbreviated repetition; measures 8-14, a phrase,

derived from the Principal theme; measures 15-17, a transitional

passage; measures 18-25, a period, closely resembling Part I of the

Principal theme; measures 26-30, final phrase.



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