Rondo sonata

Rondo-sonata is a musical form of the class of stable mixed forms , which has the features of a rondo and a sonata form . The form consists of three main sections, in which the extreme sections (both or one of them) are built on the basis of the rondo principle, and the middle one is a development borrowed from the sonata form .

Content

1 Form as a whole
- 1.1 Application
2 Prevalence of components
3 See also
4 Literature

Form as a whole

The exposition (before development) and reprise (after it) sections are identical to similar sections of a large rondo with a repetition of a side topic . The difference is the availability of development instead of the central episode.

The generalized scheme of the form is as follows (GP - the main party, PP - the side party, arrows indicate the moves ):

GP

→

PP

→

GP

→

Development

→

GP

→

PP

→

GP

T

D

T

→

T

Application

The scope of the rondo-sonata coincides with the scope of the large rondo . These are mainly finals of the sonata-symphonic cycles , sometimes in other parts. For example, in the first ( Haydn . Sonata for piano D-dur No. 38), slow ( Beethoven . Symphony No. 4 , 2nd part), scherzo ( Glazunov . Symphony No. 8 , 3rd part). It is extremely rarely used as a form of an independent play ( Schubert . Large Rondo for piano four hands, op. 107).

Prevalence of constituents

With its stability, the form may have a different degree of proximity to the rondo or to the sonata form . It is determined by the following factors (except for the availability of development):

The meaning of moves between sections. In sonata form, moves do not just bind different material, they process one topic into another, as well as a serious change in the imagery. The more developed the moves, the stronger the motivational work in them, the closer the form to the sonata.
The quality of the topics themselves. If rondo is characterized by genre themes that are stable and striving for repetition, consolidation of one image, for the sonata form - unstable, constantly striving for updating. The melodic composition of the themes is also important. In sonata form, the theme of a side party does not exist without the main one and is, to one degree or another, derived from it, in rondo, on the contrary, the second theme has no kinship with the first and is fundamentally new and independent.
Development Properties. Sometimes, in length, it may be superior to the development of pure sonata forms ( Beethoven . Quartet, op. 18 No. 1 , final). The widespread use of polyphonic techniques in development also approximates the sonata form, while the predominant homophonic warehouse is more characteristic of rondo.

Literature

Kuregyan T. Form in the music of the XVII — XX centuries. M., 1998. ISBN 5-89144-068-7