Rondo-Sonata |
Music Terms

Rondo-Sonata |

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Rondo-sonata – a form that organically combines the principle of rondo and sonata form. Appeared in the finals of the sonata-symphony. cycles of the Viennese classics. There are two bases. varieties of the Rondo-sonata form – with a central episode and with development:

1) A B A C A1 B1 A2 2) A B A development A1 B1 A2

The first two sections have double titles. In terms of sonata form: A is the main part, B is the side part; in terms of rondo: A – refrain, B – first episode. The tonal plan of conducting section B reflects the laws of the sonata allegro – in the exposition it sounds in the dominant key, in the reprise – in the main one. The tonality of the second (central) episode (in the scheme – C) meets the norms of rondo – it gravitates towards the eponymous or subdominant keys. R.’s difference – page. from the sonata consists primarily in the fact that it concludes behind the secondary and often adjoining it. parties should not develop, but again Ch. party in ch. tonality. The difference between R.-s. from rondo in that the first episode is repeated further (in a reprise) in the main key.

Both main R.’s component – page. differently affect the form of otd. sections. Sonata basis requires Ch. parts (refrain) of the form of the period associated with the rondo – simple two-part or three-part; the sonata tends to develop in the middle section of the form, while the rondo-related one tends to the appearance of the second (central) episode. Side party of the first episode of R.-s. the break (shift), typical for the sonata form, is not peculiar.

In the reprise R.-s. one of the refrains is often issued – preim. fourth. If the third conduct is skipped, a kind of mirror reprise occurs.

In subsequent eras, R.-s. remained a characteristic form for the finals, occasionally used in the first part of the sonata-symphony. cycles (S. S. Prokofiev, 5th symphony). In the composition of R.-s. there were changes close to changes in the development of sonata form and rondo.

References: Catuar G., Musical form, part 2, M., 1936, p. 49; Sposobin I., Musical form, M., 1947, 1972, p. 223; Skrebkov S., Analysis of musical works, M., 1958, p. 187-90; Mazel L., Structure of musical works, M., 1960, p. 385; Musical Form, ed. Yu. Tyulina, M., 1965, p. 283-95; Rrout E., Applied forms, L., (1895)

V. P. Bobrovsky

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