Part 8 (2/2)

One of the earliest instrumental forms to be worked out[77] was the Rondo, which is merely an extension of the _three-part_ principle of ”restateical appeal, has retained its place to this day Originally the Rondo was a co and danced in a circle--holding one another's hands The in with a chorus in which all joined, one of the dancers would then sing a solo, after which all would dance about and repeat the chorus; other solos would follow, the chorus being repeated after each The characteristic feature, then, of this structure is the _continual recurrence_ to a principalcontrasts--hence the na a principle found not only in pri_, s of Burns and the Rondeaux of Austin Dobson For it is obvious that the form answers to the simplest requirements of unity and contrast Frequent examples of the Rondo are found in all early instru one in C minor in his third Partita; Couperin, Ra_, Purcell's well-known song ”I Attempt from Love's Sickness to Fly” From the standpoint of modern taste, however, Beethoven ith few exceptions--the first to treat the forenius; and so our illustrations are taken chiefly froh there need be no arbitrary limit to the alternation of the chief part with the subsidiary portions--in fact, Beethoven's hu_ has as radually became conventional for the form to consist of _five parts_: a first presentation and two repetitions of theportions called _Episodes_, to which a free Coda was often added The form would then be A, b, A', c, A”, Coda--A' and A”

indicating that the repetition need not be _literal_, but often varied rhythmically and harinal outline For in a well-constructed Rondo the main theme must be one of such direct appeal that we _look forward_ to hearing it _again_; and the successive repetitions must be so planned that we can easily enjoy this pleasure of reminiscence It also becaid cadences but often to inserta continuous flow of thought This practise we see particularly in Beethoven and Schu is the so-called Older Rondo For[78] with Beethoven, however, we find numerous examples of a different kind of rondo treatment which developed in connection with the Sonata Form--to be explained later

The Rondo-Sonata Forenerally called, is in fact a hybrid type, with certain features derived from rondo structure and certain from the pure sonata form The Finales to Beethoven's Sonatas, when entitled Rondos, are--with few exceptions--of this Rondo-Sonata type

An excellent example, which should be well known, is the Finale of the Sonata Pathetique Although there are many cases of _free_ treatment of the rondo principle, they are all based on one or the other of these two fundamental types Schumann was extremely fond of this Older Rondo For two Trios to the Scherzos of his Syht will make clear that a Scherzo with two Trios and the custoiven above, _ie_, A, b, A', c, A”

Coda, _eg_, Scherzo, First Trio = First Episode, First return, Second Trio = Second Episode, Final return and Coda--five portions in all, or six when there is a Coda For convincing examples see the Scherzos of the First and Second Symphonies Schumann's well-known _Arabesque_ for pianoforte, op 18, is a beautiful, clear-cut exae between the first episode and first return, and a poetic Coda which has, for its closing mentation (already referred to on p

45) To show Schumann's partiality for this form the student may be referred to Nos 2 and 8 of the _Kreisleriana_ (op 16) and to Nos 1, 2 and 3 of the ”Nachtstucke” (op 23) The third of the _Ro of the material and in the key-relationshi+p--is cited in the Supplement (No 37) An excellent example (readily accessible), popular by reason of its freedom of treatment, as well as for its inherent sparkle and dash, is the Finale of Weber's Sonata in C major, op 24--the so-called _Moto Perpetuo_ The most famous example of this form in classical literature is undoubtedly the Finale of Beethoven's _Waldstein Sonata_, op 53, with its _

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its two episodes in A minor and C minor (which afford most dramatic contrasts to the lyric quality of the -extended Coda of about three pages[79]

[Footnote 77: For a complete account of the historical development see the article on Form in Grove's Dictionary Vol II and Hadow's _Sonata Form_, Chapter IX]

[Footnote 78: There is an early example in the Rondo of Mozart's Sonata for Pianoforte in B-flat major]

[Footnote 79: For a complete detailed analysis of the movement see Prout, _Applied Forms_, pp 120-121]

As stated above, the Older Rondo-Form has not become obsolete; indeed, by reason of its possibilities for emphasis and contrast it has co examples may be found in the Finale of Brahms's Pianoforte Sonata in F minor, in the Finale of Tchaikowsky's Fourth Symphony and, above all, in the Syel_, in which the form is admirably adapted to the dramatic needs of these descriptive works Additional examples, which can be readily procured, are the Slow Movement of the _Sonata Pathetique_, op 13, Beethoven's well-known _Andante in F major_--remarkable for its brilliant Coda--and his Rondo, already cited, _On the Lost Farthing_ (See Suppleh there is a certain stiffness in this form these examples afford the student excellent rudi

CHAPTER VIII

THE VARIATION FORM

Monotony, as previously suggested, is more unendurable in music than in any of the other arts We should therefore expect to find hts so that the interest of the hearer radually grew up the for the presentation of the same musical material under different aspects As far back as we can trace the development of instru a simple tune by embellishments of a rhythmical and melodic nature Examples abound in the works of the early Italian lish composers Byrd and Bull[80] and in the music of Couperin and Ra from a historical point[81] of view, are very labored and lack any real poetic growth They are, th--one exa of an Air with sixty-two Variations; prolixity or ”da as bad a blemish in music as in any of the other arts In the early days of instrumental composition, about all that coh its paces” That is, there was no unfolding of the poetic possibilities of the melody The successive variations were all in the saed and the treat up the theures and of systematic rhythmic animation--produced by the addition of more and more notes to each time unit A standard illustration of this type of Variations is the so-called _Harmonious Blacksmith_ of Handel from his _Suite in E Major_ This piece ohatever popularity itof the main theme and to the fact that it makes no demand on the attention of the most untrained listener In fairness we should state that on the harpsichord--with its contrasting stops and key-boards--for which the piece was composed, there is possible more variety of effect than on the modern pianoforte

[Footnote 80: We would cite the piece entitled _Les Buffons_ by Bull, and Byrd's variations to the popular tune the _Carman's Whistle_, which latter have considerable archaic charenius These are readily accessible in popular editions]

[Footnote 81: Consult the comprehensive article on Variations in Grove's Dictionary, Vol V]

Three collateral early for a certain rigidity of structure, they have been used by the great hts These are the Ground Bass (or, as it is sometimes called, the Basso Ostinato), the Chaconne and the Passacaglia[82] which, in nificent ”tour de force” that serves as the Finale to Brahms's _Fourth Symphony_ By a Ground Bass is meant a theme, continually repeated, in the lowest voice, each time with varied upper parts An excellent example (see Supplement No 39) is the Aria ”When I am laid in earth” from Purcell's Opera _Dido and Aeneas_ It is evident that the persistent iteration of a striking phrase in the bass gives an effect of dramatic intensity, as may be seen in the sublime ”Crucifixion” of Bach's _Mass in B lia are old dance for found in Gluck's Ballet Music) and are closely related to the Ground Bass; since, in the majority of cases, we find the same procedure in the announcement of the theme and in its subsequent treatment Two examples of the Chaconne from standard literature are the famous one of Bach in D minor for solo violin and Beethoven's thirty-two Variations in C lia is of ian in Ctheme:

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Whoever has heard this majestic theme, which seems to bear the sorrows of the world on its shoulders, announced on the deep-sounding pedals will gain a lasting irandeur of Bach's style

[Footnote 82: For the derivation of the ter article in Grove's Dictionary, Vol IV]

[Footnote 83: A work before which Schumann said every musician should prostrate himself in adoration]

By the time of Haydn, the technical skill of composers had ienuinely interesting exa_, the set on the well-known Austrian hymn from the _Kaiser Quartet in C major_--in which each of the five variations has a real individuality--and the _Variations in F minor for Pianoforte_: remarkable as an early example of the varied treatment of _two_ themes

Most of Mozart's Variations are based upon popular theeneral, ility of the performer We find occasional examples, as in the Clarinet Quintette and in the Sonata in D major, which are of more intrinsic worth