FORM IN MUSIC

New Zealand Listener, Volume 17, Issue 432, 3 October 1947, Page 12

FORM IN MUSIC

: ) THE sixth ot a series of brief articles by

BESSIE

POLLARD

Mus: Bac ,

on "Form in Music." These articles ate closely related to a series of programmes on the same topic now being heard from 2YC on Friday evenings. Each of our articles is illustrated by a few bars of the music under discussion, he

6. The Rondo DVANCING concurrently with A the forms so far discussed was the Rondo. Some fine early examples of its instrumental use are to be found in the keyboard compositions of the 17th Century French clavecinists. It was then named Rondeau and comprised so many repetitions of a basic melody or refrain, answered by varying digressions

| or couplets, so: "Rondeau refrain-coup-let (1)--Rondeau refrain repeatedcouplet (2)-Rondeau refrain again repeated." Couperin’s "Soeur Monique" is an excellent specimen with three appearances of the Rondeau, refrain answered by three different couplets, concluding with a fourth repetition of thé Rondeau refrain. This foundation formula of old and new material heard in turn is the essence of Rondo-form, no matter what limitation, development, or decoration is syperimposéd upon it. Classical period composers, particularly Haydn and Mozart, experimented with the 17th Century Rondeau and ‘couplet in sundry ways; and soon the Rondo emerged as a significant art-form. The digressions now took shape as clear

diverse episodes of definite thematic value, contrasted in style and key. Two admirable works to study for this older Rondo are: Mozart’s Rondo in A Minor; and the splendid finale of Beethoven’s "Waldstein" Sonata, Op. 53-this last has a rather more elaborate application. Modern or Sonata-rondo, also prefigured by Haydn and Mozart, reached its apex in Beethoven’s works, where we find several illustrations of this aspect of the form. Although its main distinguishing features are derived from the older Rondo it is much more con-

vincing structurally, because of its greater continuity of outline. This is brought about by the development, in the large episode, of the leading themes of the first section. Below is shown a comparative skeleton plan of both forms. ° From this plan you will realise that Sonata-rondo is the result of the coales« cence of older Rondo and "first-move-ment" form. Scan the last. movement of Sonatas, and certain quartets and symphonies and see if you can determine whether it is cast in older Rondo,:Son-ata-rondo, or first-movement form, THE RONDO-The sixth of a series, FORM IN MUSIC-will Be heard from Station 2YC at 9.30 p.m. on Friday, October 10.

Older Rondo (A) Principal theme. (B) 1st Contrasting digression or Episode. ~ (A) Principal theme repeated.. (C) 2nd Contrasting episode. (A) Principal theme repeated with coda ("musical postscript"). oe

Sonata Rondo Ist Section. (A) Short pithy principal theme. (B) Subsidiary contrasted theme. (A) Principal theme repeated. 2nd Section. . (C) Extended episode with development of two main themes. 3rd Section (A) Principal theme. (B) Subsidiary theme. (A) Principal theme with coda.’