Sonata rondo form

Sonata rondo form was a form of musical organization often used during the Classical music era. As the name implies, it is a blend of sonata form and rondo form.

Structure

An explanation of sonata rondo form requires first some preliminary coverage of rondo form and sonata form.

Rondo form involves the repeated use of a theme, set in the tonic key, with episodes, each involving a new theme, intervening among the repetitions, like this:

A B A C A D A ...

Sometimes the A section could change slightly, especially at the very last time it comes back. Usually the episodes (B, C, D, etc.) are in a different key from the tonic.

Sonata form is usually in 3 sections. Expositon, is mainly showing the composer's ideas and the main themes. It normally ends in the relative major/minor, even though sometimes it could be in the dominant or subdominant. The Expositon could also have an introduction. The 2nd section is the Development section, this develops the expositon, by inversions, different keys..... The 3rd section is the Recapitulation, this comes back to the main theme in the tonic, in the end instead of going to a different key it goes to the tonic. At the end there could sometimes be a coda in the tonic.

[A B']_exp [C"]_dev [A B]_recap

where a single prime (') means "in the dominant" and a double prime (") means "in remote keys".

Occasionally, sonata form includes an "episodic development," which uses mostly new thematic material. Two examples are the first movements of Mozart's piano sonata K. 330 and Beethoven's piano sonata Op. 14, no. 1.^[1] The episodic development is often the kind of development that is used in sonata rondo form, to which we now turn.

The simplest kind of sonata rondo form is a sonata form that repeats the opening material in the tonic as the beginning of the development section.

[A B']_exp [A C"]_dev [A B]_recap

By adding in this extra appearance of A, the form reads off as AB'AC"AB, hence the alternation of A with "other" material that characterizes the rondo. Note that if the development is an episodic development, then C" will be new thematic material—thus increasing the resemblance of sonata rondo form to an actual rondo.

The "delayed return" variant in Mozart

Mozart sometimes used a variant type of sonata rondo form in which the themes of the recapitulation are rearranged: the opening bars reappear quite late, after most of the music of the exposition has been recapitulated, but before the final sequence of themes ("codetta") that rounds off the section. Thus:

[A B' Codetta]_exp [A C"]_dev [B A Codetta]_recap

Mozart's purpose was perhaps to create a sense of variety by not having the main theme return at such regular intervals. He used the form in the finales of his piano quartets and a number of his piano concertos.

Codas

Often, regular sonata form includes a coda:

[A B']_exp [C"]_dev [A B]_recap [D]_coda

This longer version of sonata form has a counterpart in sonata rondo form. If the coda is arranged to begin with the opening material, then we have yet another instance of A:

[A B']_exp [A C"]_dev [A B]_recap [A D]_coda

Thus: AB'AC"ABAD. An example is the last movement of Beethoven's "Pathetique" sonata, Op. 13.

Sonata rondo form as a variant of rondo form

It is also possible to describe sonata rondo form by starting out with rondo form and describing how it is transformed to be more like sonata form. For this explanation, see rondo.

Cuthbert Girdlestone conjectured in his "Mozart and His Piano Concertos" that the sonata rondo form derives also in part from the dances en rondeau of Jean-Philippe Rameau, among others, by structural elaboration, possibly an innovation of Mozart's.^[2]

Uses of the sonata rondo form

Sonata rondo form is almost exclusively used in the finales of multi-movement works. It is considered a somewhat relaxed and discursive form. Thus, it is unsuited to an opening movement (typically the musically tightest and most intellectually rigorous movement in a Classical work), and too long for a slow movement (where the slow tempo would make the full sonata-rondo formula impossible to realize in a movement of reasonable length). Here are some movements written in sonata rondo form:

Beethoven, Sixth Symphony, Op. 68, last movement^{[citation needed]}
Beethoven, Eighth Symphony, Op. 93, last movement^[3]
Beethoven, two violin and piano sonatas, Op. 12, last movements^[3]
Beethoven, piano sonata, Op. 13, last movement^[3]
Beethoven, violin concerto, Op. 61, last movement^[3]
Haydn, "Drumroll" Symphony, Hoboken 1/103, last movement
Mozart, Piano Concerto No. 23 in A major, K. 488, last movement
Schubert, Death and the Maiden Quartet, D. 810, last movement
Mozart, Eine kleine Nachtmusik, K 525, last movement
Brahms, Piano Concerto No. 2 in B-flat Major, Op. 83, fourth (last) movement (Allegretto grazioso)
Mendelssohn, Violin Concerto in E minor, Op. 64, last movement

Notes

^ For further discussion see Rosen (1997, 51).
^ Girdlestone, Cuthbert Morton (1964) [1939, 1958]. Mozart and his Piano Concertos (Republication of Second Edition). Mineola, New York: Dover Publications. pp. 48–55. ISBN 0-486-21271-8.
^ ^a ^b ^c ^d White, John D. (1976). The Analysis of Music, p.60. ISBN 0-13-033233-X.

References

Rosen, Charles (1997). The Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton. ISBN 0-393-04020-8. OCLC 35095841. Retrieved 2008-01-13.