beautiful, clear-cut example of the form; with an interpolated
modulatory passage between the first episode and first return,
and a poetic Coda which has, for its closing measures, the chief
motive in augmentation (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 theKreisleriana(op. 16) and to Nos. 1, 2
and 3 of the “Nachtstücke” (op. 23). The third of theRomances
(op. 28)—a remarkably free example in the grouping of the ma-
terial and in the key-relationship—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-calledMoto Perpetuo. The most famous exam-
ple of this form in classical literature is undoubtedly the Finale
of Beethoven’sWaldstein Sonata, op. 53, with its melodious
and easily remembered first subject,e.g.
[Music]
[Music]
its two episodes in A minor and C minor (which afford most
dramatic contrasts to the lyric quality of the main subject) and
its glorious, long-extended Coda of about three pages.[79]
[Footnote 77: For a complete account of the historical develop-
ment see the article on Form in Grove’s Dictionary Vol. II and
Hadow’sSonata 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 ob-
solete; indeed, by reason of its possibilities for emphasis and
contrast it has commended itself to modern composers. Strik-
ing examples may be found in the Finale of Brahms’s Pianoforte
Sonata in F minor, in the Finale of Tchaikowsky’s Fourth Sym-
phony and, above all, in the Symphonic Poems of Strauss,Don
Juan andTill Eulenspiegel, in which the form is admirably
adapted to the dramatic needs of these descriptive works. Ad-
ditional examples, which can be readily procured, are the Slow
Movement of theSonata Pathétique, op. 13, Beethoven’s well-
knownAndante in F major—remarkable for its brilliant Coda—