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Title page of Franz Rigler's "Three Rondos" (1790) First page of the manuscript for Mozart's Adagio and Rondo for glass harmonica, flute, oboe, viola and cello. The rondo is a musical form that contains a principal theme (sometimes called the "refrain") which alternates with one or more contrasting themes, generally called "episodes", but also occasionally referred to as "digressions" or ...
Béla Bartók had a lifelong artistic interest in folk music primarily from modern day Romania and Hungary. [2] This is shown in his output as a composer since, even though Bartók first intended to use opus numbers to categorize his most artistically relevant compositions, he eventually refused to use any numbering system.
A rondeau (French:; plural: rondeaux) is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries.
The simplest kind of sonata rondo form is a sonata form that repeats the opening material in the tonic at the end of the exposition and recapitulation sections. [A B' A] exp [C"] dev [A B A] recap By adding in these extra appearances of A, the form reads off as AB'AC"ABA , hence the alternation of A with "other" material that characterizes the ...
This stands in contrast to the practice, as for example occurs in Mozart's Italian- and German-language operas, of having a collection of songs interrupted by recitative or spoken dialogue. [4] Examples of the modern trend towards through-composed works in musical theater include the works of Andrew Lloyd Webber and Claude-Michel Schönberg .
The work follows the common A–B–A–C–A pattern characteristic of the rondo form; "A" is a returning theme and "B" and "C" are episodes. "A" is in A minor (the key of the piece), "B" is in F major, and "C" is in A major. Following the last appearance of "A" there is a coda that draws on the music for A as well as a minor key version of C.
The finale movement is the most playful and the shortest at barely two minutes long. The movement is constructed in rondo form (ABACA′ and a coda), with a two-part theme and contrasting episodes in key (B) and in rhythm (C). A very brief coda brings this quick, lighthearted sonata to a brisk end.
Rondo: Allegro; In the exposition of the first movement, Beethoven wrote a piano sonata with string accompaniment, but in the development and recapitulation, they play a more individual role. The third movement is in rondo form. The theme is introduced by the piano and then taken by the violin. The first episode is accompanied by plucked strings.