Ioannis
Fulias, “Sonata forms
and their theoretical evolution:
The fourth sonata type
(“sonata-rondo”) and other related forms”, Polyphonia 17, Athens 2010, p. 96-131.
The tenth part of this
extensive survey of the theoretical evolution of sonata forms from 18th to 20th
centuries refers to the fourth type of sonata, the so-called
“sonata-rondo” form, because it is a mixture of sonata and rondo principles.
The treat of this subject-matter proves to be very demanding, since there are
many different structural cases in music theory from mid-19th-century onwards
that could (or should not) be regarded as versions of “sonata-rondo”. Thus,
several music forms are examined in this paper, from rondeau to rondo and from
“rondo-sonata” to “sonata-rondo”, including structural types that
constitute possible crossings among them as well as products of erroneous
theoretical approaches. Final aim of this investigation is the clear distinction
of the “sonata-rondo” proper (a ternary sonata form with an additional
reinstatement of the primary theme just before the central development)
from all other cases, in which either a seven-part – but also sometimes a five-part
– rondo or (very rarely) a rondeau form is enriched with sonata elements.
© Ioannis
Fulias