One of the mysteries of the English language finally explained.
A musical form with a recurring leading theme, often found in the final movement of a sonata or concerto.
- ‘That statement also is true of the work's overall structure, which can be described as a large-scale rondo.’
- ‘The third movement is a rondo, which is a variation repeating itself over and over again.’
- ‘Berg also embeds within the score a number of self-contained closed forms: sonata-allegro, rondo, variation, canzonetta, cavatina, etc.’
- ‘But elasticity was put to quite different use at the start of the rondo: in an exaggeration of tempo di menuetto, the strings' pizzicato sounded rather like the snapping of rubber bands.’
- ‘Although the rondo finale appropriates themes from earlier movements, the ideas seem to try too hard the second time around.’
- ‘A quiet third movement is followed by a lively rondo.’
- ‘From what exists of the sketches, the finale was to have been on a grand scale: a rondo, with a theme nearly ten minutes long, and at least four substantial episodes.’
- ‘The same term can be used appropriately for sections of sonata rondos or concerto movements.’
- ‘Mellow tuba and trombone solos in the second and third movements were smoothly blended with accompanying textures carried by the higher brass, and the rondo finale had a charming buoyancy.’
- ‘A slow, caressing opening statement leads to a jaunty allegretto and then to a rondo with a distinct gypsy flavor.’
- ‘The listener can make analogies to classical forms like sonata, rondo, scherzo and trio, and so on, but the driving engine of the music remains almost always continuous variation.’
- ‘The finale is a headlong rondo with affinities to sonata form.’
- ‘The third movement rondo was played with a swinging, joyful authority.’
- ‘The finale is an unusual rondo with, to quote the composer's notes, ‘development taking place within each separate motive’.’
Late 18th century: Italian, from French rondeau (see rondeau).
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