Musical Form: Rondo

We meet the concept of uniform in everyday life: uniform - work, sports, school; geometric shapes - circle, square, rectangle, etc.

We all know: the form is
The outline of the subject.
From it we immediately know:
pilot, miner,
Doctor and polisher
Chef, railway worker,
Fireman and janitor.

If there are shields and a helmet,
Everyone can see the hockey player.
Capless, flared trousers,
collar, shirt,
And under it is a vest.
All then from afar
Recognize a sailor.

Form teaches us order
In it we do exercises.
Music needs a form
With her, she is always slim,
They behave with dignity
Content and form.

A composer can be compared to an architect. Before constructing a building, the architect creates its plan - shape - design. The composer also builds a plan for the future musical work. To do this, each composer uses his own methods of constructing musical works.

Since ancient times, people loved to sing songs and dance. Often, during the performance of round dance songs, she sang (soloist) sang verses, and the choir picked up the chorus. The verses differed in music from each other. The chorus was repeated without change. The movement of music went as if in a circle.

In French, "circle" is "rondo". France is considered the birthplace of the rondo. Folk dance with singing was popular here in the old days. The dance was called rondo, which means circle, round dance.

The rondo form is a musical form that is built on repetition. This form is based on multiple (at least three times) repetition of the main theme, alternating with episodes of different content.

The rondo has the most important topic, which is called REFRAIN - it is repeated several times, alternating with new topics - EPISODES.

The rondo form, due to its expressiveness, has a wide range of applications in the art of music. Very often its use is associated with images of a playful, humorous nature. In the form of a rondo, such famous musical works as the Rondo in the Turkish style of W. A. ​​Mozart were written, “ Rage over the lost penny» L. Beethoven, Farlaf's Rondo from M. Glinka's opera "Ruslan and Lyudmila" and many others.

Ludwig van Beethoven. "Rage over the lost penny"

Rondo "Capriccio" in G major, op. 129 is better known by its subtitle "Fury over a Lost Penny".

When Beethoven was 25, he wrote the Capriccio rondo, but he never played it for his contemporaries. The short five-minute piece became known only after Beethoven's death: it was found in a pile of papers that were intended for sale at auction. This cheerful work had an unusual subtitle - "Rage over a lost penny." The idea of ​​the subtitle did not belong to the composer, but to his friend Anton Schindler.

The title explains the music quite eloquently. This comic scene is full of energy inherent in Beethoven, strong-willed aspiration, dynamics. This is precisely the nature of the theme of the refrain, leaving no doubt that the hero's rage is playful.

“This is a great Beethoven joke,” notes musicologist Mikhail Kazinik, “an immortal joke of a genius and thunderer, written for only one piano. And every time the pianists compete with each other, who will play it wittier, funnier, more provocative: who will show that same Beethovenian sense of humor, seasoned with a generous portion of rage? ..»

Modern musicologists compare this rondo with an extended comic story-scene, where the music conveys various contrasting episodes and situations: initial serenity, then the discovery of the loss, alternation of hope and excitement. What follows is a mindless search with wandering through the keys and violations in the composition, creating chaos. Finally, furious fury from a fruitless search. Additional comic effect creates a contrast between the concepts of "rage" and "penny". It's anger over the smallest of things.

Listening to the rondo-capriccio, we observe how his hero, in a fit of anger, under the influence of uncontrollable emotions, loses the appearance of a reasonable, balanced person. From the sounds of the initial cheerful and carefree theme in the spirit of polka, the music moves to stormy passages, trills and arpeggios in a low register, reminiscent of an indignant growl. And although this is only a musical joke, it leads to the conclusion that it is necessary to maintain a human appearance in any situation. "Learn to control yourself."

Today, the rondo is often heard in concerts and is performed by both eminent musicians and beginners.

Wolfgang Amadeus Mozart. "Rondo in Turkish style"

The melody you are about to hear is loved by many people. She is very famous and popular all over the world.

"Turkish Rondo" by Wolfgang Amadeus Mozart attracts with the beauty of melodies, grace, and brilliance. In this work, W. A. ​​Mozart depicted the beats of a large Turkish drum, unknown at that time in Europe. "Turkish Rondo" ("Rondo Alla turca") is often heard as an independent piece, although it was written as the third movement of the sonata in A major for piano.

The sounds of the "Turkish Rondo" immediately reminded the Austrians of the well-known sound of Turkish military marches.

Turkey (then called the Ottoman Empire) and Austria (Osterreich, Eastern Empire - this is how the name of the country is translated from German) were old and bitter enemies, and fought intermittently from early XVI century to the end of the 18th century. However, despite such constant enmity, the Austrians had a strong interest in both Turkish culture in general and Turkish music in particular.

For the first time, the Austrians got acquainted with the game of Turkish musicians in 1699, when a Turkish delegation arrived in Vienna to celebrate the signing of the Karlovitsky peace treaty, which ended another Austro-Turkish war that lasted 16 years. The delegation of the Ottoman Empire was guarded by Janissaries - Turkish infantry, and along with other Janissaries, the delegation was accompanied by a Janissary military band, which gave several public concerts for the inhabitants of Vienna.

The Austrians were so enthusiastic about Janissary music that many Austrian musicians began to try to imitate Turkish music on European musical instruments, and even fake Turkish orchestras appeared when the native Austrians put on Janissary clothes and played instruments brought from Turkey.

And no subsequent Austro-Turkish wars could destroy the love of the Austrians for Turkish music. It even got to the point that in 1741 the Austrian government turned to the Turkish government with a request to send Turkish musical instruments for the imperial court orchestra. The tools have been sent.

This is very lively, cheerful, cheerful music, you can do anything to it, but to walk in formation and march along the parade ground - it is not suitable for this. And indeed, Turkish Janissaries never marched in formation to music. Music was played before a fight, during a fight, and after a fight to celebrate a victory, as well as during ceremonial events.

Wolfgang Amadeus Mozart, when he wrote the Turkish Rondo, transcribed traditional orchestral Turkish military music for piano playing, making it possible to listen to music in the Turkish style without assembling a huge Janissary orchestra, in any home where there was a grand piano or piano. Although there are also arrangements of the "Turkish March" for orchestral performance.

"Turkish Rondo" has a three-part form with a chorus. The repeating chorus - the refrain - gives the form the features of a rondo. The festively cheerful, danceable melody of the chorus sounds with a characteristic arpeggiated accompaniment, reminiscent of a small drum roll.

Mikhail Ivanovich Glinka. Rondo Farlaf from the opera "Ruslan and Lyudmila"

In the opera Ruslan and Lyudmila, Mikhail Ivanovich Glinka uses the rondo form to characterize one of the characters - Farlaf. Farlaf's arias are most fully disclosed character traits his image is cowardice and bragging.

... haughty screamer,
In feasts undefeated by anyone,
But a modest warrior among swords ...

This is how Pushkin characterizes Farlaf.

Farlaf, together with Ruslan, goes in search of Lyudmila. However, the "brave savior", seeing the danger, prefers to flee.

Farlaf…
With fear writhing, dying
And, waiting for certain death,
He drove the horse even faster.
So it’s like a hurried hare,
Close your ears fearfully,
Over bumps, fields, through forests
Leaps away from the dog.

Farlaf's great aria is written in the form of a rondo (hence its name comes from): the main theme is heard several times, alternating with two episodes.

What expressive means did Glinka draw a musical portrait of Farlaf?

Usually the braggart speaks a lot and quickly - and the composer chooses a very fast pace for the aria. He saturates the vocal part with virtuoso techniques, for example, the frequent repetition of the same sounds. This gives the impression of a choking tongue twister. And the listener involuntarily laughs at such a "hero". After all, the expression of humor is quite accessible to music.

Questions:

  1. What musical sections make up the rondo form?
  2. What does the word "rondo" mean?
  3. What is the name of the main, recurring theme of the rondo?
  4. What is the nature of the work we listened to?
  5. How does Farlaf appear in M. Glinka's music? Words for reference: confident, proud, funny, stupid, smug.
  6. Why do you think the composer used the rondo form to characterize Farlaf?

Presentation

Included:
1. Presentation - slides, ppsx;
2. Sounds of music:
Beethoven. Rondo "Rage over the lost penny", mp3;
Mozart. Alla turca ("Turkish March") from Sonata No. 11, mp3;
Glinka. Rondo Farlaf from the opera "Ruslan and Lyudmila", mp3;
3. Accompanying article, docx.

Introduction

1) Purpose of the study- determination of the form of the III part of the sonata A-DurВ.А. Mozart.

Task– Logically analyze the work, study and determine the form of the work.

Research method - work with musical text, study of theoretical scientific literature.

Definition and characterization of form

The basic principle of the rondo. The name "rondo" (circle) is given to the forms where repeated performances of the main theme alternate with episodes. Unlike the two-part, three-part, three-five-part forms, for the rondo the defining feature is neither the total number of parts, nor their internal structure. This sign lies in the arrangement of parts, their specific order. The principle of rondo can be most briefly characterized as follows: the alternation of the different with the unchanging. From this it follows that the parts lying between the passages of the theme must be different each time. It also follows from this that the rondo in its normative form contains a double contrast:

theme and episode

episodes to each other.

The concepts of different and unchanging should be interpreted flexibly, depending on general works, from the features of style. What in some cases should be regarded as "different", in other cases functions as essentially unchanged, but subjected to more or less modification.

Like other reprise forms, the rondo is created by the interaction of two principles of shaping - repetition and contrast. But, unlike these forms, both principles operate here repeatedly. Therefore, from the point of view general principles rondo should be defined as a series of contrasts, each time closed by repetition, or, conversely, as a repeated restoration of a disturbed equilibrium. It is from here that the opportunity arises to define a rondo as a form where main topic runs at least three times.

The meaning of the form, embedded in its basic principle, is twofold. It consists, on the one hand, in the insistence main idea- "refrain", and on the other hand, in the consistent introduction of diversity. The variability of the secondary parts sets off the persistence of the main theme; at the same time, the succession of episodes makes a particularly favorable impression against the background of repetitions of the same theme. The form, therefore, is artistically two-faced, and its special aesthetic value lies in the fusion of opposite, but complementary qualities.

The duality of the rondo form can also be described from a procedural point of view: two forces act in the rondo, one of which seeks to move us away from the center in any non-coinciding directions; another force seeks to bring us back to the unchanging center. Thus, there is a struggle between centrifugal tendencies and centripetal ones, with the successive triumph of one or the other.

Refrain rondo. Refrain deserves special attention. Introducing unity into the form, the refrain, according to Asafiev, is a “mnemonic milestone”, orienting the listener among the diversity. This definition emphasizes not only the constructive, but also the communicative role of the refrain. In the same place, the author points to the opposite functions contained in the refrain - the principle of identity plays not only a unifying, but also a guiding role. "He is both a stimulus and a brake, and a starting point, and a goal of movement." The above formulation is one of the clear manifestations of the dialectical regularity established by Asafiev - the mutual transformations of the initial impulse and closure. Developing this idea, one should note the unique polyfunctionalism inherent in the main theme of the rondo: the refrain is an exceptional case where the musical thought is alternately endowed with initial, intermediate, and final functions. Such a plurality of positions and roles should be reflected in the composition of the refrain. So, he should have the features of "initiativity" (definiteness of the introduction, clearly defined intonations ) and at the same time - completeness (good cadence ending, general predominance of stability, metrical completeness). However, neither should be overemphasized. Otherwise, the refrain will be “one-sided”, which will make it difficult either for the episode to appear or for the subsequent introductions of refrains. Polyfunctionalism can be taken into account by the composer either to a lesser or greater extent.

The evolution of the Rondo shape

There are three periods of development of Rondo:

Antique (couplet) rondo;

Classic era rondo:

1) Small rondo (one-dark and two-dark).

2) Grand Rondo (regular rondo with repetition of side themes, irregular rondo, sonata form with an episode instead of development.

Postclassical rondo.

Historically, all types of rondo followed each other, making changes in two directions:

1. Figurative-thematic correlation of refrain and episodes;

2. Structural and quantitative.

Therefore, it is more logical (having outlined the historical framework of each of the 3 types of rondo) to give comparative characteristic based on the directions above. So the “quality” level of rondo is determined:

· Thematic similarity or contrast of refrain and episodes. Musical thinking has evolved from the mono-darkness and imaginative homogeneity of the material in the couplet rondo through the contrasting and shading and complementary relationships of the sections in the classical rondo, and the autonomy and even eclipsing the refrain contrast of the episodes in the post-classical rondo. As it turned out, the authority of the refrain of the French and German clavescinists was based on a simple periodical unchanging repetition. The Viennese classics strengthened the meaning of the refrain by contrasting its relationship with various episodes. And the romantics and subsequent composers treated the refrain as a source of a gallery of images and a connecting component of the entire composition, so they allowed a change in the refrain.

· Tonal plan and "junctions" of the episode with the refrain. At the same time, it was the classics who managed to introduce internal movement and a dynamic process (sometimes modest, but in Beethoven it is very embossed). Romantics and other composers of the 19th-20th centuries also used this in their compositions and went further in some ways. As a result, a code was needed.

What is meant by "quantitative" level is:

1. Number of parts;

2. The structure of the refrain and episodes.

Ancient (couplet) rondo

The name comes from the French word Couplet, which was used by composers of the 18th century to mark sections, which we call episodes. The refrain was called "rond" (fr. rondeau; sometimes the form of the couplet rondo, according to the French tradition, is also called "rond", with the emphasis on the last syllable).

The couplet rondo was one of the favorite forms of French harpsichordists - Chambonnière, F. Couperin, Rameau and others. For the most part, these are program plays, usually miniatures, of a very different nature. These composers also wrote dances in this form. In German Baroque, the rondo is rare. Sometimes it is used in the finals of concerts (J.S. Bach. Violin Concerto E-dur, 3rd movement). In suites, this is often imitation french style(in one way or another) or dances of French origin (J.S. Bach. Passpier from the English Suite e-moll).

The duration of the form is different. The norm is 5 or 7 parts. Minimum - 3 parts (F. Couperin. "Le Dodo, ou L'Amour au berceau"). The maximum known number of parts (in principle, for a rondo) is 17 (F. Couperin's Passacaglia).

The refrain sets out the leading (almost always the only one in the whole work) theme, its dominant role is strongly expressed. It is usually written compactly, in a homophonic texture and has a songlike character. In most cases, it is square (including J.S. Bach) and has the shape of a period.

Subsequent refrains are always in the main key. It almost does not change, the only normative change is the refusal to repeat (if it was in the first refrain). Refrain variation is extremely rare.

The verses almost never have new material, they develop the theme of the refrain, emphasizing its stability. In most cases, one of two tendencies takes place: small differences between couplets from each other or purposeful development of couplets, accumulation of movement in the texture.

Classic era rondo

Rondo occupies a large place in the music of the Viennese classics. After F.I. Bach, this form regained balance and harmony. Parts of the classical rondo are strictly regulated, freedom is minimal. Such an understanding of form corresponds to the concept of a harmonious and rationally arranged world common to the classics.

The scope of the rondo during this period is the finals or slow parts of the cycles (that is, parts where stability, completeness and lack of conflict are important). Less common are individual pieces in the form of a rondo (Beethoven. Rondo "Rage over the lost penny").

By the number of topics, a small rondo (1 or 2 topics) and a large rondo (3 topics or more) are distinguished. These types will be listed below. It should be noted that in the European theory of the 19th - early 20th centuries (A.B. Marx and his followers, including Russians), 5 forms of rondo were distinguished. Further, it will be indicated to which form of rondo according to Marx each type corresponds.

Small one-dark rondo

The structure of this type of form has a presentation of a theme and its repetition, connected by a modulating move).

The main quality of this form, which allows it to be classified as a rondo form, is the presence of a move. This form in its pure form is rare, often there is the emergence of new thematic material (and imagery) within the move, which brings the whole closer to a two-dark rondo.

The theme is usually in a simple two-part form, which determines the independent meaning of the move (and not its middle role), less often a simple three-part or period (in this case, the move has dimensions that are much larger than the theme).

Independent plays in this form are rare.

· L. van Beethoven. Bagatelle, op. 119 (the theme is a simple two-part non-reprise form).

· R. Schumann. Novelette No. 2 in D-dur (the theme is a period, the course takes 74 bars).

RONDO (circle) in its most generalized and indirect form, the idea of ​​cosmic circulation, which has received a variety of embodiments in folk and professional art. These are circular dances that are found among all the peoples of the world, and the structure of the text of a couplet song with the same text of the chorus, and the poetic form of the rondel. In music, manifestations of rondo-likeness are perhaps most diverse and show a tendency towards historical variability. This is due to its temporary nature. The “translation” of the spatial “idea” into the temporal plane is quite specific and most clearly manifested in the repeated return of one theme (unchanged or varied, but without a significant change in character) after music that differs from it in one degree or another of contrast.

Definitions of the RONDO form exist in two versions: generalized and more specific.

The generalized definition is a FORM IN WHICH ONE THEME IS CARRIED OUT AT LEAST THREE TIMES, SEPARATED BY MUSIC DIFFERENT FROM THE REPEATED THEME, corresponds both to all historical varieties of rondo, and to the whole set of rondo-shaped forms, including rondo-sonata.

Specific definition: FORM IN WHICH ONE THEME IS HELD AT LEAST THREE TIMES, SEPARATED BY DIFFERENT MUSIC, corresponds only to a significant part of couplet rondos and classical rondos.

Repeated return of the theme creates a feeling of completeness, roundness. External signs rondalities can occur in any musical form (the sound of the introduction theme in the development and coda of sonata form, for example). However, in many cases such returns occur organically (with the repetition of the middle and reprise traditional for three-part forms, as well as in some others that will be discussed later). Rondality, like variation, easily penetrates into a variety of principles of shaping.

The first historical variety, the "COUPLET" RONDO, became widespread in the Baroque era, especially in French music. This name is quite often found in musical text (verse 1, verse 2, verse 3, etc.). Most rondos begin with a REFRAIN (a recurring theme), with EPISODES between its returns. Thus, the number of parts turns out to be odd, even rondos are less common.

The couplet rondo is found in music of the most diverse nature, lyrical, dance, energetic-scherzo. This variety, as a rule, does not contain relief contrasts. Episodes are usually built on a variant or variant-continuing development of the refrain theme. REFRAIN, as a rule, is short (no more than a period) and, completing the verse, sounds in the main key. The couplet rondo tends to be multipart (up to 8-9 couplets), but is often limited to 5 necessary parts. Most of all seven-part rondos. In a fairly large number of examples, there is a repetition of couplets (episode and refrain) in their entirety, except for the last couplet. In many couplet rondos, an increase in the length of episodes can be noted (for Rameau, Couperin). The tonal plan of episodes does not show regular trends, they can begin in the main key and in other keys, be harmonically closed or open. In dance rondos, episodes can be melodically more independent.


In German music, the couplet rondo is less common. I.S. Bach has few such examples. But rondality is palpable in the Old Concerto form, although it obeys a different rhythm of deployment (in the couplet rondo, the episode gravitates towards the refrain, "flows" into it, in the Old Concerto form the repeated theme has different continuations arising from it), it lacks the regularity of stable cadences and structural the clarity of the couplet rondo. In contrast to the strict tonal "behavior" of the refrain in the old concerto form, the theme can begin in different keys (in the first parts of Bach's Brandenburg Concertos, for example).

Philipp Emmanuel Bach's rather numerous rondos are a special phenomenon. They are distinguished by considerable freedom and boldness of tonal plans and, in practice, anticipate some features of the free rondo. Often, the refrain becomes more structurally developed (simple forms), which brings it closer to the classical rondo, but further development moves away from classical structural patterns.

The second historical variety - CLASSICAL RONDO - reveals the impact on it of other homophonic forms (complex three-part, variational, partly sonata), and itself actively interacts with other homophonic forms (it was during this period that the rondo-sonata form was formed and actively spread).

In classical music, the word RONDO has a double meaning. This is both the name of a FORM-STRUCTURE, very clear and definite, and the name of a GENRE of music with song and dance, scherzo origins, where there are signs of rondo-likeness, sometimes only external ones. Written in notes, the word RONDO, as a rule, has a genre meaning. The structure of the classical rondo is often used in a different genre plane, in lyrical music, for example (Mozart's Rondo in A minor, the second movement from Beethoven's Pathétique Sonata, etc.).

Classical rondo limited the minimum amount parts: three passages of the refrain, separated by two episodes, in addition, a coda is possible, sometimes very extended (in some rondos by Mozart and Beethoven).

The influence of a complex three-part form is manifested primarily in the bright, relief contrasting of the episodes, as well as in the "enlargement" of the parts - both the refrain and the episodes are often written in one of the simple forms. The tonal plan of episodes that introduce a modal-tonal contrast is stabilized. The most typical are the tonality of the same name and the tonality of a subdominant meaning (of course, there are other tonality).

The refrain, retaining tonal stability like the couplet rondo, varies much more often, sometimes varies sequentially. The length of the refrain may also change, especially in the second conduct (repetitions of parts of a simple form that were in the first conduct may be removed or a reduction to one period may occur).

The influence of the sonata form is manifested in the ligaments in which the developmental, as a rule, development of the theme of the refrain takes place. The technical need for the connection arises after the tonal episode. In Haydn, the role of ligaments is minimal, more developed ligaments are found in Mozart and, especially, in Beethoven. They appear not only after episodes, but also precede episodes and coda, often reaching considerable length.

Haydn's Rondo is most similar to a complex three- to five-part form with two different trios. In Mozart and Beethoven, the first episode is usually structurally and harmonically open, while the second is more detailed and structurally complete. It is worth noting that the form of the classical rondo is presented quantitatively very modestly among the Viennese classics, and even less often has the name rondo (Mozart's Rondo in A minor, for example). Under the name RONDO, which has a genre significance, there are often other rondo-shaped forms, more often than others, RONDO-SONATA, which will be considered later.

The next historical variety, FREE RONDO, integrates the properties of couplet and classical. From the classical comes a bright contrast and detailed episodes, from the couplet - a tendency to multipart and the frequent brevity of the refrain. Own features - in changing the semantic emphasis from the immutability of the return of the refrain to the diversity and variegation of the cycle of being. In the free rondo, the refrain acquires tonal freedom, and the episodes - the ability to sound repeatedly (as a rule, not in a row). In the free rondo, the refrain can not only be abbreviated, but also omitted, as a result of which there are two episodes in a row (new and “old”). In terms of content, a free rondo is often characterized by images of a procession, a festive carnival, a mass scene, a ball. The name of the rondo rarely appears. Classical rondo is more widespread in instrumental music, somewhat less often in vocal music, free rondo quite often becomes a form of extended opera scenes, especially in Russian music of the 19th century (by Rimsky-Korsakov, Tchaikovsky). The possibility of repeated sounding of episodes equates them in their "rights" with a refrain. The new meaningful perspective of the free rondo allows the form of the classical rondo to be preserved (the classical rondo has almost completely supplanted the couplet rondo) and to exist in artistic practice.

In addition to the considered historical varieties of rondo, the main feature of rondo (no less than three times the sound of one theme, shared by music that differs from it) is present in many musical forms, introducing signs of rondo-likeness less or more prominently and specifically.

There are signs of rondo-shape in three-part forms, where the repetition of 1 part and 2-3, or the repetition of 2-3 parts (three-five-part) is quite typical. Such repetitions are very typical for simple forms, but they also occur in complex ones (in Haydn, for example). There are signs of rondo-likeness in the cycles of double variations with alternate presentation and variation of themes. Such cycles usually end with the first theme or variation on it. These signs are also present in such a complex three-part form with a reprise reduced to one period, in which the first part was written in a simple three-part form with typical repetitions of parts (Chopin's Polonaise op. 40 No. 2, for example). The rondo-likeness is felt more clearly in double three-part forms, where the middles and reprises differ in tonal plan and / or / length. Double three-part forms can be simple (Chopin Nocturne op. 27 No. 2) and complex (Nocturne op. 37 No. 2).

The most prominent and specific manifestation of the rondo-shape in the THREE-PART FORM WITH REFRAIN. The refrain, usually written in the form of a period in the main key or of the same name, sounds after each part of the three-part form, simple (Chopin's Waltz op. 64 No. 2) or complex (the finale of Mozart's sonata in A major).



Rondo

Rondo

RONDO (French rondeau, old French rondel, old Provencal redondel) is a stanza form that arose in French lyrics of the 13th-14th centuries. and representing a courtly refraction of the structure of a folk dance song with a chorus and a chorus. In its most archaic form, R. consists of 8 verses, with two rhymes and with repeated lines according to the scheme: "ABa Aab AB" ( capital letters repeated lines are indicated, lowercase - rhymes). This form is called "single R." (rondel single) and forms the basis of the later triolet (see). A further complication of the form is achieved by expanding the stanza (up to 14 verses while retaining the same two rhymes) or expanding the verse; this is how R. quatrain, R. double are created; the latter form supplants all the others and is preserved in French poetry right up to the romantics (A. de Musset). In Russian poetry, R. takes root weakly, meeting occasionally as imitative form, styling. Here is an example of R. of the latest form in Russian poetry:

Who regrets beautiful days,
Flashed quickly, that sadness cherishes
In daytime thoughts and nightly tears;
Former happiness is sweet and in dreams
And the memory of kisses gently warms.
But about the occasional breeze that blows
spring evening in river bushes
And pampers us, blowing dusty ashes,
Who's sorry?
The earthly fades in unearthly rays,
Before heavenly joy, love pales,
Among the elect there is no place for topics about dreams
Who's sorry!
(V. Bryusov, Oblata, Sat. "Experiments", M. 1918). Bibliography:
Franz. rondo: ShishmarevV., Lyrics and Lyrics of the Late Middle Ages, Paris, 1911 (Ch.V). see also Strophic.

Literary encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

Rondo

(French rondeau, from French rond - circle), in versification - a solid form; A 15-line poem with two rhymes, with the rhyme scheme aabba - abbx - abbax (here x is a short blank verse, consisting of the initial words of the 1st verse). The form was popular in French lyrics of the 15th–17th centuries. (Clement Marot, Vincent Voiture and others). It developed from the rondel (French rondel), a related solid form that existed in the poetry of the 14th and 15th centuries. in the works of Charles of Orleans and Francois villon. Rondel, which was a 13-line poem also with two rhymes, in turn developed from triolet(both of these forms - each at one time - were called rondo), as indicated by its rhyme scheme: a'b'ba - aba'b' - abbaa' (repeated lines are marked with an asterisk). Historical origins trioleta, rondel and rondo - dance songs of the ancient peoples of Europe. In modern times, they were used in "antique" stylizations. In Russia, poets addressed them " silver age"(V. Ya. Bryusov, AND. Northerner and etc.).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

Rondo

RONDO- one of the solid forms, canonized in France in the XIII century. Distinctive feature Rondo serves as a chorus repeated twice, which is part of the first verse. Refrain is usually out of rhyme. Rhyme two. The development of this form led to the formation of a variety: the rondo is complex.

A simple rondo has 13 verses divided into three stanzas according to the following scheme:

As can be seen from the above diagram, if a masculine rhyme occurs five times, then a feminine rhyme occurs eight (the classic rule of Abbé Pato) and vice versa (Scheme I) - or if there are seven feminine rhymes, there should be six masculine ones (and vice versa). The play has three stanzas: 1) in five, 2) in three and 3) in five verses. The second and third stanzas have refrains.

Rondo complex has an unlimited number of stanzas, consisting of the same number of verses. A complex rondo is built like this: the first stanza gives each of the subsequent stanzas in order its own verses as the last ones. Thus, the number of inner stanzas is equal to the number of verses in the first stanza. This is followed by another stanza with the same number of verses, but ending with a refrain.

Thus, the number of stanzas in a complex Rondo is always equal to the number of verses in the 1st stanza, to which two more stanzas are added at the beginning and at the end of the work. Throughout the play there are two rhymes (m. and f.).


The form of a complex rondo is almost never found in Russian poetry. All existing samples are still only experiments in imitation of the old French form.

I. R. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925


Synonyms:

See what "Rondo" is in other dictionaries:

    - (fr., from rond round). 1) a lyrical poem in thirteen verses, with two rhymes. 2) a piece of music in which the main theme or first thought is often repeated. 3) round manuscript. font. Dictionary of foreign words included in ... ... Dictionary of foreign words of the Russian language

    Rondo- Rondo is one of the solid forms that were canonized in France in the 13th century. A distinctive feature of Rondo is the twice-repeated refrain, which is part of the first verse. Refrain is usually out of rhyme. Rhyme two. The development of this… Dictionary of literary terms

    - (Italian rondo) and RONDO (French rondeau), non-cl., cf. 1. (rondo). Popular in French poetry of the 17th century. poetic form with the obligatory repetition of the same verses in a stanza in a certain order (lit.). 2. (rondo). The form of the instrumental ... ... Dictionary Ushakov

    rondo- and rondo. In the meaning "a piece of music in which the refrain is repeated several times" rondo, cf., indistinct. Perform a rondo. In the meaning “rounded cursive or printed type; a blunt-ended pen for writing in such a font ”rondo, cf., indistinct. Feather rondo ... Dictionary of pronunciation and stress difficulties in modern Russian

    Modern Encyclopedia

    - (Italian rondo French rondeau, from rond circle), a musical form based on the alternation of a constant refrain theme and various episodes. The origin is connected with folk song and dance music. There are ancient rondos (in French plays ... ... Big Encyclopedic Dictionary

    Explanatory dictionary of Ozhegov

    RONDO, non-cl., cf. (specialist.). A piece of music in which the refrain is repeated several times. II. RONDO (special). 1. non-cl., cf. A poem of fifteen lines with a complex alternation of rhymes and a repeated non-rhyming refrain. 2. non-cl., cf. ... ... Explanatory dictionary of Ozhegov

    Poem, font Dictionary of Russian synonyms. rondo n., number of synonyms: 3 feathers (28) ... Synonym dictionary

    Rondo- (Italian rondo, French rondeau, from rond circle), a piece of music based on the alternation of a refrain (a section with a main theme) and episodes. One of the oldest European musical forms of song and dance origin. Illustrated Encyclopedic Dictionary

Books

  • Letters from Lady Rondo, wife of the English resident at the Russian court in the reign of Empress Anna Ioannovna. Translation from English. Edition of the edition and notes by S. N. Shubinsky. 1874. Part 11. Comedies (composed in Yaroslavl): Oh, time! - Ms. Vorchalkin's birthday, Rondo. The book is a reprint edition of 1786. Although serious work has been done to restore the original quality of the edition, some pages may…
  • Letters from Lady Rondo, wife of the English resident at the Russian court in the reign of Empress Anna Ioannovna. Translation from English. Edition of the edition and notes by S. N. Shubinsky. 1874. Part 13. Comedies (Catherine II): Deceiver. - Seduced. - Siberian shaman. , Rondo. The book is a reprint edition of 1787. Although serious work has been done to restore the original quality of the edition, some pages may…

L. Beethoven's "Rage over a Lost Penny", W. A. ​​Mozart's "Turkish Rondo", Saint-Saens' "Introduction and Rondo-Capriccioso"... These very different works are united by the fact that they were written with the help of one and the same same musical form. Many famous composers used it in their work. But what is a rondo, how can it be distinguished from other forms of musical art? Let's start with the definition of this concept and comprehend its subtleties.

poetic art

To avoid confusion, it should be remembered that this term simultaneously refers to two areas - literature and music. And this is not at all surprising. If we talk about poetry, then rondo is one of the poetic forms.

It has a special composition, which consists of 15 lines, while the ninth and fifteenth lines are initial words first. This form originated in France in the 14th century and was actively used in Russian poetry of the 18th and early 20th centuries.

Rondo form in music

Now you can go to the description of the rondo directly in the music. It first appeared in France during the Middle Ages. The name of the shape comes from the word rondeau - "circle". So called round dance songs. During their performance, soloists-singers performed their fragments of the work, and the choir repeated the chorus, in which both the text and the melody remained unchanged. These songs turned out to be the prototype of the musical form of the rondo.

This is a specific way of creating a work in which the main theme - it is usually called a refrain - is constantly repeated (at least three times), while alternating with other musical episodes. If we designate the refrain A, and other fragments - other letters, then the simplified scheme of the work will look like this: AB-AC-AD and so on. However, the rondo should not become too long. As a rule, it includes five to nine parts. Interestingly, the longest rondo included 17 fragments. This is a passacaglia by the French harpsichordist Francois Couperin. By the way, it was this one that became the progenitor of today's popular electronic music. It also has a lot in common with hip-hop, where it is customary to superimpose other fragments on the refrain. The only difference is that the main motive plays constantly, and does not alternate with other segments of the piece.

Varieties

Now, having determined what a rondo is in music, you can pay attention to its various options. If we talk about the number of topics and structure, then the following types are distinguished. First of all, a small rondo, a large one, as well as a sonata type, so named because some features of the sonata appear in it.

Various compositional options allow wide use this form in music. Historically, there is an old rondo, classical, with a smaller number of more contrasting and large sections, and postclassical. It will be interesting to trace how this musical form was transformed as it developed.

The history of the development of the form

Over the course of many centuries, the musical form of the rondo has changed significantly compared to its original folk version. From song and dance art, she gradually moves into the instrumental sphere. Rondo is used in their work by eminent harpsichord composers who worked in France in the 17th - early XVIII centuries: Francois Couperin, Jacques Chambonière, Jean-Philippe Rameau. At this time, the dominant style of art is rococo, music is distinguished by great grace, sophistication and an abundance of decorations. And Rondo is no exception. But, despite the exaggerated external grace and lightness of the music of this style, there is always a deep inner content and content in it.

Influence of the Viennese Classics

In the future, the musical form of this direction has changed significantly. This is due to a global change in the style of art, with a new worldview of a person, which could not but affect the nature of the work of poets, artists and, of course, composers. It is worth paying attention to the peculiarities of the development of the rondo form in the music of the Viennese classics. One of the first to use it was J. Haydn. It was then that this musical form acquired classical features. And in the work of W. A. ​​Mozart, it reaches its highest flowering. Speaking of this, it is impossible not to mention his famous "Turkish Rondo".

In writing this, he transcribed traditional Turkish orchestral military music to be played on the piano. Graceful, cheerful, lively, very well known and loved by many. Another famous composer who used this musical form was L. Beethoven. In his work, rondo is already a great depth, masculinity and scale. It was he who began to use mixed musical forms. This is a sonata rondo. Widely known for his playful and perky "Rage over the lost penny", also written in this form.

Russian representatives

In Russian art, the musical form of this direction was also used by many eminent composers. With the help of its expressive possibilities, they expanded the scope of common musical genres. For example, in A. P. Borodin's romance "The Sleeping Princess", due to the repetition of the refrain inherent in the rondo, the impression of irresistibility, the soundness of the heroine's sleep is created. The episodes succeed each other, contrasting with the unchanging and measured slowness of the main theme.

The rondo form was also used in the music of the Soviet era. This had several manifestations. For the most part, elements of the rondo-shaped construction of the work were used. For example, in S. S. Prokofiev's opera "Semyon Kotko", written according to the story of V. P. Kataev "I am the son of the working people." Here the composer, following the principles of rondo composition, achieves a wonderful artistic expressiveness: the repeatability of this form, its ability to unite and connect different things, serves as a way to convey the commonality of emotions of all characters.

The future of form

Now that we already know more about what a rondo is, we can try to draw some conclusions and assumptions. As you can see, the expressive abilities of this form make it possible to use it in different genres, transforming and supplementing them in an amazing way. And, probably, in contemporary art and even in the music of the future there will be a place for it. Remarkably, the rondo not so long ago made its debut in cinema. It is this term that most capaciously describes the plot of the painting "The Beginning".

After all, rondo is a combination of the constant with the changeable, the temporary with the unshakable, the stormy with the measured and, nevertheless, the eternal return to normal. And in this it is akin to our life and even nature itself with its invariable cyclicality.