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Rondo-Sonata, Rondo or Sonata-Rondo (coda)? The Structure of Mozart's Piano Sonata K309 Finale by Sonata in C major K309 was composed in Mannheim in October of 1777.

Thanks to a letter written by Mozart it is known that the piece was improvised in a performance and later committed to paper for publication. In this letter Mozart 'writes of how he 'playedall of a sudden a magnificent sonata in C major, out of my head, with a rondo at the end - full of din and sound'. It's outer movements became the sonata K309.' Click to hear the rondo finale. ( MIDI 32.7Kb) Berry favour one variant of the rondo form, as illustrated by Green's dubbing it the Classical rondo form Figure 1 Figure 2 Figure 3 and so he 'perceives an over-all composite sectional ternary structure, part three being a partly transposed version of part one, both surrounding a central part.'

Individualised treatment. The greater contrast of section C in key area, material and often length is a cited as a feature of this rondo form in many sources. Schenker views rondo forms as a combination of a number of ternary structures. Figure 4 A section means that part three of Green's model is no longer the same as part one and therefore the form can no longer be seen as one large ternary structure.

The same problem also puts Schenker's model into question as the missing A section removes the last part of the second ternary structure and the initial refrain of the third. The removal of the A section in fact destroys the arch form of this rondo design that Berry says 'is more clearly suggestedthan in any other traditional musical form' problamatises these models but also the dispersion of thematic material throughout the movement.

In its earlier forms the rondo was a simple, sectional piece in which the parts of its structure were clearly defined. Later, however, in the hands of the classicists this was no longer the case; Mozart 'moved from a simple, sectional structure to a complex, integrated form into which he built surprise and variety, and within which he attempted to offset and even exploit the regularity inherent in the traditional layout.' Treated as separate intermediary passages, belonging neither to refrain nor to episode but which, in effect, do not deter from the overall impression of the rondo structure.

Figure 5 discussed, which Green classes the Classical rondo would, by some, be classed a sonata-rondo. Green only does so if a development section substitutes the second episode C. Schoenberg also views a development section as a necessary requirement of sonata-rondo form. Others however have varying views as to the importance or frequency of developmental C sections in the sonata-rondo. Paul Fontaine comments on 'a general lack of development in the middle episode' A sections. The A section appears more often in the sonata rondo than it would in a true sonata form and theorists have taken differing approaches to overcome this problem. Both Green Figure 6 Caplin, however, proposes a different model that attempts to better explain the superfluous refrains, bringing the structure to closer proximity with the sonata form: Figure 7 Caplin attempts to explain the presence of the second refrain in relation to the sonata form when he states that this refrain 'can be heard to mark the repetition of a sonata exposition.

Thus it is only when the music begins to depart from the plan laid out in the exposition that the listener can confirm an interpretation of Rondo form.' Caplin explains away the problem of the final statement of the refrain by situating it always within the coda. Although some sonata-rondos do undeniably eschew the final refrain, including material from the A section in the coda to stand in its place this explanation does still seem problematic. If a coda is supplementary material, superfluous to the necessary structural material of a form, then placing the final A section within the coda raises questions in relation to the theory that a rondo form must end with a statement of the refrain. Caplin's model of the sonata-rondo's sonata structure: Figure 8 Figure 9 Caplin notes that 'if Mozart retains refrain 3 in his sonata-rondo forms, then he usually eliminates refrain 4, although its opening motives may pervade the texture of the coda.' A typical textbook rondo refrain ().

It is a complete two-phrase binary form in itself, it is in the tonic key of C major throughout and closes with a perfect authentic cadence onto beat one of measure 19. On each recurrence of the refrain it appears in the same form with minor ornamentation, apart from the last three measures which are modified on each appearance.

This modification is used each time to subtly alter the style of the music toward that of the subsequent transition therefore facilitating a smooth movement into the next passage. Schenker suggests, the form is composed of a number of ternary structures, the question arises: why does the music not come to a halt at the end of each of these ternary sections? Indeed if the refrain is a closed, self contained structure in and of itself, and it can be used to end the entire work, why does the work not end after its first statement? This change in style in the last three measures of the refrain, each time accompanied by an increase in rhythmic and harmonic movement, ensures that, although the section is coming to a close, the music does not feel like it is coming to an end but that something else will follow.

A more difficult. When looking at the other occurrences of A its end becomes obvious as this transitory passage does not occur, but when listening to the piece its conclusion is not so clear. After its closing beginning, this section moves away into what is more recognisably a transition, taking the music into the dominant key of G major for the next section. Caplin suggests that 'the subordinate-theme group tends to be highly expansive in relation to the main theme'. Chromaticism and more adventurous harmonies including diminished seventh chords and touches of the minor key.

Chordal transition back into the home key and elides with the first note of the refrain. Figure 10 Hearing the two motives played in succession, with the second transposed into C major, highlights the connection. Click to hear a midi file of this example motivic material episode C does not really behave as a sontata development section. The motive could be seen as a development of that from A but it is not developed any further.

Also the section does not display the usual roaming tonality of a developmental passage but is tonally static, remaining in F major throughout. The section is essentially a closed, interior theme although the motivic relationship could be seen as a nod toward the developmental section that it represents in sonata form. Goetschius notes, 'it is evident that the transition here must pursue a course widely different from that of the ordinary transition' transition once again uses the material from the end of the original c thematic section; that which was so suited to transition that it was brought to the beginning in its second appearance.

In the rondo scheme of the movement this passage is included in the coda, which starts as soon as the final refrain is complete. In sonata form however the transition is leading to the closing theme of the subordinate-theme complex, still part of the reorganised recapitulation and therefore not yet part of the coda. Cadential extension. As the theme has not reappeared since its first sounding, this is the ideal place for its recurrence where it could act as the closing theme for the entire piece. D and c sections serve to keep the music moving after e until b arrives to close.

Cadential passage with a number of perfect authentic cadences, but when it reaches the point of climax and complete closure it is left hanging and a strange recurrence of theme a closes the piece. This a theme is slightly altered with a bizarre Alberti bass two octaves below the melody giving a tonic pedal effect, and B flats which add a touch of the subdominant to the passage. The overall effect is of a strange echo of the refrain theme. Whether this ending is to make up for the missing A section or an acknowledgement that a rondo should end with the refrain we cannot tell, but this is definitely a very strange passage with which to end a work. Rondo or more sonata. This movement evinces differences from the true form of both these structures.

It differs from sonata form in the incomplete repetition of the exposition and in its not-quite-development section. The differences from the rondo lie in the missing repeat of the refrain and the lack of independence in episode C. In a movement that possesses all occurrences of the refrain the form might be seen to be more of a rondo than a sonata. This movement, however, reflects the textbook requirements of both forms but does not entirely fulfill either. The form then cannot be said to be more one thing than the other, and Mozart appears to have developed his sonata-rondo form into a true hybrid, reflecting both origins equally.

NOTES 'Mozart: Piano Sonata in B-flat K333, first movement' in Edexcel A Level Syllabus - Analysis [book on-line] ( Edexcel, 2001, accessed 05 December 2001); available from Internet. Douglass Green, Form in Tonal Music - An Introduction to Analysis, (New York: Holt, Reinhardt and Winston, Inc., 1965), 153. Percy Goetschius, The Larger Forms of Musical Composition, (New York: G. Schirmer, 1915), 93.

Wallace Berry, Form in Music, (New Jersey: Prentice Hall, 1976), 122. Ibid Green, 156. Arnold Schoenberg, Fundamentals of Music Composition, ed. Strang and L. Stein (London: Faber and Faber, 1967), 196. Ibid Green, 161. Heinrich Schenker, Free Composition ( Der freie Satz), trans.

Ernst Oster (New York: Longman, 1935), 141. Malcolm Cole, 'Rondo', The New Grove dictionary of music and musicians, 2nd ed., ed. Stanley Sadie; exec. John Tyrrell, ( New York: Grove, 2001) XVI, 174. Ibid Cole, 175. Paul Fontaine, Basic Formal Structures in Music (New York: Appleton-Century-Crofts, 1967), 167. Ibid Cole, 175.

Charles Rosen, Sonata Forms (New York:W. Norton, 1980), 126. Ibid Berry, 241. Ibid Green, 240. Ibid Fontaine, 168. William Caplin, Classical Form (New York, Oxford, 1998), 237. Ibid Caplin, 235.

Ibid Caplin, 239. Ibid Rosen, 126. Ibid Caplin, 239. Ibid Green, 157.

Ibid Caplin, 233. Ibid Rosen, 126. Ibid Goetschius, 141. Ibid Goetschius, 141. © Copyright 2001 by Nicholas Donlevy.