2. Beethoven, pianoforte sonata, op. 28, second movement, Andante. The principal Song is in the Three-Part form, with exact repetitions. The subordinate song differs so radically in style, and each song is so complete and distinct from the other, that the form is almost certainly Song with Trio; but there is a strong intimation of the Rondo-form in the elaborate variation of the da capo, and in the treatment of the coda (last 17 measures), in which motives from both Songs are associated so closely as to vindicate their kinship. In a word, this movement possesses,—despite the apparent independence of its Songs,—some degree of that continuity, compactness and artistic finish which culminate in the genuine Rondo-form.
3. Mozart, pianoforte sonata, No. 10, second movement (Rondeau en polonaise). The continuity and unity of this composition is so complete that it is certainly a Rondo-form; the principal theme is a fairly large Three-Part form; the subordinate theme (measure 47-69) is a Two-Part form, the second part corresponding in contents to the second Part of the principal theme; the recurrence of the principal theme is abbreviated to one of its three Parts, and is merged in the coda (last seven measures), which assumes the nature of a mere extension. Despite all this evidence, there still remains a certain impression of structural independence, which, so to speak, betrays the "seams," and militates somewhat against the spirit of the perfect Rondo-form. See also, No. 13, Adagio.
4. Beethoven, pianoforte sonata, op. 2, No. 2, Largo; the unessential details omitted in the following (in order to economize space) appear, of course, in the original,—to which the student is expected to refer.
[Illustration: Example 54. Fragment of Beethoven.]
