two fundamental types. Schumann was extremely fond of this Older
Rondo Form, as may be seen from his frequent practice of writing two
Trios to the Scherzos of his Symphonies. A moment's thought will make
clear that a Scherzo with two Trios and the customary repetitions will
conform exactly to the pattern given above, _i.e._, A, b, A', c, A''
Coda, _e.g._, Scherzo, First Trio = First Episode, First return,
Second Trio = Second Episode, Final return and Coda--five portions in
all, or six when there is a Coda. For convincing examples see the
Scherzos of the First and Second Symphonies. Schumann's well-known
_Arabesque_ for pianoforte, op. 18, is a beautiful, clear-cut example
of the form; with an interpolated modulatory passage between the first
episode and first return, and a poetic Coda which has, for its closing
measures, the chief motive in augmentation (already referred to on p.
45). To show Schumann's partiality for this form the student may be
referred to Nos. 2 and 8 of the _Kreisleriana_ (op. 16) and to Nos. 1,
2 and 3 of the "Nachtstuecke" (op. 23). The third of the _Romances_
(op. 28)--a remarkably free example in the grouping of the material
and in the key-relationship--is cited in the Supplement (No. 37). An
excellent example (readily accessible), popular by reason of its
freedom of treatment, as well as for its inherent sparkle and dash, is
the Finale of Weber's Sonata in C major, op. 24--the so-called _Moto
Perpetuo_. The most famous example of this form in classical
literature is undoubtedly the Finale of Beethoven's _Waldstein
Sonata_, op. 53, with its melodious and easily remembered first
subject, _e.g._

[Music]

[Music]

its two episodes in A minor and C minor (which afford most dramatic
contrasts to the lyric quality of the main subject) and its glorious,
long-extended Coda of about three pages.[79]

[Footnote 77: For a complete account of the historical development see
the article on Form in Grove's Dictionary Vol. II and Hadow's _Sonata
Form_, Chapter IX.]

[Footnote 78: There is an early example in the Rondo of Mozart's
Sonata for Pianoforte in B-flat major.]

[Footnote 79: For a complete detailed analysis of the movement see
Prout, _Applied Forms_, pp. 120-121.]

As stated above, the Older Rondo-Form has not become obsolete; indeed,
by reason of its possibilities for emphasis and contrast it has
commended itself to modern composers. Striking examples may be found
in the Finale of Brahms's