C. PH. E. BACH „SZABÁLYTALAN" RONDÓI TÖRTÉNETI ÖSSZEFÜGGÉSBEN.

In the literature discussing the history of the rondo form/genre, special attention has been paid to the rondos of Carl Philipp Emanuel Bach, with particular regard to those published in the keyboard collection Für Kenner und Liebhaber (1779--1787). Studies pertaining to the subject (Leisinger 1998, Cole 1969 and 2001, Clercx 1935, Chrzanowski 1911) are inclined to judge that these pieces 'stand outside the mainstream of the genre's evolution' (Cole 2001). Nevertheless, these strange rondos by C. P. E. Bach, whose most striking characteristics are the non- tonic and varied reprise of the refrain, as well as the use of improvisative elements, might not have been without any influence. Already in 1776, Johann Nikolaus Forkel praised the final movement of Philipp Emanuel's Sonata in G Major (Wq. 90/2) for 'differing strikingly to other representatives of the musical genre which is so much liked and prevailing in our days'. In 1789, Daniel Gottlob Türk mentioned Philipp Emanuel as the inventor of the non- tonic rondo reprise. A decade later, the final movement of the G-Major Sonata was used by Augustus Frederick Kollmann as an example in his description of the type in question, which he called 'improper rondo'. What is more, the non- tonic reprise also occurs in certain rondos by Haydn, Mozart, Beethoven and Schubert. In my article, I discuss Philipp Emanuel's peculiar rondos in historical context, analysing among others the scrubscriber lists of the Für Kenner und Liebhaber volumes. I point out that while the idea of non- tonic reprise had a certain historical impact among Viennese composers, the fantasia- like character of Bach's works in question indeed remained without followers. [ABSTRACT FROM AUTHOR]