See also:

• SCHERZO (Italian for " a joke ")

SCHERZO (See also:

• ITALIAN

Italian for " a joke ")  , in See also:

• MUSIC

music, the name given to a See also:

• QUICK

quick See also:

• MOVEMENT

movement evolved from the See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

minuet and used in the position thereof in the See also:

• SONATA (From Ital. sonare, to sound)

sonata forms . The See also:

• TERM

term is occasionally applied otherwise, as a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character name . See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn first used it for a See also:

• MIDDLE

middle movement quicker than a minuet, in the comparatively See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early set of six quartets known sometimes (for that See also:

• REASON (Lat. ratio, through French raison)

reason) as Gli Scherzi, and sometimes as the See also:

• RUSSIAN

Russian quartets (Op . 33) . He never used the term again, though his later minuets, especially those in the Salomon symphonies, and the last completed quartets (Op . 77), are in a very rapid tempo and on a larger See also:

• SCALE
• SCALE (1) A

scale than any of the earlier scherzos of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven . Haydn wished to see the minuet made more worthy of its position in large sonata See also:

• WORKS

works; but he did not live to appreciate (though he might possibly have heard) the See also:

• GREAT

great scherzos of his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil Beethoven, which brought the See also:

• ELEMENT (Lat. elementum)

element of the See also:

• SUBLIME (Lat. sublimis, exalted)

sublime into what may be generically termed the See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance movement of the sonata See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . With rare exceptions Beethoven not only retained the dance character in lively middle movements, but accentuated it to the utmost in terms of what we have elsewhere called " dramatic " as distinguished from " decorative " music . He took those features of minuet See also:

• FORM (Lat. forma)

form and style which most contrast the minuet with the larger and more highly organized movements, and he devised a form that emphasized them as they have never been emphasized before or since . The distinctive See also:

• EXTERNAL

external feature in the minuet and trio is the See also:

• COMBINATION (Lat. combinare, to combine)

combination of melodic binary forms with an exact da See also:

• CAPO

capo of the minuet after the trio; no other movement in the sonata admitting of so purely decorative a symmetry . The form of Beethoven's typical See also:

• SCHERZO (Italian for " a joke ")

scherzo purposely exaggerates this feature . See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart had frequently enriched minuets by giving them two or even three trios, with the minuet da capo after each .