Dionisio Aguado composed three brilliant rondos in lif,e the oldest edition on the [IMSLP](https://imslp.org/wiki/4_Rondos_brillants%2C_Op.2_(Aguado%2C_Dionisio)) website was published in 1827 by the German publisher Schott.

All three rondós constitute each one of two dipticos, with a slow section and a fast one. ISong of the Day I bring the interpretation of Giacomo Susani do Rondó n2, the second work published in his Op2, performing in a Domingos Esteso guitar of 1926.

The Andante is a small slow piece in three parts. Which the first theme is attacked at first, followed by a variation at 0:39 seconds. In 1:13 we have the passage to a second theme, with a little Cadenza in 1:27. In 1:41, theme B appears on the C major chord, with the coda in 2:10 which brings us to the end of this first piece.

We can also interpret the second theme as a variation of the first, since the melodic material is very similar to the first theme, if we think of this form we have an A(passage),A1(coda), or A2 (coda)A(passage),B(coda) according to the previous formal explanation.

<center>https://www.youtube.com/watch?v=adqwf4sNFnY</center>

In 2:28 the begins in fact, with a theme that reminds us of another rondo, the first movment of [Beethoven's pathetic sonata](https://www.youtube.com/watch?v=Ifj8dwuAzAQ). in Aguado, part A with a repetition. The second theme comes in at 2:51 also with repetition, B. The third theme appears at 3:14, followed by a sequence of new melodic themes and materials, I'll call it a large third section (C). In fact a simplification of what can also be interpreted as a set of new sections, connected with virtuosic passages. until the Cadenza in 5:13, which takes us back to the first theme.

The first theme, A, reappears at 5:50, without repetition, followed by the theme of section B at 6:00. In 6:10 we have the fourth section with new themes. I'll call (D). We can notice a second Cadenza in 8:10, a passing section with scale sequences and arpeggio as in the previous one. A and B resurface at 8:30, taking us to Coda, with the melodic material of B, and the end of this Op2, N2.

Under this somewhat simplified look of form, we would have: AA, BB, C, (Cadenza), AB, D, (Cadenza), A'B '(Coda).

Traditionally, the Cadenzas apply to the concerts for solo instrument and orchestra, has improvisatory and virtuosic character, here I called Cadenzas the passages between the sections that maintain this characteristic.

I hope you enjoy = D

A greta hug
Guilheme Faquetti
May 13, 2019

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