33. It is precisely this distinction that led Augustus Frederic Christoph[er] Kollmann to speak of “proper and improper [rondos], of which “the former are those, in which the first section always returns in the principal key … and the latter, those in which the subject or first section also appears in keys to which a digression may be made.” As an example of the latter, Kollmann prints the finale of Emanuel Bach’s Piano Trio in G (H 523), no doubt inspired by Forkel’s study, with running analytical commentary. See An Essay on Practical Musical Composition (London: “printed for the author,” 1799; reprint, with new introduction by Imogene Horsley, New York: Da Capo Press, 1973), 6 and plates 1–5.