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The Italian Baroque: Instrumental Music, Arcangelo Corelli (1653-1713)
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Arcangelo Corelli (1653-1713)
Born in Papal states, studied violin and composition in Bologna. 1675 lead Rome under $ of Queen Christina of Sweden. 1681, published a series of collections of trio sonatas, violin sonatas, concerti grossi. Published sonatas as sets of 12.
Major Contributions: Organized and led among the first orchestras in Italy, raised the performance standards. Understood the qualities of the violin. Helped establish standards of form, style, and playing technique that influenced many generations.
Became a multi-movement work, they contrast each other and each movement has thematic independence. By 1660, 2 main types of sonata
Sonata de Camera: with series of stylized dances often beginning with a prelude.
Sonata da Chiesa: Church, abstract movements often including dance rhythms or binary forms, not titled as dances. more serious.
Both played for entertainment in private concerts.
After Trio Sonata was most common. Two Treble instruments (2 violins) and basso continuo (can be multiple instruments, but one part)
NAWM 96: Corelli, Trio Sonata in D major, Op.3 No.2
Structure: Grave, Slow 1st movement
Allegro, fast 2nd movement
Adagio, slow 3rd movement
Allegro, fast AABB 4th movement
Stylistic Features:
Walking Bass: steady moving pattern of 8th notes under free imitation between the violins
Chain of Suspensions: above a descending sequence in the bass.
Dialogue between the violins as they hop over each other progressively to higher peaks
Lyricism over virtuosity emphasis
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- Early 17th Century: General Traits and 3 instrumental Genres
Toccata (fantasia or prelude): keyboard or lute pieces in an improv style. "touched" Clearly defines the modes of the piece it precedes.
(canzona) sonata: pieces with contrasting sections, often in imitative counterpoint. similar to vocal cantata
Ricercare (fantasia, fancy, capriccio or fugue): fugal pieces in continuous imitative countepoint.
Other: setting of existing melodies in organ verse or chorale prelude. dances and other pieces in stylized dance rhythms, suites. Pieces with variations such as variations/partita of a given melody, variations of chorale variation/partita, and chaconne/passacaglia variation of a ritornello improvised over a simple cadential progression
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Antonio Vivaldi (1678-1741)
Born in Venice to violinist. Music and Priesthood training, the Red Priest. Worked at the Pio Ospedale della Pieta (home for poor/orphans) Constantly composing for students, trying to accomodate everyone, concerts for patrons. 500 concertos!! mostly violin concertos.3 movements fast-slow (in same or closely related key)-fast
NAWM 98, Violin Concerto in A Minor, Op.3, No.6, 1710
3 movements. segmented ritornello (orch) achieves economy and variety. Constant alternation between ritornello and episodes (solo). First composer to make 2nd/slow movement just as important as the fast ones. 1st movement introduces new configurations into 2nd mvmt episodes. expressive, cantabile melody.
Codified Ritornello Form:
(expansion of Torelli) Ritornellos alternate with episodes for the soloists. Rtis are the guideposts to the tonal structure, confirming the keys that the music modulates to. Opening ritornello consists several small units that can be seperated or combined. Many episodes modulate to a new key confirmed by the following ritornello
Vivaldi Style: Spontaneity of musical ideas: clear formal structures, varied textures, assured harmonies, forceful rhythms. Dramatic tension between Solo and Tutti: let the soloist stand out as a musical personality. exciting combination to engage listeners. Served as teaching pieces for his students with flashy solo passages to challenge the best players
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Concerto Developments
1680/90's: New Instrumental Genre, version of concertato medium. Florid melody over a firm bass. Based on tonality. multiple movements with contrasting tempos, moods, and figurations
By 1700 3 kinds:
Orchestral Concerto: emphasized the first violin and the bass, less contrapuntal than sonatas
Concerto Grosso: small ensemble/concertino of solo instruments against a large ensemble/concerto grosso. some passage have multiple players per part.
Solo Concerto: one or more solo instruments against a large ensemble. tutti/ripieno for all
Common Traits: gained independence from vocal music. Becomes equal. Focus on abstract genres. Adopted many elements typical of new vocal idioms such as: basso continuo, affections, focus on the soloist, virtuosic embellishments, stylistic contrast, recitative and aria
Church Sonatas: 4 movements, slow-fast-slow-fast. Contrapuntal, majestic and solemn-allegro with fugal imitation, bass line independent-lyric operatic duet in triple meter-dancelike rhythms, binary form
Chamber sonatas: begin with a prelude followed by two or three dances like in the French Suite. bass line almost totally accompaniment.
Solo Sonatas: allow more virtuosity, double and triple stops to simulate 3 part sonority of the trio sonata and interplay of voices in a fugue.