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| Sonatas in first half of 17th century | Consisted of many small sections differentiated by various things (music material, mood, tempo, etc.) |
| Development of Sonata | Eventually, the small sections were developed/made longer and were separated into distinct movements so that the sonata became a multi-movement work with contrasts between movements= These contrasts were in sympathy with the THEORY OF THE AFFECTIONS |
| Theory of Affections | Held that music stimualted bodily humors and could keep them in balance by offering diversity of moods |
| 1660: 2 main types of Sonata | Sonata da camera (or chamber sonata) & Sonata da Chiesa (or church sonata) |
| Sonata da Camera | (Chamber Sonata) Featured series of stylized dances, often beginning with a prelude |
| Sonata da Chiesa | (Church Sonata) Contained mostly abstract movements, often including 1 or more that used dance rhythms/binary form but were not usually titled as dances |
| Church & Chamber Sonatas: Instrumentation after 1670 | Was 2 treble instruments, usually violins with basso continuo (such work is called TRIO SONATA) |
| Trio Sonata | Was 2 treble instruments, usually violins with basso continuo= Called this because of its 3-part texture, but performance can have 4 or more players if more than 1 is used for the basso continuo (e.g. cello performs bass line and harpsichord, etc.)= Texture (with 2 high melody lines over basso continuo) served many other types of solo muisc |
| Solo Sonatas | for instrument with continuo gained popularity after 1700 |
| Ensemble Sonatas | Sonatas for larger groups, up to 8 instrumental parts with continuo, as well as a few for unaccompanied string or wind instruments |
| Arcangelo Corelli | (1653-1713) His trio and solo sonatas represent the crowning achievement in Italian chamber music of the late 17th century |
| Arcangelo Corelli: Trio Sonatas | Emphasized lyricism over virtuosity= Rarely used extremely high/low notes, fast runs, or difficult double stops= The 2 violins, treated exactly alike, frequently cross and exchange music, interlocking in suspension that give his works a decisive forward momentum |
| Trio Sonata in D Major, Op. 3, No. 2 | pg. 394 (Arcangelo Corelli) Features several typical traits of Corelli's style: a WALKING BASS, with a steadily moving pattern of eighth notes, under free imitation between the violins; a chain of suspensions in the violins above a descending sequence in the bass; and a dialogue between the violins as they leapfrog over each other to progressively higher peaks |
| Arcangelo Corelli: Church Trio Sonatas | Most consist of 4 movements, often in 2 pairs, in order of slow-fast-slow-fast (gradually became norm for Corelli and others) |
| Arcangelo Corelli: SLOW-f-s-f | (Corelli's Church Trio sonatas s-f-s-f) First SLOW movement has a contrapuntal texture and a majestic/solemn character |
| Arcangelo Corelli: s-FAST-s-f | (Corelli's Church Trio sonatas s-f-s-f) Next FAST/ALLEGRO that follows first slow section normally features fugal imitation, with bass line a full participant (this movement is the musical center of gravity for the church sonata, and has elements of the CANZONA in its use of imitation, of a subject with a marked rhythmic character, and of variation at later entrances of the subject) |
| Arcangelo Corelli: s-f-SLOW-f | (Corelli's Church Trio sonatas s-f-s-f) Subsequent slow movement after first fast section resembles a lyric, operatic duet in triple meter |
| Arcangelo Corelli: s-f-s-FAST | (Corelli's Church Trio sonatas s-f-s-f) The fast final movement after second slow section features dancelike rhythms and often is in binary form |
| Arcangelo Corelli: Chamber Sonatas | Usually begin with a PRELUDe, after which 2 or 3 dances may follow as in the French suite= Often first 2 movements resemble those of a church sonata, a SLOW MOVEMENT and a FUGAL ALLEGRO |
| Arcangelo Corelli: Chamber Sonatas= First Movements | Some of 1st movements feature dotted rhythms, recalling the French overture |
| Arcangelo Corelli: Chamber Sonatas= Dance Movements | Almost always in binary form, with each section repeated, the 1st section closig on the dominant or relative major and the second making its way back to the tonic |
| Arcangelo Corelli: Chamber Sonatas= Bass Line | Rather than sharing almost equal role as in the church sonatas, is almost pure accompaniment |
| Arcangelo Corelli: Solo Violin Sonatas | Divided between church and chamber sonatas, following similar patterns of movements but allowing considerably more virtuosity |
| Arcangelo Corelli: Solo Violin Sonatas= Allegro Movements | Solo violin employs double/tripple stops to simulate the rich three-part sonority of the trio sonata and the interplay of voices in a fugue= There are fast runs, arpeggios, extended perpetual-motion passages, and CADENZAS |
| Cadenza | Elaborate solo embillishments at a cadence, either notated or improvised |
| Arcangelo Corelli: Solo Violin Sonatas= Slow Movements | Notated simply but were meant to be ornamented freely and profusely |
| Arcangelo Corelli: Sonatas= Movements | In his sonatas, movements are thematically independent from each other and tend to be based on single subject stated at the outset= Music unfonlds in continuous expansion of the opening subject, with variations, sequences, brief modulations to close keys, and subtleties of phrasing (i.e. a steady spinning out of a single theme where the original idea seems to generate a spontaneous flow of musical ideas) |
| Baroque: Theme Characteristic | The steady spinning out of a single theme, where the original idea seems to create a spontaneous flow of musical ideas is highly characteristic of late Baroque from 1680s on |
| Arcangelo Corelli: Tonality | His music is TONAL, marked with the sense of direction/progression that (ABOVE ALL ELSE) distinguishes tonal music from modal music |
| Trio Sonata in D Major, Op. 3, No. 2= TONALITY | Has many series of chords whose roots move down the circle of fifths, falling by a 5th or rising by a 4th |
| Tonal Music: Normal direction for chord progressions? | Series of chords whose roots move down the circle of 5ths, falling by a 5th or rising by a 4th |
| Modal Music: Chord Progressions | Unlike tonal music, may move up the circle of 5ths as easily as down |
| Tonal Music: Progressions | The chord root also may rise by step or fall by a 3rd before rising by a 4th |
| Chord series suggesting Modal Thinking... | Chord series whose roots mainly move down by a 4th or 2nd and up by a 5th or 3rd (ex: Monteverdi's Orfeo) |
| What lead to tonality? | the increasing use over 17th c. of DIRECTED progressions like Corelli's led from modal practice to the new functional harmony we call tonality |
| Corelli: Forward Harmonic Motion | Often relied on chains of suspension and on sequences to achieve the forward harmonic motion sense that tonality depends |
| Corelli: What is the majority of his music? | Is almost all completely DIATONIC= Beyond secondary dominants, we rarely find diminished 7th chord or Neapolitan 6th at a cadence= His modulation within a movement (often to dominant and relative minor/major) are logical and straightforward= Either kept ALL movements of a sonata in SAME key, or, in MAJOR-KEY sonatas, cast the 2nd slow movement in the relative minor |
| Music for CHAMBER ENSEMBLE | With only 1 instrument for each melodic line |
| Music for ORCHESTRA | Each string part was performed by 2 or more players |
| Concerto | (New type of orchestral comp. made in 1680/90s) Like the vocal concerto, it united contrasting forces into a harmonious whole, in an instrumental version of the CONCERTATO medium- Combined this texture with other traits favored at the time: florid/elaborate melody over a firm bass; musical organization based on tonality; and multiple movements with contrasting tempos, moods, figuration |
| By 1700, composers were writing 3 kinds of concertos? | Orchestral Concerto, Concerto Grosso, Concertino |
| Orchestral Concerto | By 1700, was a work in several movements that emphasized the 1st violin part and the bass, distinguishing the concerto from the more contrapuntal texture characteristic of the sonata (the other 2 types of concertos played on the contrasts in sonority between many instruments and one or only a few) |
| Concerto Grosso | Set a SMALL ENSEMBLE (CONCERTINO) of solo instruments against a large ensemble (CONCERTO GROSSO)= In essence resembles an ensemble sonata in which some passages are reinforced with multiple players on each part |
| Concertino | Had 2 violins accomp. by cello and continuo (the same things needed to play a TRIO SONATA) |
| Most common type of Concerto... | Contrasts 1 or more solo instruments with the large ensemble= Large group was string orchestra, usually divided into 1st and 2nd violins, violas, etc.= In both the CONCERTO GROSSO and the CONCERTO for one or more soloists, the full orchestra was designated TUTTI (all) or RIPIENO (full) |
| Characteristic of Concertos: Natural Trumpet | The melodic style idiomatic to the natural trumpet, marked by triads, scales, and repeated notes, was imitated by the strings and became characteristic of concertos |
| Roman Orchestras | (treated the orchestra as an expansion of the concertino) Typically divided between concertino and ripieno= Thus, roman composers favored the CONCERTO GROSSO |
| Concerti Grossi, Op. 6 | (Corelli) Essentially trio sonatas, divided between SOLI and TUTTI= The larger group echoes the smaller, fortifies cadential passages, or punctuates the structure through doublings |
| Italian composers and the orchestra | Focused first on the orchestral concerto, then on the concerto for one or more soloists and teh concerto grosso |
| Giuseppe Torelli | (1658-1709) Composed orchestral concertos, concertos for one/more soloists, and concerto grosso= Most of works follow a 3-movement plan in the order FAST-SLOW-FAST, taken over from the italian opera overture |
| Giuseppe Torelli: Violin Concerto: FAST Movements | Resembled structure of the A section of a DA CAPO ARIA= There are 2 extended passages for soloist, framed by a ritornello that appears at beginning and end of movement and recurs, in abbreviated form and in a diff. key, between the 2 solo passages= the solos present new material, often exploiting virtuosity of the soloist, and modulate to closely related keys, providing contrast and variety= The return of the ritornello then offers stability and resolution |
| Ritornello Form | (Antonio Vivaldi's developed of Torelli's approach) |
| Italian Music in last third of 17th c. | All genres had common features= Composers sought to make music pleasing to ear, emotionally expressive, fun to perform, and able to show off |
| Italian Music in last third of 17th c.= Tonality | In arias, concertos, and other forms, the final tonic was emphasized by a reprise of the opening material |
