WEEK THREE sonata & concerto
Tues 1/21 The rise of the violin in the 17th century
W & T 56 “The Baroque sonata”
W & T 57 “A New Sound Ideal”
MWC 92: Salomone Rossi, “Sonata sopra l’aria di Ruggiero”
MWC 93 a-d: Corelli, Trio Sonata Opus 4, No. 1
MWC 97 a-b: Biber, “Mystery” Sonatas, “The Resurrection”: mvmts 1 and 2 (out of 3)
FOLLOW-UP QUESTION: What are significant differences and similarities among these early and late 17th-c sonatas? (Consider form, length/duration, organization). How do these sonatas match (or not) contemporary descriptions of the genre in W&T “The Baroque Sonata”?
GOING FURTHER: Locate a score of another piece mentioned in the primary source readings (e.g. Purcell’s sonatas, Couperin’s “Les Nations”). Can you find passages or excerpts to illustrate what the primary source says?
Thurs 1/22 Solo concerto and concerto grosso
MWC 94: Torelli, Trumpet sinfonia in D major
MWC 95: Vivaldi Opus 3, no. 8, mvmt 1
Corelli, Concerto grosso Op. 6, No. 1 in D major (CourseWork)
Michael Talbot, “The Italian concerto in the late seventeenth and early eighteenth centuries,” in Cambridge Companion to The Concerto, Chapter 3.
STUDY SUGGESTION: Using the assigned pieces, find examples of the features, conventions, and norms that Talbot describes.
- Who was Quantz? Why does Talbot keep quoting him?
- Why does Talbot refer to the sonata as the “parent genre” of the concerto? Can you see evidence of the sonata “parentage” in the Torelli and Corelli concertos? [Review the descriptions of sonata in Tuesday’s readings]
- Are there movements of the Corelli concerto that could be more or less effectively played by the concertino group alone (i.e. as a trio sonata)?
GOING FURTHER: Locate a score of another piece or opus discussed by Talbot, and see what he’s talking about (re: orchestration, relation of small to large group, role of soloist(s), number of movements, terminology, etc).
Print out a map of Italy [and environs] and annotate it to visualize this chapter’s account of the development of the concerto
MWC 109: Handel, “Water Music,” Suite No. 1, Minuet & Trio, Hornpipe
MWC 115: J.S. Bach, Brandenburg Concerto No. 5 in D major
Tia DeNora, “The Concerto and Society,” Cambridge Companion to the Concerto, Chapter 2, pgs 19-24 (discussion of Bach, Brandenburg No. 5).
Bach, Brandenburg 5, mvmt 1 Find the ritornello of the first movement (hint: it’s the beginning). How long is it? where are the internal divisions between Opening, Middle (“spinning out” of sequences), and Closing? How do you know the ritornello is finished? Mark subsequent places in the first movement where part or all of the ritornello comes back. Which gesture(s) or section(s) are the most recognizable and rhetorically strong? when does Bach choose to bring those sections back? How do the familiar/defined gestures of the ritornello relate to the material played by the soloists in the episodes?
Handel, “Water Music” Suite is not a concerto. What is a suite? Do these movements have concerto-like features? How might you think about these movements “sociologically,” as Tia DeNora thinks about the Brandenburg?
GOING FURTHER: The 2nd and 3rd movements of Brandenburg 5 (on CourseWork) are not in the Vivaldian ritornello form – how would you describe their forms? Do they still exploit contrast between soloists and large group? Are they still organized around recurring material, or contrast between familiar/well-defined material and new/open-ended material?