Italian Baroque Sonatas and Concertos by RK

NAFA — 2018-08-30 02:41:00 UTC

NAFA — 2018-08-30 02:43:29 UTC

NAFA — 2018-08-30 02:43:44 UTC

NAFA — 2018-08-30 02:44:05 UTC

NAFA — 2018-08-30 02:44:22 UTC

2018-08-30 12:00:41 UTC

1. Corelli is important to the history of music because...
- it is the start of the 'Common Practice' style of music composition with 12 major and minor scales (harmonic language)
- He uses binary form in his music composition
-His composition has functional harmony whereby the harmony does not stand on it's own and thus, have relationship with other sound. This also reflects on the start of 'Common Practice'.
Done by Team B
- Grace, XinZhi, HaYong, JianHe, Siyi

GROUP I

2018-09-05 23:30:11 UTC

1. Corelli is important to the history of music as he has many contributions as a violinist, composer and teacher.
During his time, the violin was a relatively new instrument. But with his skills and extensive and very popular concert tours throughout Europe, the violin became a prominent instrument in music. In addition, Corelli was the first person to organise the basic elements of violin technique. As such, he is remembered as the "Founder of Modern Violin Technique" and the "World's First Great Violinist".
As a composer, Corelli's music, which was the most popular instrumental music ofhis time, was performed and honoured throughout Europe. Although Arcangelo Corelli was not the inventor of the Concerto Grosso principle, it was he who proved the potentialities of the form, popularised it, and wrote the first great music for it. Through his efforts, it achieved the same pre-eminent place in the baroque period. Without Corelli's successful models, it would have been impossible for Antonio Vivaldi, G.F. Handel, and J.S. Bach to have given us their Concerto Grosso masterpieces. As such, he is also known as the "Father of the Concerto Grosso".
Corelli's achievements as a teacher were also outstanding. Among his many students, included not only Geminiani but the famed Antonio Vivald

2. Corelli’s Sonata Opus 5 No.3 is made up of 5-movement cycle just like his 12 other violin sonatas.

• This piece uses only major/minor tonality, being in the key of C major. This is in line with Corelli’s practice of limiting himself to the ionian and aeolian modes, which was an advancement in music that would form the basis of classical tonality in the future.
• Conjunct upward motion of 1st inversion chords is used in the continuo line (bar 1 and 2)
• Extra stave above the violin part that shows how the ornamentation is intended to be realized by the publisher (and arguably by Corelli). This ornamentation is a display of virtuosity, with simple melodies in the main violin stave turned into scalic runs, virtuosity which is in line with Corelli’s style and reputation

3. I see Corelli’s graces as the development of his melodic line, seen in the extra stave written above the main violin line.
• Methods of improvisation
• Staying true to the melodic direction while using virtuosic creativity
• Adapting Corelli’s style of improvisation to other Baroque (and to a lesser extent all) works
o Learning how to improvise on top of melodies with an appropriate amount of risk in other works where a stave of improvisatory realization is not provided.
• Implementing changes in improvisation for sequences and ostinatos while still retaining the main skeletal melody

Group I
Names: Ong Kai Wei, Yap Qin, Lai Tin Long (Leon), Lakanasirorat Thantakorn, Kwok Jing Yang

Group F

2018-09-06 04:00:30 UTC

Q1 2 Flutes, Bassoon and Harpsichord

Q2 We would cross-refer to other sonatas by Vivaldi and compare certain common traits. We would also find and read books that cover the Baroque Period, as well as the Vivaldi Compendium.

We can also refer to certain aspects of music to determine the stylistic character.
For example, with reference to ‘TARMS’,
Tonal Choices - Homotonality is utilized except for one movement which is in Bflat major. (C major across first 2 movements).
Accompaniment types - there are instances/sections of all unisono, where all instruments play the same melody, and there is basso continuo as well. These are typical of Italian Baroque style.
Rhythmic Features - There are dotted rhythms (as seen in the flute part of bar 1) in the melody as well as one sextuplet (last measure 2nd bar) which is characteristic of the Italian Baroque music scene.
Melodic preference - There is one melodic sequence present.
We can also look at the structure.
This piece is polyphonic.

Q3 We will need to figure out if this piece is a Sonata de Camera or Sonata de Chiesa — discovering the context behind the piece. We will also need to find different editions and compare the interpretations, cross-referencing to the manuscript score. We will also need to discover how to study a manuscript score efficiently and accurately, so as to perform to the composer’s original intentions. Listening to period instruments will give us insight as to what Baroque instruments will sound like playing this piece, and we can try our best to imitate it, for example, listening to a Baroque flute and practicing to achieve the pure sound and having the same “bounce” to the sound Baroque musicians produced.

Group A

2018-09-06 04:32:54 UTC

1. first at Baroque period the composer was using Clavichord to composition the music
So when we use the piano to performance Baroque period pieces we can not use many legato.From the beginning it is like the down line (4 notes one group)and then is got the chords and then it’s moving up like Maneuver

2. Sonata da camera, which is also known as chamber sonata, is a type of solo or trio sonata intended for secular performance, usually found in the works of Arcangelo Corelli who was an Italian Violinist and composer of the Baroque period. It consists of a variable number of dance movements programme pieces, arrangements of popular tunes taken from opera or even contrapuntal movements. Majority of the chamber sonata are indicated with headings such as “allemande”, “courante”, etc. Whereas sonata da chiefs, a church sonata, is a work with 4/5 dance movements, which is originally thought appropriate for use in church. Each movement is headed by an indication of a tempo, for example Largo, Allegro and so on. Corelli’s trio sonata in D, op. 3 no. 2 are Sonata da chiesa which means it is either perform in church or for sacred concerts and not for chamber uses. Also, this sonata only consists of 4 movements, with structure of slow-fast-slow-fast scheme, it doesn’t have 5 or more movements.

3. The venue of the performance is in the church. I think the most possible instrument for the basso continuo is organ.
Because in the baroque era, which the “Golden Age” for the pipe organ, the organ is very complex. The nature of the organ is its polyphony that is inherent to baroque music.

Group C

2018-09-06 04:36:40 UTC

Q1. Two recorders, two mandolins, two chalumeaux, theorbos, a single violoncello, two violins in tromba marina

Q2. Genre= Violin concerto

Q3. Yes, he influenced other composer’s compositions and he is one of the most notable composers that make
a wide range of concerto. He also invented character concertos.

Group I

2018-09-06 04:41:59 UTC

Composer: Arcangelo Corelli ( 17 Feb 1653 - 8 Jan 1713)
Title of composition: Violin Sonata in C Major, Op.5 No.3
Online Recording: Youtube. Corelli, Arcangelo
_Violin Sonata in C Major, Op.5 No.3_ . Performed by Jolanta Sosnowska (baroque violin) and Magdalena Malec (Continuo/Harpsichord). Published in 18 Oct 2012. Accessed on 2 Sept 2018. https://youtu.be/l6aOM57ELbY

1. Corelli is important to the history of music as he has many contributions as a violinist, composer and teacher.
During his time, the violin was a relatively new instrument. But with his skills and extensive and very popular concert tours throughout Europe, the violin became a prominent instrument in music. In addition, Corelli was the first person to organise the basic elements of violin technique. As such, he is remembered as the "Founder of Modern Violin Technique" and the "World's First Great Violinist".
As a composer, Corelli's music, which was the most popular instrumental music ofhis time, was performed and honoured throughout Europe. Although Arcangelo Corelli was not the inventor of the Concerto Grosso principle, it was he who proved the potentialities of the form, popularised it, and wrote the first great music for it. Through his efforts, it achieved the same pre-eminent place in the baroque period. Without Corelli's successful models, it would have been impossible for Antonio Vivaldi, G.F. Handel, and J.S. Bach to have given us their Concerto Grosso masterpieces. As such, he is also known as the "Father of the Concerto Grosso".
Corelli's achievements as a teacher were also outstanding. Among his many students, included not only Geminiani but the famed Antonio Vivald

2. Corelli’s Sonata Opus 5 No.3 is made up of 5-movement cycle just like his 12 other violin sonatas.

• This piece uses only major/minor tonality, being in the key of C major. This is in line with Corelli’s practice of limiting himself to the ionian and aeolian modes, which was an advancement in music that would form the basis of classical tonality in the future.
• Conjunct upward motion of 1st inversion chords is used in the continuo line (bar 1 and 2)
• Extra stave above the violin part that shows how the ornamentation is intended to be realized by the publisher (and arguably by Corelli). This ornamentation is a display of virtuosity, with simple melodies in the main violin stave turned into scalic runs, virtuosity which is in line with Corelli’s style and reputation

3. I see Corelli’s graces as the development of his melodic line, seen in the extra stave written above the main violin line.
• Methods of improvisation
• Staying true to the melodic direction while using virtuosic creativity
• Adapting Corelli’s style of improvisation to other Baroque (and to a lesser extent all) works
• Learning how to improvise on top of melodies with an appropriate amount of risk in other works where a stave of improvisatory realization is not provided.
• Implementing changes in improvisation for sequences and ostinatos while still retaining the main skeletal melody

Group I

Names: Ong Kai Wei, Yap Qin, Lai Tin Long (Leon), Lakanasirorat Thantakorn, Kwok Jing Yang

GROUP B

2018-09-06 05:00:37 UTC

1. Corelli is important to the history of music because...
- it is the start of the 'Common Practice' style of music composition with 12 major and minor scales (harmonic language) and functional harmony
- He popularised binary form in his music composition
- He develop modern techniques in terms of emphasis on the complete control of the bow rather than the left hand finger positions.

2.
1. Limited range for violin (seldom use third position) range G3 to D6
2. Simplicity of melody— the melody mostly moves in steps
3. Popularised certain rhythmic stereotypes, in particular the ‘walking’ and ‘running’ bass in which an inessential note is interposed between two harmony notes (passing note) as seen in Movement 1 bar 1, 5 and 17 in the basso continuo. The passing note is always a semiquaver in between the chord notes (quaver), the different rhythm shows the “walking” and “running” bass.

3. corelli’s graces mean the usage of embellishment, radical or not. ( for eg in bar 3 )

- learn the skill of improvising and being creative, while still keeping within the structure that corelli sets

Done by Group B
- Grace, XinZhi, HaYong, JianHe, Siyi, LeeAnn

Corelli’s Concerto Op.6 No.2

2018-09-06 06:08:52 UTC

1. Is Corelli important to the history of music? Give three reasons to support your answer.

Yes, Corelli is important to the history of music.

- Corelli was an important Italian composer of sonatas and concertos. He was also the key to the establishment of the genre Concerto Grosso, which made him the first composer to use the term ‘Concerto Grosso’ to compose works representing the genre. Throughout his life, Corelli had composed a total of 12 concerti grossi. (http://www.classicalcicerone.com/composers/corelli.php)

- Corelli was also the first composer to introduce the full major-minor system through his first publications in the 1680s. (http://www.medieval.org/emfaq/misc/modality.html)

- Corelli influenced the development of violin style, and also composed very variably- he had a collection of 48 trio sonatas, 12 violin and continuo sonatas and 12 concerti grossi. (http://www.classicalcicerone.com/composers/corelli.php)
- He published a set of instrumental works every 4 years.
- Does not compose secular or sacred vocal music.
- Popularised binary form.

2. What particular type of Baroque concerto is this? What is the difference between this type of concerto and the concerto ripieno?

- This is a Concerti Grosso (Concerto da Chiesa). Concerto grosso consists of 7 parts in total, while concerto ripieno consists of only 4 parts.

Concerto grosso refers to works with one, two or without soloists. On the other hand, concerto ripieno does not consists of any soloists.

3. Which are the important collections of Baroque concertos in the late 18C that are relevant to you and why?

Group D

2018-09-06 06:13:28 UTC

Qn1: What is the difference between this genre and the concerto grosso?

The concerto grosso is typically characterised by a clear distinction between a group of soloists (concertino) and an accompanying ensemble (ripieno). In a concerto grosso, the concertino are the main focus who are given the dominant parts of the piece, whereas the ripieno works in the background as accompaniment.

Instrumentation is also typically of a 3 + 4 format, 3 being a violin trio of soloists (concertino) and 4 being a string quartet of accompaniment. (ripieno).

Vivaldi’s RV558 does not make a clear distinction between concertino and ripieno; instead all instrumental parts are given an equal share of “solo air time” where the melody part is passed from instrument to instrument save the basso continuo. When the ensemble is playing together, the parts are often in tutti – which suggests that every instrument is of equal importance. This is true for the first and third movement, but in the 2nd movement Vivaldi creates contrast by limiting the instrumentation to only the violins and mandolins with the basso continuo.

Qn2: Which are the important collections of Baroque concertos in the late *17C that are relevant to you and why?

From a Grove Online article on “concerto”, we’ve identified these works as some of the important Baroque concertos in the late 17C.

A.Corelli
Concerto Grossi Op.6 (1714)
which was one of the earliest in the Roman Style

G. Torelli
Concerti a quattro Op.5 (1692)
- first of its kind to appear in print

T. Albinoni
Concerti a cinque Op.5 (1707)
-codified the 3 Mvt Fast-Slow-Fast structure
A. Vivaldi
Opus 3. Concertos
-ritornello form

Opus 8 (1721-1725)
-Four Seasons, the first instances of Programme and Descriptive music

Qn3. How would you identify the musical form of this concerto?

We have listened to the piece as well as looking at the score, trying to identify repeated melodic and harmonic patterns, as well as the instrumentation and to see if it resembles any of the musical forms that we know of.
This concerto is in three movements: 1. fast, 2. slow, 3. fast
The first movement is in Ritornello form. It begins in C major, with a large tutti section “instrumental section" that includes all voices and is followed by contrasting texture, where material from the ritornello can return, often in different keys. The first instruments with solo material are the “violin in tromba marina” with the accompaniment of the flutes, cembalo and chalumeaux. A solo passage (from bar 42 - bar 49) is scored for the chalumeaux till the solo material passes on to the flutes, which then pass on to the mandolins, then to the theorbos, then back to the violins which lead into a tutti section which break into their constituent solo parts once more, showcasing each instrument group.
The second movement is written in the dominant key of G major which excluded the flutes, chalumeaux, tromba marina and theorbos.
The third movement is in the key of C major which began with a short ritornello followed by a solo section of the tromba marina with the accompaniment of the chalumeaux. The solo material then passes on to the chalumeaux, flutes and mandolin before returning to the ritornello theme.

Group J

2018-09-06 07:39:01 UTC

1. Which instruments are involved in this sonata?

2 Flutes, Harpsicord and Bassoon

2. What would you do to uncover the stylistic characteristics of this piece?

The first few thoughts that came into our minds were:

(ai) What is the role of each instrument in this piece?

The violoncello and harpsicord serves as the Basso continuo.
The flute serves as the melody.

(aii) Which form is this piece in?

- This piece is a sonata for trio in the form of ABA.

(aiii) What was the main affection displayed in this piece?

- Our guess is joy, because it sounds like a minuet written for a happy and joyous occasion.

(b) How would you comment about the musical textures in this sonata?

This sonata is going at a walking pace and it is homophonic

3. What more will you need to discover, to perform this work in an informed manner?

(a) What are the other possible instrumental combinations of this sonata and how will it make a difference in terms of interpretation?

(b) Where do we get a baroque flute which is similar to the one used in the recordings?

(c) Are there other types of techniques yet to be discovered during the baroque period or on the baroque flute?

(d) How do we sit on top of the basso continuo while attempting to sound melodious on the flute part?

(e) Did Vivaldi compose this piece of sonata for fun or does it have a story to share?

(f) What are some of the rhythmic features in this piece?

(g) What are some of the tonal choices?

(h) What are some of the melodic references?

(i) And lastly, what type of accompaniment did the harpsicord and violoncello serve as?

Group J - Yuvaa, Shao Yong, Shao Jing, Zhong Ao and Kelsey

Group G

2018-09-06 07:40:35 UTC

Composer: Antonio Vivaldi (1678 - 1741)
Title: Concerto in C Major, RV558
Online recording: Vivaldi, Antonio. Concerto in C RV558. YouTube. Created on 28 August. 2015. Accessed on 4 Sep. 2018. .

1.Which instruments are involved in this concerto?
The instruments involved in this concerto are 2 recorders, 2 chalemeau, 2 mandolins, 2 theorbos, 2 violins "in trombe marina", and cello. The trumpets were originally not intended to be in the piece at all. The violins were meant to imitate the sound of a marine trumpet (trombe marina)

2. How would you describe the genre of this work? What is the difference between this genre and the solo concerto?
The genre of this work is most likely to be the ripieno concerto (concerto a quattro), due to the lack of a dominant solo instrument or instruments. Compared to the solo concerto, the ripieno concerto does not feature any particular solo instrument and the texture is rather heterogenous - everyone plays the same parts or takes turn playing the same part together. The solo concerto can also be split into the concertino and the ripieno, while the ripieno concertino is entirely made up of players who are essentially all soloists.
Ripieno concertos tend to have only 4 parts while solo concertos have 5 (soloist and ripieno). However, the methods used for differentiating between and classifying the solo and ripieno concertos should be taken with a pinch of salt because materials contradict on the definition of these terms, which were not even used during the Baroque era. It is also entirely possible that the work is a chamber concerto or concerto grosso since Vivaldi was a proponent of such concertos back then.

3. Is Vivaldi important to the history of music? Give three reasons to support your answer.
Vivaldi is important to the history of music due to his popularisation of many musical forms that are still widely used today, especially riternellos and double violin concertos.
His concept of harmonies and the uniqueness of his musical styles and techniques enabled him to write captivating and expressive pieces, showing his musicality and differentiating himself from dogmatic composers of his time. His use of syncopation and Lombardic rhythms, for example, allowed his music to be kept fast, forward moving, and upbeat, which in turns helped to capture the audience’s attention and build a sense of story. Other than that, his use of short-noted motives and unique harmonic tonality helped to bring his music to life and make it more programmatic. Due to the programmatic nature of his pieces and the extreme expressiveness and emotions in the music, it was said that Vivaldi’s music was the bridge between Baroque and Romantic music. In short, Vivaldi’s importance to the history of music is shown by how he popularised musical forms, his unique use of rhythm and tonality, and how his music transcended into other periods by influencing the period’s composers, thus making him a unique composer of his own right.

Done by: Team G (Chloe, Sharon, Yu Xuan, Hong Wen)

GROUP I

2018-09-06 08:31:06 UTC

Composer: Arcangelo Corelli ( 17 Feb 1653 - 8 Jan 1713)
Title of composition: Violin Sonata in C Major, Op.5 No.3
Online Recording: Youtube. Corelli, Arcangelo
Violin Sonata in C Major, Op.5 No.3 . Performed by Jolanta Sosnowska (baroque violin) and Magdalena Malec (Continuo/Harpsichord). Published in 18 Oct 2012. Accessed on 2 Sept 2018. https://youtu.be/l6aOM57ELbY

1.    Corelli is important to the history of music as he has many contributions as a violinist and composer.
During his time, the violin was a relatively new instrument. But with his skills and extensive and very popular concert tours throughout Europe, the violin became a prominent instrument in music. In addition, Corelli was the first person to organise the basic elements of violin technique. As such, he is remembered as the "Founder of Modern Violin Technique" and the "World's First Great Violinist".
As a composer, Corelli's music, which was the most popular instrumental music of his time, was performed and honoured throughout Europe. Although Arcangelo Corelli was not the inventor of the Concerto Grosso principle, it was he who proved the potentialities of the form, popularised it, and wrote the first great music for it. Through his efforts, it achieved the same pre-eminent place in the baroque period. Without Corelli's successful models, it would have been impossible for Antonio Vivaldi, G.F. Handel, and J.S. Bach to have given us their Concerto Grosso masterpieces.
The amount and eminence of his students was unparalleled. They include the Italians Carbonelli, Gasparini, Geminiani, the Frenchman Anet and the Spaniard Herrando and the German Storl.
This shows that he was well respected as a pedagogue.

2. Corelli’s Sonata Opus 5 No.3 is made up of 5-movement cycle just like his 12 other violin sonatas.

•    This piece uses only major/minor tonality, being in the key of C major. This is in line with Corelli’s practice of limiting himself to the ionian and aeolian modes, which was an advancement in music that would form the basis of classical tonality in the future.
•    Conjunct upward motion of 1st inversion chords is used in the continuo line (bar 1 and 2)
•    Extra stave above the violin part that shows how the ornamentation is intended to be realized by the publisher (and arguably by Corelli). This ornamentation is a display of virtuosity, with simple melodies in the main violin stave turned into scalic runs, virtuosity which is in line with Corelli’s style and reputation

3. I see Corelli’s Graces as the notated improvisation by Corelli.
•    Methods of improvisation
•    Staying true to the melodic direction while using virtuosic creativity
•    Adapting Corelli’s style of improvisation to other Baroque (and to a lesser extent all) works
•    Learning how to improvise on top of melodies with an appropriate amount of risk in other works where a stave of improvisatory realization is not provided.
•    Implementing changes in improvisation for sequences and ostinatos while still retaining the main skeletal melody

Group I
Names: Ong Kai Wei, Yap Qin, Lai Tin Long (Leon), Lakanasirorat Thantakorn, Kwok Jing Yang

Group E

2018-09-06 09:30:20 UTC

Is Corelli important to the history of music? Give 3 reasons to support your answer.

1. Developing modern violin

techniques. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. A memorable feature of Corelli's counterpoint is the ‘leap-frogging’ of the two violins, in which each part rises in turn by a 4th, having just fallen by step to resolve a suspension – the classic 18th-century method of producing a rising sequence in which the suspensions still resolve downwards.

2. Making the sonata a four-movement work. Corelli is often credited with the clearest exposition of the difference between the ‘church’ and ‘chamber’ varieties of sonata, and the establishment of four movements as the norm in both.

3. Creating a purposeful and harmonic language. Corelli popularized certain rhythmical stereotypes, in particular the ‘walking’ or ‘running’ bass in which an inessential note is interposed between each two harmony notes.

Ostinatos in his upper parts often create a splendidly abrasive harmonic effect against mobile bass lines.

Talbot, Michael. "Corelli, Arcangelo." Grove Music Online. January 01, 2001. Oxford University Press,. Date of access 6 Sep. 2018,

2. What particular type of Baroque concerto is this? What is the difference between this type of concerto and the concerto ripieno?

Corelli's Concerto Op. 6 No. 2 is a concerto grosso (Concerto da Chiesa).

Differences:

1) The Concerto Grosso consists of 7 parts while the Concerto Ripieno consists of 4 parts.

2) Concerto grosso refers to works with 1,2 or without soloists. On the other hand, concerto ripieno does not consist of any soloists.

3) Roman concerto grosso vs. Early concerto ripieno.

3. Which are the important collections of Baroque concertos in the late 18C that are relevant to you and why?

Taglietti, Giulio

Concerti a cinque, 4 vn, va, vc, vle, bc (Venice, 1710)

[10] Concerti a quattro con suoi rinforzi, 4 vn, a va, vle, org (Bologna, 1714)

Bowman, Robin, and Peter Allsop. "Taglietti, Giulio." Grove Music Online. January 01, 2001. Oxford University Press,. Date of access 6 Sep. 2018,

Jacchini, Giuseppe Maria

Jacchini

- Concerti per camera, vn, vc, bc (Modena, 1697)

- Concerti per camera à 3 e 4, with vc obbl (Bologna, 1701)

Schnoebelen, Anne. "Jacchini, Giuseppe Maria." Grove Music Online. January 01, 2001. Oxford University Press,. Date of access 6 Sep. 2018,

Gentili, Giorgio

Concerti da camera a tre, op.2 (1703)

Concerti a quattro e cinque, op.5 (1708)

Concerti a quattro, op.6 (1716)

Talbot, Michael. "Gentili, Giorgio." Grove Music Online. January 01, 2001. Oxford University Press,. Date of access 6 Sep. 2018,

Group C (revised)

2018-09-06 13:49:48 UTC

Q1. Two recorders, two mandolins, two chalumeaux, theorbos, a single violoncello, two violins in tromba marina.

Q2. Baroque used orchestra but also featured solo parts.

Concerto grosso" is similar to saying "large concerto" - performed with a group of soloists - and "solo concerto" is similar to saying "individual concerto" - having only one soloist. Solo concerto means one soloist plays against the orchestra. solo part is much more showy than the orchestra part.

Q3. -Vivaldi changed the formal and rhythmic structure of the concerto; he invented harmonic contrasts and innovative melodies and themes that made his concertos exuberant.
- He has been credited for normalizing "ritornello form", a form in which the refrain or ritornello will be repeated exactly or in a variation in between freer episodes (found in concertos or arias)
- He is the first composer to write program music (music with a narrative element) which is his "The Four Seasons" violin concerti that has four descriptive concerti of the four seasons, winter, spring, summer, and fall.

Group H

2018-09-06 14:24:27 UTC

Composer: Arcangelo Corelli (1653-1713)

Title of Composition: Trio Sonata in D major, Op.3 No.2

Online Recording: Corelli, Arcangelo. Trio Sonata in D Major, Op.3, No.2. Youtube. Uploaded on 4 May 2013. Accessed on 5 September 2018. < https://www.youtube.com/watch?v=CwJRzYv6HNI>.

1. How can you as a keyboard major describe the Corellian walking bass?

There are descending scalic figures and arpeggios in the walking bass. (Bars 1-3b, 5-7, 9c-11b)

2. How does this particular sonata not demonstrate the typical traits of a sonata da camera?

Firstly, a sonata da camera is made up of dance movements, and hence has a dance heading. However, this sonata is headed with the tempo marking of ‘grave’, and does not have a name of a dance for its heading.

Secondly, the tempo of ‘grave’ would indicate a serious tone in the music, unlike sonata da camera which is meant for recreational use and is generally more free in tone.

Lastly, this sonata has an organ accompaniment, since it is written to be played in a church, unlike sonata da camera which would have a harpsichord as its accompanying instrument.

3. Given the nature of this piece and its intended performance venue, what instrument/s would its continuo be realised and why?

Sonata Da Chiesa(s), are performed at churches. Hence an organ and an accompanying cello would most appropriately be used as basso continuo. The cello will improvise the harmonies indicated by the figures or implied by the other parts and so filled the gap between the treble and bass lines. However, specific instrumentation at this period was largely a matter of choice and circumstance. If either harpsichord or cello or their substitutes were unavailable, the piece could be played with only one of them representing the continuo. But a complete continuo was preferred to give a fuller and more rooted sound for the sonata. A harpsichord will less likely be used at churches as an organ, being a smaller and an instrument more convenient to move around would usually take on its role. Additionally, the most common instrumentation after 1670 for both church and chamber sonatas was treble instruments (usually violins) and bass. A sonata written in that way is called trio sonata even though for performance requires four players (since the basso continuo line was doubled on a violoncello or a similar instrument while the harpsichordist or organist filled in the implied harmonies.) This texture exemplified in the trio sonata - two high melodies over a bass was fundamental to many other types of Baroque music and persisted even beyond the baroque era.

Group H
Names: Koh Xuan Wen, Amelia Pan, Pradappet Chanrawi, Dorothy Goh

Group G (Edit)

2018-09-06 15:59:14 UTC

2. How would you describe the genre of this work? What is the difference between this genre and the solo concerto?

The title of this particular work of Vivaldi’s - Concerto con molti strumenti, can be literally translated into concerto with multiple instruments. Thus from there we can infer that this is the genre of the work as well, or at least the term Vivaldi would have used in describing it’s genre.

As he mentioned in the title, in this work, Vivaldi makes use of a wide range of instruments. He makes use of the strings (violins, mandolins, cello), woodwinds (chalemeau, theorbos) and arguably the brass or at least the elements of brass instrumental playing in the violins (violins in trombe marina). This is also characteristic of Venetian orchestration at the time - having a more balanced ensemble of strings, wind and brass players in contrast to their European peers elsewhere, such as in Germany where they favoured brass ensembles instead.

The concerto is written in a structure typical of concertos at the time as well - a three movement structure alternating between fast, slow and fast movements .

Unlike the solo concerto, where there’s a soloist playing the main melodic line (concertino) and accompaniment (ripieno), there’s no distinct soloist in the RV558 and everyone is either playing the thematic material together or taking turns to play it with another instrument. Thus this work could arguably be classified as a ripieno concerto as well since there is no distinct soloist and is a full ensemble with doubled parts for each instrument.

However, it has to be noted that many materials tend to classify this work as a concerto grosso (group of soloists accompanied by orchestra) though it’s one that we personally disagree with due to the nature of the composition where the thematic material is shared among the players and there is no distinct soloist.

MATERIALS USED:

Definition of ripieno concerto taken from: The Harvard Concise Dictionary of Music and Musicians by Don Michael Randel, edition unknown.

Venetian Instrumental Music from Gabrieli to Vivaldi by Eleanor Selfridge-Field’, Third, Revised Edition.

Hutchings, Arthur, Michael Talbot, Cliff Eisen, Leon Botstein, and Paul Griffiths. "Concerto." Grove Music Online. January 01, 2001. Oxford University Press,. Date of access 6 Sep. 2018,