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The ornamentation of four early eighteenth-century Italian oboe concerti found in "Concerti a Cinque... Libro primo" of Jeanne Roger (Amsterdam, ca. 1714-1717)

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Authors Scarnati, Rebecca Kemper, 1957-

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"THE ORNAMENTATION OF FOUR EARLY EIGHTEENTH-CENTURY ITALIAN OBOE CONCERTI FOUND IN CONCERTIA CINQUE... UBRO PRIMO OF JEANNE ROGER (AMSTERDAM, CA. 1714-17)."

Rebecca Kemper Scamati

A Dcx:uinent Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements for the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE

In the Graduate College

THE UNIVERSITY OF ARIZONA

1996 UMI Number: 9706155

UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have read the document prepared by Rebecca Ifemper Scamati entitled Ornamentation of Ftoiir Early Eighteenth-Century Italian

Oboe Cbncerti Found in Goncerti a Cinque...Libro Primo of

Jeanne Roger (Amsterdam, ca. 1714-17)."

and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts

Pr^f. Warren 'SutRerl and Date 3-4— 4 —S ^ Date

beth Ervin Date

uate

Dace

Final approval and acceptance of this document is contingent upon che candidace's submission of che final copy of che documenc co che Graduate College.

I hereby certify chat I have read this document prepared under my direction and recommend chat it be accepted as fulfilling the reauiremenc.

Directo: Dace 3

STATEMENT BY AUTHOR

This document has been submitted in partial ftilfiUment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable widiout special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED 4

TABLE OF CONTENTS

L LIST OF ILLUSTRATIONS 6

II. ABSTRACT 10 m. CHAPTER I: INTRODUCTION 12 Giuseppe Valentini 14

Giuseppe Sammartini 15 Alessandro Marcello 16 History of Marcello's Concerto 18 The Publisher and Publication 20

IV. CHAPTER n: THE BAROQUE OBOE 21

V. CHAPTER m: EXAMINATION OF EXAMPLES OF FTALL^N AND ITALIANATE ORNAMENTATION 30

VL CHAPTER IV: THE ORNAMENTATION OF THE CONCERTI 89

The Ornamentation of Sammartini's Concerto I, Adagios 89

The ornamentation of Marcello's Concerto II, Adagio 99 The Ornamentation of Valentini's Concerto HI. Largo 112 The Ornamentation of Valentini's Concerto IV, Largo 120 5

TABLE OF CONTENTS—Cozzn'nMe^/

VIL CHAPTER V: CONCLUSION 127

Vm. APPENDIX A: PERMISSIONS 129

DC. APPENDIX B: SCORES OF THE CONCERTI 132 Concerto I by Giuseppe Sammartini 133 Concert II by Alessandro Marcello 156 Concerto III by Giuseppe Valentini 179 Concerto IV by Giuseppe Valentini 205

X. REFERENCES 227 6

UST OF ILLUSTRATIONS

FIGURE 2-1, Fingerings for c#" and d#" 24 FIGURE 2-2, Fingerings for bb", c'", c#"', and d'" 25 FIGURE 2-3, Fingerings for a', b', bb', and c" 25 FIGURE 2-4, Fingerings for f, f#, e, g#, and g 26 FIGURE 2-5, Fingerings for bb", c'", c#"', and d'" 27 FIGURE 3-1, measure 1-4 of Corelli's Sonata II, movement 4 36 FIGURE 3-2, measure 16-18 of Corelli's Sonata III, movement 3 37 FIGURE 3-3a, measure 14 from Corelli's Sonata IX, movement 1 38 FIGURE 3-3b, measure 20 from Corelli's Sonata IX, movement 1 38 FIGURE 3-4a, measure 3 from Corelli's Sonata IV, movement 1 39 FIGURE 3-4b, measure 15 from Corelli's Sonata IV, movement 1 40 FIGURE 3-5a, measures 6-7 from two Vivaldi concerti 41 FIGURE 3-5b, measure 1 from Concerto for Flute in C Major 42 FIGURE 3-6, measures 38-40 of Sanmiartini's Sonata 5 in Gfor oboe, movement II 43 FIGURE 3-7, measures 23 and 24 of the Marcello Concerto in d minor,

movement II with Bach's ornaments 43 FIGURE 3-8, measure 3-4 of Telemann's Sonata in D Major, movement 1 44

FIGURE 3-9, measure 1-3 of Babell's Sonata II, movement U 45 FIGURE 3-10, measure 13-16 of Corelli's Sonata II, movement 1 46 FIGURE 3-11, measure 10-14 of Corelli's Sonata IV, movement IV 47 FIGURE 3-12, measures 1-4 from Corelli's Sonate IX, movement 1 48 FIGURE 3-13, measure 13-16 of Babell's Sonata X, movement HI 48 7

LIST OF ILLUSTRATIONS - Continued

FIGURE 3-14a, measure 3-6 of Telemarm's Sonata in A Major, movement 1 49 FIGURE 3-14b, measure 1-4 of Telemann's Sonata in D Major, movement 1 50

FIGURE 3-15, measure 5-8 of Corelli's Sonata II, movement 4 51 FIGURE 3-16, measures 4-7 of the Marceilo Concerto in d minor, movement II with Bach's ornaments 52 FIGURE 3-17, measure 11-12 of Corelli's Sonata II, movement 1 53 FIGURE 3-18, measure 1 of Corelli's Sonata V, movement 1 54 FIGURE 3-19, measure 6 of Corelli's Sonata V, movement 1 55 FIGURE 3-20, measures 6-8 of Corelli's Sonata IV, movement 1 56 FIGURE 3-2la, measures 38-39 of Sarrmiartini's Sonata 5 in G for oboe,

movement II 57 FIGURE 3-2lb, measures 44-46 of Sammartini's Sonata 5 in G for oboe, movement II 57

FIGURE 3-22, measures 1-6 of Babell's Sonata I, movement 1 58 FIGURE 3-23a, measure 6 from two Vivaldi concerti 58 FIGURE 3-23b, measures 1-3 from Concerto for Flute in C Major 59

FIGURE 3-24, measures 1-3 from Corelli's Sonate IX, movement 1 60 FIGURE 3-25, measure 1-3 of Telemann's Sonata in G Minor, movement 1 61

FIGURE 3-26, measures 32-33 of the Marceilo Concerto in d minor,

movement II with Bach's ornaments 62 FIGURE 3-27, measures 1-2 of Corelli's Sonata IV, movement 1 63 FIGURE 3-28a, measure 2 from Corelli's Sonate IX, movement 1 64

FIGURE 3-28b, measure 1-4 of Telemarm's Sonata in D Major, movement 1 65 8

UST OF ILLUSTRATIONS - Continued

FIGURE 3-29, measure 40-42 of Telemann's Sonata in E Minor, movement 1 66 FIGURE 3-30, measure 6-7 of Corelli's Sonata V, movement 1 67 FIGURE 3-31, measures 15-19 from Corelli's Sonate IX, movement 1 68 FIGURE 3-32, measure 1-4 of Telemann's Sonata in E Major, movement 1 69 FIGURE 3-33, measure 13 of Babeil's Sonata II, movement H 70

FIGURE 3-34, measures 5-7 of Corelli's Sonata IV, movement 1 72 FIGURE 3-35, measures 4-11 of the Marcello Concerto in d minor,

movement II with Bach's ornaments 74 FIGURE 3-36, measures 10-11 from Sonata II, movement II 75 FIGURE 3-37, measures 15-18 from Corelli's Sonate IX, movement 1 76 FIGURE 3-38, measures 38-40 of Sammartini's Sonata 5 in Gfor oboe, movement II 76 FIGURE 3-39, measure 3 of Telemann's Sonata in A Major, movement 1 77

FIGURE 3-40, measures 34-35 of Telemann's Sonata in A Major, movement I.... 78 FIGURE 3-41, measure 39-42 of Telemann's Sonata in E Major, movement 1 79 FIGURE 3-42, measure 7 of Corelli's Sonata IV, movement 1 80

FIGURE 3-43, measures 24-27 of Corelli's Sonata I, movement 4 80 FIGURE 3-44, measure 7 of Corelli's Sonata IV, movement 1 81

FIGURE 3-45, the last measure of Corelli's Sonata IV, movement 1 82 FIGURE 3-46, measure 2 of Corelli's Sonata IV, movement 1 83 FIGURE 3-47, measure 11-12 of Corelli's Sonata TV, movement 1 84 FIGURE 3-48, measure 14-15 of Telemann's Sonata in B Minor, movement I.... 85 9

LIST OF ILLUSTRATIONS - Continued

FIGURE 4-1, Concerto I, Adagios by Giuseppe Sammartini, with ornaments 93 FIGURE 4-la. Fingering for g" and bb" 99 FIGURE 4-2, Concerto II, Adagio by Alessandro Marcello, with ornaments 105 FIGURE 4-3, Concerto III, Largo by Giuseppe Valentini, with ornaments 116

FIGURE 4-4, Concerto IV, Largo by Giuseppe Valentini, with ornaments 123 FIGURE 5-1. Bach examples from movements I and IE 128 10

ABSTRACT

This study presents new editions of four Baroque oboe concerti with ornaments added to the slow movements. The four concerti by three Italian composers were published in Concerti a Cinque Con Violini, Oboe, Violetta, Violoncello e Basso Continuo, Del Signori G. Valentini, A. Vivaldi, T, Albinoni, F. M. Veracini, G. St. Martin, A. Marcello, G. Rampin, A. Predieri. Libro Primo. No. 432 (Amsterdam: Jeanne Roger, ca. 1714-17). Scores have been created from the Roger print in a computer-generated edition with the original solo line on top, ornaments created in this study for the slow movements written out on the staff below, and followed by four additional staves containing the two violin, viola, and continuo parts from the print. The smdy focuses on creating ornaments for Concerto / in F major by Giuseppe Sammartini, Concerto // in D minor by Alessandro Marcello, and Concerti III and /V, both in C major, by Giuseppe Valentini. Since no treatises on early eighteenth-century Italian ornamentation are extant, the selection of ornaments for the concerti of the Roger print were guided by the characteristics and technical limitations of a reproduction baroque oboe, as well as music of early eighteenth-century Italian and Italian-influenced composers whose works were published with ornaments.

Chapter I introduces the topic, composers, and publisher. The history and technical limitations of the baroque oboe are discussed in Chapter n. Chapter EH examines published Italian and Italianate ornamentation. Chapter FV discusses the methods and rationale employed to omament each of the slow movements of the four concerti. Chapter V summarizes the paper. The appendices include fiill scores of each 11 of the concerti. The slow movement of each concerto includes both the unomamented and omamenled versions of Ihe soio line. 12

I: INTRODUCTION

Continuo, Del Signori G. Valentini, A. Vivaldi, T. Albinoni, F. M. Veracini, G. St. Martin, A. Marcello, G. Rampin, A. Predieri. Libro Primo. No. 432 (Amsterdam; Jeanne Roger, ca. 1714-17). Other works in this publication are concerti for violin and strings and will not be addressed in this study. Scores have been created from the Roger print in a computer-generated edition with the original solo line on top, omaments created in this study for the slow movements written out on the staff below, and followed by four additional staves containing the two violin, viola, and continuo parts from the print. The study focuses on creating omaments for Concerto / in F major by Giuseppe Sammartini, Concerto II in D minor by Alessandro Marcello, and Concerti III and IV, both in C major, by Giuseppe Valentini. • Since no treatises on early eighteenth-century Italian ornamentation are extant,- the selection of omaments for the concerti of the Roger print were guided by the characteristics and technical limitations of a reproduction baroque oboe, as well as music of early eighteenth-century Italian and Italian-influenced composers whose works were published with omaments.^ The published works of Italian composers such as

'Note: The numbering of the titles are as they appear in the Roger print. ^Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music: With Special Emphasis on J.S. Bach, (Princeton: E*rinceton University Press, 1978) 29 and 98. ^Julia Carolyn Combs, "Six Sonatas by Giuseppe Sammartini, (Sibley Manuscript S. 189) with Critical Commentary and a Performing Edition of Sonata Five," diss.. North Texas State 13

Arcangelo Corelli—^Vaientini's teacher—and Francesco Geminiani—a colleague and contemporary of Sammartim, Marceilo, and Valentini—have served as models of ornamentation. In addidon, written-out ornaments in the Italian style by non-Italian composers of the period, such as those in J. S. Bach's harpsichord transcription of the Marceilo Concerto, have also been considered.

Of the four concerti, only the Marceilo example is currently published in modem editions. The performer on a modem oboe finds that ornaments in these editions of the

Marceilo are based either on Richard Laushmann's 1924 edition or are derived from J. S. Bach's harpsichord arrangement of the concerto. When supplying ornamentation, all editions fail to take into account the baroque oboe's characteristics and limitations. Of the other three concerti. Concerto IV hy Valentini has never been published in a modem edition and none of the others are currendy in print. Published editions of the other two concerti are from the 1950s and 1960s and are not ornamented. Through this study, appropriately omamented editions of the four concerti provide a model of ornamentation for modem oboists not experienced with early eighteenth-century Italian baroque ornamentation.

University, 1985,2, finds that there are no early eighteenth-century Italian treatises on ornamentation. German treatises of the time by Johann Mattheson, Johann Joachim Quantz, and Carl Philipp Emanuel Bach, never discuss what Italians are doing with ornamentation. Mattheson was concerned with the theory and practice of German music in 1713. not Italy, and actively encouraged Germans to take jobs held by Italian musicians, see George J. Buelow, "Mattheson, Johann," ed. Stanley Sadie, The New Grove Dictionary of Music and Musicians, vol. 11 (London: Macmillan, 1980) 834. Quantz's 1752 treatise On Playing the Flute dates some forty years after the concerti were published and discusses Italian ornamentation ("artificial graces," p. 162) by way of demonstrating a superior French practice. Quantz states that "in the Italian style in former times no embellishments at all were set down, and everything was left to the caprice of the performer..." (p. 163). Quantz remains useful as a guide to French woodwind practice, see Johann Joachim Quantz, On Playing the Flute, trans, by Edward Reilly, 2d ed. (Schirmer: New York. 1985) 162-3. Likewise, C.P.E. Bach's 1753 treatise Essay on the True Art of Playing Keyboard Instruments, also dates some forty years after the concerti were published. Bach praises the reserve of French and German ornamentation that is not in "excess" (p. 79) and never directly discusses Italian ornamentation, see C.P.E. Bach, Essay on the True art of Plying Keyboard Instruments, trans, by William J. Mitchell (W.W. Norton: New York, 1949) 79. 14

Giuseppe Vaientini In viewing the four concerti, we will first start with the background of each of the three composers and then discuss any relevant historical information concerning the concerti. Of the three composers, the least known is Giuseppe Vaientini. Little is certain except for his stay in Rome between 1701 and 1735 during which he wrote the two concerti in this study. In the publication of his first set of works in 1701 he stated that he was "hardly twenty years old," which would make his birth c 1680,*^ and the word "fiorentino" next to his name tells us that he was probably from Florence.^

Vaientini was a student of Arcangelo Corelli and worked as a violinist in Rome until

1735 when it is thought that he returned to Florence.^ His composition and violin playing were criticized by rival Francesco Geminiani, also a student of Corelli, who accused Vaientini of causing Corelli's death presumably with his poor compositions and bad performances on the violin.^ Bumey, too, criticized Vaientini saying the neglect of his works was "without any loss to the public or injustice to the author."^ However, the opinions of his rival and an English contemporary do not reflect the quality of the two concerti of this study.

Talbot, "Giuseppe Vaientini" The New Grove Dictionary of Music and Musicians, 6ih ed., 20 vols. ed. Stanley Sadie (London: Macmiilan, 1980) XXI, 496. ^Talbot, p496 ^Talbot, p496. ^ Marc Pincherle, Corelli His Life, His Work, (W.W. Norton: New York, 1956) 40. ^Talbot, p 496. 15

Giuseppe Sammartini The life of Giuseppe Sammartini is more documented than that of Valentini. He lived much of his later life in England during which time historians such as Charles Bumey and John Hawkins wrote about him. He was the older brother of the famous symphonic composer Giovanni Battista Sammartini, whose life is also well- documented. The brothers were bora in Milan of a French father, Alexis Saint-Martin, and an Italian mother, Girolama de Frederici.^ In fact the title page and score of the

Sammartini concerto in the Jean Roger print lists the name of the composer as Giuseppe

St. Martin and not Sammartini. Giuseppe was bora in 1695, indicating that the Roger print presents a very early work and is in fact the earliest of his known works. All of the members of the Sammartini family were oboists, although Giuseppe gained the most renown. After hearing him play in Milan in 1726, Quantz said that Sammartini was the only good wind player in the opera orchestra, and, following a visit to Venice, compared him to violinists Vivaldi and Modonis.'® Sammartini is perhaps better known today as Handel's oboist, moving to London around 1728 where he played in Handel's orchestra.' ^ A number of Handel's autographed manuscripts have Sammartini's name on them.^2 From 1736 until his death in 1750, Sammartini worked in the employ of Frederick, Prince of Wales.Hawkins stated that Sammartini was the "greatest (oboist) that the world had ever known."Sammartini maintained an overwhehning influence on English oboe playing for many generations after his death.

^Bathia Churgin, "Sammartini, Giuseppe," The New Grove Dictionary of Music and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London: Macmillan, 1980) XVI, 457. '^Churgin, 457. Churgin, 457. l^Churgin, 457 '^Churgin. 457. ''^Churgin, 457 16

Alessandro Marceiio As with Giuseppe Sammartini, Alessandro Marceiio was the older brother of a more famous composer, Benedetto Marceiio. Alessandro was bom in 1660 to the Venetian nobleman Agostino Marceiio and his wife, Paolina Capello.^® His musical gifts probably came from his mother, who, though from a less affluent family than the MarceUo family, was known to be talented in the arts.'^ Upon the death of his father in

1707, Alessandro acted as head of his family.^® Hg ^as also very involved with politics throughout his life as a member of the Great Council of the Most Serene Republic of Venice.'^ In fact, Alessandro's life was not dedicated exclusively to music.

In addition to music, he was interested in politics, poetry, mechanical invention, and painting.20 He was a member of the Venetian branch of the Rome-based secret society called the Arcadia. Not much is known about this society except that they had members all over the Italian peninsula and encouraged intellectual achievement, especially in music.-' His association with the Arcadia gave Marceiio access not only to new ideas, but also to composers and performers from all over Europe. Marcello's Arcadian name was Eterio Stinfalico and he usually used this name on publications of his works.22 The use of this name may have been the reason for some of the confusion over the

'^Michael Talbot, "Alessandro Marceiio." The New Grove Dictionary of Music and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London: Macmillan, 1980) JQ, 647. '^Eleanor Selfridge-Field. The Music of Benedetto and Alessandro Marceiio: A Thematic Catalogue with Commentary on the Composers. Repertor/. and Sources. (Clarendon Press: Oxford, 1990) 3. '^Selfridge-Field, 3. ' ^Selfridge-Field, 3. '^Selfridge-Field, 3. ^®Selfhdge-Field, 3. Selfridge-Field, 6. ^^Selfridge-Field, 7. 17 authorship of the D Minor Concerto. In the Roger print his name is listed as Alessandro Marceilo instead of Eterio Stinfaiico which is used in other publications."

^Selfridge-Field, 7. 18

History of Marceiio's Concerto Of the history of the four concert! in the Roger publication, that surrounding Marcello's concerto has been most controversial. Both the composer and the key of the piece have been mistakenly identified for more than 200 years. Bach originally included his Marcello transcription in a collection of XVI Concern nach A. Vivaldi.^^ Nineteenth-century historians continued this error. When the model for Bach's transcription was found, the name Marcello appeared as the composer, but it was assumed to be the work of Alessandro's more famous younger brother, Benedetto.^ Not only was Benedetto more famous than his older brother, but Alessandro usually

used his Arcadian name in his pubUcations. Not until 1950 was Alessandro's name finally attached to the Concerto, through Frank Walker's discovery of the c. 1714-17 Jeanne Roger print housed in the British Library.26 However, music historians continued to mis-attribute the work as late as 1967.27

Substantiating the original key of the Concerto has also generated much confusion. There are two pubUshed versions of the work, one in C minor and another in d minor.28 There is a statement found in the print of the C minor version that the work is notated in transposed Dorian with two flats, so that the original untransposed key appears to have been D minor. In addition, C minor is a difficult key to play on the Venetian baroque oboe. Finally, there are a number of mistakes in the C minor version.

One of the explanations for the existence of the c minor version is that it was transposed

2'^Jaines A. Hobbs, "Marcello's Concerto in D Minor for Oboe. Strings, and Basso Continuo: A View of its origin and use in J.S. Bach's Conceno HI for Solo Harpsichord, BWV 974," Journal of the International Double Reed Societv 10 (1982): 1. 25Hobbs 1-2. ^^Frank Walker, "A Little Bach Discovery," Music and Letters 31 (1950): 184. ^^Norman Carrell, Sac/i r/ie fiorrowcr (London: Allen and Unwin, 1967): 246. 28Hobbs 3. 19

to c for the B'' oboe.^^ However, modem baroque oboist and historian Bmce Haynes believes that the concerto was transposed to C minor because of tlie high pitch used in Venice which was closer to the modem bt-3® Local variation in pitch was not unusual at

this time: for example, in France the pitch standard for "a" was often the equivalent of today's al' or while in Germany it was close to

29Hobbs 3. ^^ruce Haynes, "Johann Sebastian Bach's Pitch Standards: The Woodwind Perspective" Journal of the American Musical Instrument Society, 1985, 110. ^'Haynes, 59. ^^Haynes, 67. 20

The Publisher and Publication Jeanne Roger, publisher of the four concerti, was the daughter and heir of the printer Estienne Roger.33 Estienne Roger began publishing in Amsterdana in 1697.3'^ In 1716 Estienne Roger willed the publishing business to his daughter Jeanne and started imprinting her name on the publications until his death in 1722.35 She followed him in death only a few months Iater.36 The publication of the concerti was thought to have been between 1714-1717, but if Estienne did not use his daughter's name as an imprint until 1716, then the later date would appear to be the more probable one.

However, the Rogers did not date their publications and the plate numbers on their publications are not in any order. 3^

33Samuel F. Pogue, "Esiienne Roger" The New Grove Dictionary of Music and Musicians. 6th ed.. 20 vols., ed. Stanley Sadie (London; Macmillan, 1980) XVI. 99. 34pogue, 99. 35pogue, 99. 36pogue, 99. 37pogue, 100. 21

: iim. I»AR«JVI*-'£ OBW£'

The characteristics and technical problenas encountered when playing the baroque oboe would have greatly affected the choice of ornaments used in any oboe concerto of the period. To gain a complete understanding of the instrument used at the beginning of the eighteenth century, one must start with the history of the development of the baroque oboe. Until the middle of the seventeenth century, double reed instruments were rather crude by today's standards. Around 1660 three families in

Paris began working on the shawm, converting it into what has become known as the baroque oboe. These three families, the Philidors, the Chedevilles, and the Hotteterres were members of the wind ensembles of the Grand Ecurie du Roi^^ 39 and evenmally played for Lully's operas. Lully's operas-ballets were the first that frequently included the oboe/shawm.''® The word hautbois was used by the French to mean shawm or oboe so the use of the word hautbois is not a clue to when the oboe was developed.*^* Bruce

Haynes has shown in his smdy of art works of the 1660s to 1700s that the oboe evolved from the shawm over a period of twenty to thirty years T^e first oboe-like instruments appeared in the art of the early 1650s.'^3 xhe likely date of the baroque oboe's final development is probably in the early 1680s. The publication of the first technical description of the instrument by Banolomeo Bismantova, Regole.. .del

^^Rebecca Harris-Warrick, "A Few Thoughts on Lully's hautbois," Early Music. XVIII No. 1. February 1990: 102. 3^Philip Bate, "Oboe," The New Grove Dictionary of Music and Musicians, 6th ed., vol. 13, ed. Stanley Sadie (London: Macmillan, 1980) 465. ^®Bruce Haynes, "Lully and the Rise of the Oboe as Seen in Works of Art," Early Music. XVI No. 3, August 1988: 324. '^^Haynes, "Lully." 326. "^^Haynes. "Lully," 328, 330. ^^Haynes, "Lully," 326. 22

Oboe, dates from 1688 and an application made by J. C. Denner and J. Schell in Nuremberg in 1696 asked for permission to build the new French musical instrunienls developed about twelve years earlier.'*^ The oboe made its way to Italy by 1692, where it was used in the operas of Carlo Francesco Pollarolo and Giacomo Perti. It was introduced into the orchestra of the chapel of San Marco in Venice in 1698."*^ The first oboists in Italy were from France and Germany.'*^ In fact Giuseppe Sammartini's father, Alexis Saint-Martin, was probably one of the oboists responsible for bringing the instrument to Italy (Giuseppe was bom in Milan in 1695, so his French father must have arrived in Milan prior to his birth).

The instrument which arrived in Italy differed greatly from the loud, unrefined sound of the shawm. The baroque oboe had no pirouette (the cupped top found on some shawms) thus allowing the oboist to play with the lips directly on the reed, giving more control over sound, dynamics, and intonation. The oboe also came in three sections with swellings along the bore, unlike the shawm which was in one straight, although sUghtly conical, piece.'^ The oboe could play two octaves chromatically with the exception of the c#'. The oboe also had a smaller bore and tone holes than the shawm and two or three keys (one or two keys for e''—the second being a duplicate key appearing only on the earlier baroque oboes—and one for c' sometimes referred to as the "great key") where as the shawm had none.'^^ There were only two vent-holes on

-"Haynes. "Lully." 330, 331. Alfredo Bemardini. "The Oboe in the Venetian Republic, 1692-1797." Early Music, XVI No. 3, August 1988: 374. •^Bemardini, 374. "^^Janet K. Page, "The Hautboy in London's Musical Life," Early Music, XVI No. 3. August 1988: 362. ^^^Haynes. "Lully," 325-6. 49Haynes, "Lully." 326. the oboe, while the shawm had five. The finger-holes on the oboe were positioned lower on the instnmient than on the shawm and the oboe also had a beil lip at tlie bottom.50 This oboe, the two- and three-keyed instrument, remained unchanged until 1760 when a few modest alterations were made.^' Exact details of the instrument used in Italy at the beginning of the eighteenth century are unknown, since no instructional materials appeared in Italy before the treatise by Vincenzo Paneraj of Florence in 1770.52 The lack of earlier treatises and instructional material was mainly due to the fact

that the oboe was not successfiil in amateur circles,^^ probably due to the technical difficulties of the instrument and the need for reeds.

Although the baroque oboe could fully play chromatic pitches from c' to d'" (with the omission of c#'), the fingerings were often complicated. Bruce Haynes explains that with only eight holes, some of the semitones can only be obtained "by using 'cross-fmgerings,' i.e. lowering an open-fingered note by closing holes further down the bore."^'^ These cross-fingerings have a darker, more veiled tone quality and special fingerings, which then further affect the tone quality, must also be used for some trills.55 Higher pitches are produced by overblowing and tightening the embouchure which also changes the tone quality by making it brighter. While a change of tone color might be intentionally called for by a composer's choice of pitches, one would not want the changes in tone to be random. The fingering problems make some keys much easier to play on the baroque oboe than others. Keys with up to three sharps and flats are

^^aynes, "Lully." 326. Eric Halfpenny. "The French Hautboy: A Technical Survey, Part I," The Galpin Societv Journal 6 (1953): 26-21. ^^Bemardini, 376. ^^Bemardini, 376. ^'^Bruce Haynes, "Tonality and the Baroque Oboe," Early Music 7 (1979): 355. ^^Haynes, "Tonality and the Baroque Oboe," 355. generally recognized as the outer limits of the instrument. Haynes has demonstrated that a preference exists in the literature for keys with no accidentals to two nats.^® Even so, some finger combinations are impossible to execute while others are simply climisy. Many of the trills that can be played on the baroque oboe require special fingerings. The fingering from c#" to d#" is one example of an impossible combination. The keys used to play these two notes are both played with the right hand fifth finger and, because of the distance between the two keys, playing these two notes consecutively is impossible without inserting another note between them. This fingering problem also emphasizes the difficulty of playing in tonalities with four sharps or four flats.

Example 2-1

cr dr o e

Sinfiilar fingering combinations occur in the upper range of the instmment involving the same E'' and C keys of the oboe. Pitches b''", c'", and c#'" all use the

E'' key, while d'" uses the C key. This situation makes it difficult to reach the d'" in

^^Haynes, "Tonality and the Baroque Oboe," 355. any diatonic scale. The usual alternative is to leave the c key off for the d'"; however, this results in an even sharper and brighter tone on a pitch that is already quite bright.

Example 2-2

bb" c'" c#'" d'" • O o e • • • • OO •• •• oo •• • o O • o o O !• !• la []•

Many fingerings are simply quite clumsy to execute. Fingering combinations as simple as b' or b'^' to c", or a' to b^'' are difficult to play without creating extraneous pitches. As can be seen in example 2-3, the performer must lift one or two fingers while putting down a different finger, which often results in other pitches being heard in between.

Example 2-3

b' bb' • • • o • o o • oo oo •• oo oo oo oo oo O O O O oS oS qS QS 26

This same problem occurs in bolh octaves when going from f or frf to e (one finger coming up while another goes down, or, in the case of f#, the finger sliding half-way off a finger-hole). The alternative fingering for f# to e is also a cross-fingering problem, but at least it eliminates the even more difficult half-hole (while creating a brighter and sharper sound).57 similar half-hole is used in both octaves to produce g# or a'', which makes going to g or b^ difficult.

Example 2-4

f f^ e g# g • • • • • • • • • • •• •• •• •• •• o« •• oo oo o O • O O • • , o , O , O On In On On On

High-note fingerings look complicated because more holes must be covered, but they are no more comphcated than the cross-fingerings of b' and b^' to c". In fact c'" to c#'" is easier to play in this upper register, not only because fewer fingers move, but one is not moving over the "break" of the instrument.

a fast tempo the pitch would go by quickly so that the change of sound would be less obvious, but in a slower passage this sound would be too noticeable to use. 27

Example 2-5

bb" c'" c#'" d'" • o o e • # • • 00 oo • • o O • o o O 0'

The break of the instrument and leaps over the break are difficult to control. The break comes between c" and c#" (one finger down to all fingers down). Not only are more fingers involved, but there must also be a change in the air stream and embouchure. The air stream must be intensified and the embouchure slightly tightened. The intensity and tightening are increased as the pitches rise. Large leaps over the break are quite difficult to control, especially descending ones. Leaps using g" and higher will often create extraneous notes and sag in pitch as the upper note drops to a lower one. Tonguing these leaps greatly improves the chance of success.

Other technical problems occur when playing trills. The cross fingerings discussed above make trilling between these notes impossible with standard fingerings. Alternate fingerings are used, but these alternate fingerings are usually out of tune and change the color of the notes. For example, to trill from b' to c" one plays b' and adds one of the lower two fingers in the right hand (the finger added depends on the particular instmment being used). The result is a slightly dulled b' and a sharp and bright c". Another bad cross-fingering trill is e to f. Although easy to play by simply lifting the second finger in the right hand, the resulting f is very sharp. In fact, the f is so sharp that the e to m trill can be piayed using the same fingering by playing with more reed in the mouth. There are also problems with trills such as b'' to a^, d''" to c". ail other cross-fingering combinations, and over the break trills. In fact the fingerings one chooses for these trills depends entirely on the instrument being used and even instruments constructed by the same maker may require different fingerings.

Although there were acknowledged intonation problems such as those found in the lower register of the baroque oboe, players were expected to use their ears to play in tune.58 Players were expected to detect a difference between enharmonic notes like g# and a''. Intonation also varied not only from country to country, but also from church to church in the same city. For example, the organ at San Marco in Venice is tuned higher than other organs in the city.5' In addition, there were two acknowledged pitch levels in Germany {Chor-ton or "choir pitch" and the other Cammer-ton or "chamber pitch")^ Cammer-ton was lower than Chor-ton by anywhere from a whole step to a minor third.^'

In addition to the tuning problem there was the added problem of temperament, which in the eighteenth century, was closer to just or mean-tone intonation.®^ "This temperament meant that there was a difference between enharmonic tones, with flats

^®Eric Halfpenny. "The French Hautboy: A Technical Survey Part I," The Galpin Society, No. VI, July 1953: 31-32. ^^ruce Haynes. "Bach's Pitch Standards: The Woodwind Perspective," Journal of the American Musical Instrument Society, XI, 1985: 109. ®®Mary Cyr, Performing Baroque Music, (Portland: Amadeus Press, 1992) 61. ^'Cyr, 61. ^^Bruce Haynes, "Beyond Temperament: Non-keyboard Intonation in the 17th and 18th Centuries," Early Music XDC no. 3 August 1991: 358. sounding higher than sharps.^^ jn fact, harpsichords were developed with split keys so that these differences could be distinguished.^ Fingering charts for the baroque oboe also support this tuning system. In Eric Halfpenny's collection of six different baroque oboe fingering charts, one sees fingering differences for the g#'s and a'^'s, a#' and b''', and f#" and gb".65 When playing keyboard instruments without split keys, ensemble nining was a matter of debate.^ Generally, when the keyboard was a solo instrument in an ensemble such as in a trio or solo sonata, the other instruments tuned to the fixed semitones of the keyboard. However, when the keyboard was part of the continuo as in an orchestral work, then the group mned to the temperament of the oboe.^^

^^Haynes, "Beyond Temperament," 358. ^Haynes, "Beyond Temperament," 362. ^^Halfpenny, 52-53. ^^Haynes, "Beyond Temperament," 362. ^^Haynes, "Beyond Temperament," 362. 30

r^tr A tlT'T70 TTT

Examination of Examples of Italian and Italianate Ornamentation

One of the problems facing any study of early eighteenth-century Italian ornamentation is the complete lack of contemporary treatises on the subjecL^^ As a result one must depend upon the written-out ornamentation of performers and composers of the period. We shall be looking at both Italian and Italianate (non-Italian composers recognized by their contemporaries as writing in an Italian style) examples from the period. Examination of these examples based upon contemporary performance practice allows us to observe the patterns of pitches used in ornamentation, the rhythmic placement of omaments, the use of ornaments added to melodic lines that use sequences, repeated single-note and multiple-note repeated melodic patterns, and the relationship of omaments to the harmony and ±e accompaniment.

Italian examples of ornamentation will be found in the Corelli Op. 5 Sonatas of cl710®^, the Geminiani ornamentation of Corelli's Op.5 #9 Sonata,''^ the Pez anonymous ornamentation of the Corelli Op. 5 M Sonata J ^ Vivaldi's ornamentation of

^^Frederick Neumann. Omamemation in Baroque and Post-Baroque Music: with Special Emphasis on J.S. Bach, (Princeton: Princeton University Press, 1978) 29, 98. ^^Arcangelo Corelli, Sonate a Violino e Violone o Cimbalo, Opera Quinta, (Amsterdam: Estienne Roger, 1710). ^®John Hawkins, A General History of the Science and Practice of Music, vol. II (London: Novello, 1853) 904-905. ^'Christophor Pez, A Second Collection of Sonatas for Two Flutes and a Bass...to which is added some Excellent Solo's out of the First Part ofCorelli's Fifth Opera, Artfully transpos'd and fitted to a Flute and a Bass yet Continu'd in the same Key they were Compos'd in, the Whole Fairly Engraven, .(London: I. Walch and Joseph Hare), Archives of the Cathedral Library, Durham, England (microfilm, Cornell University). 31

two Flute Concertp"^ and Sammartini's ornaments from his Sonata #5 in G?^ The itaiianaie examples wiii inciude J. S. Bach's ornamentation of the Marcello Concerto Telemann's omamentation of his Twelve Methodical Sonatas,''^ and William Babell's Op. 12 Solos for a Violin, Hoboy or German Flute... with proper Graces adapted to

each Adagio by 'y Author.

EsUenne Roger published the Corelli Op. 5 Sonatas with ornaments some ten years after ±e composer's death. The title page stated that the written-out omaments were by Corelli {Sonate a Violino e Violone o Cimbalo Di Arcangelo Corelli Da

Fusignano Opera Quinta Parte Primua Triosieme Edition ou I'on a joint les agreemens des Adagio de cet ouvrage, compose-, par Mr. A. Corelli comme il les joue. [Sonata for Violin and Cello or Cembalo, by Arcangelo Corelli from Fusignano, Op. 5, Part One, third edition which joins to it the free ornamentation of the Adagios of this work, composed by Mr. A. Corelli as he plays them.] A Amsterdam: Chez Estienne Roger [and] Marchand Libraire, [1710]). However, that assertion was questioned by Roger

North, a contemporary English observer, who believed that the publication was a fraud."'"' Many view the omaments as too lavish, presenting too many passagi with too many notes in each of the passagi."^^ This controversy aside, the omaments stUl

^^Betty Bang Mather, Free Ornamentation in Woodwind Music 1700-1775: An Anthology with Introduction, (New York: McGinnis and Marx, 1976) 26-29. ^^Giuseppe Sanunartini, Sonatas. 7 Sonatas a Oboe Solo Con il Basso, 18 Sonatas a Flutes Traviersier con il Basso, I Sonata a Solo con il Basso, ca. 1760, (Rochester Sibley Library, Eastman School of Music, Catalog No. S. 178. Manuscript No. 189). Bach. Concerto in D Minor. BWV 974, V/xi (Kassel: Barenreiter. 1954). '^Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, (Kassel: Barenreiter, 1965). William Babell, Op. 12 Solos for a Violin, Hoboy or German Flute with a Bassfxgur'd for the Harpsicord with proper Graces adapted to each Adagio by y Author, (London: L Walch and Joseph Hare). Facsimile edition (Basel: Musica/Mark A. Meadow). ^^Neumann, 557-8. ^^Neumann, 557-8. 32 represent performance practice from the beginning of the eighteenth century and the resulting ornamentation of the slow movements from the first six of the twelve sonatas of Op. 5.79

One of Corelli's pupils, Francesco Geminiani, used fewer ornaments in his ornamentation of Sonata IX from the Op. 5 of Corelli. This ornamented version appears in John Hawkins' A General History of the Science and Practice of Music as an example of how Geminiani played the sonata.^^ However, this version may reflect the ornamentation practices and taste from mid-eighteenth century England where the use of ornaments was more reserved than in Italy As a student of Corelli, Geminiani would certainly have had insight into how these Sonatas should best have been ornamented.

Another example of an ornamented Corelli Sonata is by an anonymous Italian recorder player dating from c. 1707. Commonly referred to as Pez Anonymous,^^ t]jjs version appeared in a collection by the British compiler Christopher Pez.®^ xhis version provides insight into a wind player's style of ornamentation at the beginning of the eighteenth century.

The first Vivaldi example comes from two pieces which use the same melodic and harmonic material for thirteen measures, one ornamented and the other unoraamented. The unomamented version comes from Concerto "Tempesta di mare"

^^Neumann, 572. ®®Hawldns, 904-907. ®'Neumann, p558. ®^Pez, 6. ®^Pez. 6. 33

for fluie, oboe, bassoons, strings, and basso continuo.^ The ornamented version comes nx)m the second movement of the first conceno found in Sei Concerti a fiautu traverso, violino primo e secondo, alto viola, organo, e violoncello. Opus 10.^^ The ornamentation was published in 1729, providing another source of Italian ornaments from the beginning of the eighteenth century. Although the ornamentation was not written by a flutist, the concerti were composed for the flute.^^ The same is true of the second Vivaldi example taken from the second movement of the Concerto perflauto in C. This unomamented version is extracted by Betty Bang Mather.®^ This version is undated, but came from the first half of the eighteenth century.

The final Italian example comes from Sammartini himself. In the second movement of the Sonata for Oboe and Basso Continuo, No. 5 in G, Sanmiartini wrote some omaments.88 He did not ornament the entire movement, only selected measures.

Sonata Mo. 5 not only provides sample ornaments written by an Italian composer of the early eighteenth century, but one who was also a baroque oboist. The work was not published until 1760, after the composer's death,and may reflect the influence of his mid-century stay in London. However, since it is the only example of ornamentation written by an Italian oboist of the period, we must at least include it as a part of a survey of Italian omamentation practice.

^Bang Mather, 146. ^^Bang Mather, 146. '^^Bang Mather, 146. ®^Bang Mather, 147. ®^Sammartini. ^^Sammanini. 34

Three additional examples present Italian-influenced ornamentation from the early part of tlie eighteenth century. The QKt example is J. S. Bach's transcription of the Marcello Concerto, which will in turn be ornamented as a part of this smdy. As mentioned in the Introduction, Bach originally included his Marcello transcription in a collection of XVI Concern nach A. Vivaldi and that added to the confusion about the authorship of the original concerto.^ Bach gives a complete ornamentation of the adagio with no changes in the harmony, but while his omamentation is a littie stilted compared to most Italian examples of omamentation, it is still definitely in the Italian style. Bach's version dates from the same period as the Roger publication under consideration, c. 1717.

The Twelve Methodical Sonatas for Flute or Violin and Basso continuo by Georg Philipp Telemaim contain the composer's omaments for all of the slow movements. As in those in the Bach transcription, the omamentation is more stilted than that of Italian contemporaries, but the Twelve Methodical Sonatas do represent a large body of ornamentation from the period, c. 1728, and they were composed for a woodwind instrument.

The final examples of Italianate omamentation are found in William Babell's Twelve Solos for a Violin, Hoboy or German Flute with a Bass figur'dfor the

Harpsicord with Proper Graces Adapter to each Adagio by y Author. William Babell (c. 1690-1723) was an English keyboardist and composer, who was considered by

'^James A. Hobbs, "Marcello's Conceno in D Minor for Oboe, Strings, and Basso Continuo: A View of its origin and use in J.S. Bach's Concerto HI for Solo Harpsichord, BWV 974," Journal of the International Double Reed Society 10 (1982): 1. '^Bang Mather, 147. 35

Mattheson to have been a better organist than Handel.'^ xhe ornamentation, in the Sonatas is recognized as Itaiian-infiuenced and was published c.l725.^- The Twelve Solos represent a collection of works conceived for the oboe, although Babell's experience with harpsichord and violin clearly influenced his choice of ornaments as will be discussed below.

In looking at these examples of Italian and Italianate ornamentation from the eighteenth century, one readily sees that these works provide the rhythmic placement of omaments. Two rhythmic aspects of the composition which seem to influence the placement of ornaments are the length of the note (its duration) and the complexity of the rhythm. Throughout the examples, long notes maintain at least some, if not all, of their length. If an ornament is added to a long note, it is usually placed on the last part of the duration, although occasional omaments at the beginning of a long note do occur. The rhythmic placement of omaments at the close of the duration is particularly true with dotted and tied notes, but is also found in half notes and quarter notes. In the ornamentation by Corelli of his Sonatas, one can find examples of this in every Sonata.

In measure 1-4 of the fourth movement Adagio of Sonata II, we see an example with omaments at the end of both even and dotted note values (see example 3-1).

92 Gerald Gifford, "Babell, William." The New Grove Dictionary of Music and Musicians, 6th ed.. 20 vols., ed. Stanley Sadie (London; Macmillan, 1980), I, 768-9. '^Gifford, 769. 36

arvia.pl

Omiail Via Pi. (iTOn

3 \l,.. , T r- •

3 ^ ^ # P' * If » f * L %> • r^- - - "• ! 1i 1

'•I' r • • 'J - . . • —0 - .1* --a* » • 1

Example 3-1, measures 1-4 of Corelli's Sonata 11, movement 4. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.^'^ The top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

An example of ornamentation at the end of a tied note is seen in the third movement adagio of Sonata III in measures 16-18 (see example 3-2).

Arcangelo Corelli Sonate a violino e violone a cimbalo (Amsterdam: Estienne Roger, 1710), facsimile from Archivum musicum, vol. 21 (Florence: Studie per deizioni Scelte, 1979) 18. 37

Example 3-2, measures 16-18 of Corelli's Sonata III, movement 3. From Arcangelo Corelli's Senate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimileThe top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

There are many examples of ornaments placed at die end of longer notes in every slow movement of the Corelli Sonatas.

The first slow movement of the Geminiani omamentation has very few longer notes. The few that do occur are left without ornaments as in measures 14 and 20 (see example 3-3a & b).

95Corelli 26. 38

CoceUi ongxnal

Gcmmiam omamcniition

Basso Conumio

Example 3-3a, measure 14 from Corelli's Sonate IX, movement I. The top part is the Corelli original (1700)^^, the second line is Geminiani's ornamentation^^, the third line in the basso continuo (1700).

Corelli original

Geminiani omamentacion

Basso Continuo

Example 3-3b, measure 20 from Corelli's Sonate IX, movement I. The lop part is the Corelli original (1700)^^, the second line is Geminiani's ornamentation^^, the third line in the basso continuo (1700).

'^Corelli, 49. ^^Hawkins, 904-905. ^^Corelli, 49. ^^Hawkins, 904-905. 39

In the Pez Anonymous, we find that a dotted note and an even note value in measure 3 are ornamented (see example 3-4a), but the main notes are still the longest value in the ornament. A tied note omamentation occurs in measure 15 (see example 3- 4b) with the ornament starting just after the tied part of the note value. It is interesting to observe the ornamented and unomamented versions of the Corelli compiled together with the Pez. The Corelli ornamentation contains ornaments at the same points as Pez.

Example 3-4a, measure 3 of Corelli's Sonata IV, movement I. The top line is the original unomamented Iine(17(X)), the second line is Corelli's omamentation( 1710)^0®, the third line is Pez Anonymous (1707).'0^

lOOcorelli, 32. 'OlPez, 6. 40

Aoeo. Ore. (ITOT)

6 6 5 3 4 4

Example 3-4b, measure 15 of Corelli's Sonata [V, movement I. The top line is the original unomamented line(1700), the second line is Corelli's omamentation(1710)'02, the third line is Pez Anonymous (1707).

lO^Corelli, 32. ^®^Pez, 6. 41

Both of the Vivaldi Concern show the rhythmic placement of ornaments as discussed so far. In measure 6 and 7 of the Op. lO/I, we see tied and dotted notes with the omaments beginning at the end of the long values (see example 3-5a). A similar example using a tied note is seen in the first measure of the Vivaldi Flute Concerto (see example 3-5b).

Copyright © 1976 by McGirmis and Marx Music Publishers. Used by permission of the publisher. Example 3-5a, measures 6-7 from two Vivaldi concerti. The top line is from Concerto "Tempesta di mare," the second line is from Sei Concerti a flauto traverso, opus 10, No. 1, and the third line is the basso continuo to both.^^

'®^Mather, 28. 42

Copyright © 1976 by McGinnis and Marx Music Publishers. Used by permission of the publisher. Example 3-5b, measures 1-7 from Concerto for Flute in C Major. The top line is Vivaldi's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts.

Even Sammartini's short example of ornamentation contains ornaments coming out of a longer note value as seen in measures 38-40 (see example 3-6).

'O^Mather, 30. Example 3-6, measures 38-40 of Sammartini's Sonata 5 in G for oboe, movement

The Italianate examples continue to confirm ttiis rhythmic placement of ornaments. In the Bach, seen here in a version with the original Marcello line combined with the Bach, measures 23 and 24 show both dotted notes and a dotted and tied note with ornaments at the end of the durations (see example 3- 7).

ViotuD

Example 3-7, measures 23 and 24 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed firom the Roger print, the second line is the Bach's Harpsichord ornamentation from BWV974.'07

^^^Sammartini. •O'Bach, 17-18. 44

As with the Corelli ornamentation, the rhythmic placement of ornaments at the end of long durations happen so often in all of ihe 12 Sonatas of Telemann and the 12 Sonatas of Babell that only one example for each composer needs to be presented. The

D Major Sonata of Telemann contains a good example of the tied and dotted combination in measures 3 and 4 of the first movement, with the ornaments being placed at the end of the long note (see example 3-8).

Example 3-8, measures 3-4 of Telemann's Sonata in D Major, movement I. The first line is Telemaim's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo. ^^8

Since the Babell does not include an unomamented version, one must make some educated observations. A clear example of a tied and, possibly dotted, rhythm comes in

lOSTelemann, 18. 45 the third movement of the Second Sonata. In the first two and a half measures, the ornaments start at the end of the iong note (see example 3-9).

Example 3-9, measures 1-3 of Babell's Sonata 11. movement

Another instance of rhythmically-influenced placement of ornaments occurs when the original piece contains a hemiola, a syncopated pattern, or some similar or more unusual rhythm. The rhythmic integrity of the hemiola or syncopation is always maintained, either by leaving it completely unoraamented or by adding ornaments which serve to emphasize the rhythmic pattern. Examples of this treatment of syncopation can be found in the works with omamentation by Corelli and Geminiani. One clear example is found in the Corelli omamentation of the first movement of the Sonata II in measures 13-16 (see example 3-10). Here the syncopation is almost completely unomamented.

The two one-note and then two-note ornaments are both placed on eighth notes and the longer syncopated quarter notes are undisturbed.

lO^Babell. 9. 46

CORIU 0(8.(1710)

ORim UaoRL (1700)

BsaoCoauflBO

4 3 32 Example 3-10, measures 13-16 of Corelli's Sonata II, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile. I'O The top line is Corelli's ornamentation (1710), the second is the original unomamented line (17(X)), and the third line is the condnuo.

The fourth movement of Corelli's Sonata IV is another similar example. In measure 11 the syncopation is ornamented with single-note graces and in measure 13 there are no ornaments (see example 3-11).

llOCorelli, 13. 47

Example 3-11, measures 10-14 of Corelli's Sonata FV, movement IV. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.'^' The top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

The only other examples of syncopation among the Italian composers occur in the Geminiani where, in the first two measures, a syncopated pattern is found in the second half of each of the measures (see example 3-12). Although Geminiani used

'' 'Corelli. 38. 48 more ornaments on syncopations than the ornamentation written by Corelli, he still maintained the eighth-quarter-eighth-note pattern, although with a different group of ornaments in each measure.

Example 3-12, measures 1-2 firom Corelli's Sonate IX, movement I. The top part is the Corelli original (1700)'i2^ the second line is Geminiani's ornamentation'the third line in the basso continuo (1700).

In the Italianate examples we find a good example of a hemiola without ornamentation in the third movement of Babell's Sonata X in measures 14 and 15 (see example 3-13). Almost all measures throughout the movement contain some small ornamentation, but m these measures, with the two-against-three hemiola, there are no ornaments.

Example 3-13, measures 13-16 of Babell's Sonata X, movement

•'^Corelli, 49. ''^Hawkins, 904. 11'^Babell. 42. 49

There are two sonatas which use a syncopated theme in the Twelve Methodical Sonatas of Teiemann. In the first movement of the A Major Sonata in measures 4 and 5 the pattem appears for the first time (see example 3-I4a). As Geminiani did, Teiemann used many ornaments and he also maintains the integrity of the syncopation. The D Minor Sonata contains even more examples of a syncopated rhythm being ornamented while maintaining the integrity of this important rhythmic pattem (see example 3-I4b).

Example 3-14a, measures 3-6 of Telemaim's Sonata in A Major, movement I. The firet line is Telemann's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo.i'5

^Teiemann, 6. 50

Example 3-14b, measures 1-4 of Telemann's Sonata in D Major, movement I. The first line is Telemaim's original melody, the second line is Telemaim's ornamentation, and the third line is the basso conunuo.'

The conclusions drawn from these examples are that the Italian and Italianate baroque performers and composers of the eighteenth century maintained the rhythmic integrity of hemiolas and syncopations and that the longer note values maintained their important agogic accent by keeping most, if not all, of their original length.

''^elemann, 60. 51

There are two general types of ornaments: the first consists of one- and two- note graces—passing tones, neighboring tones, and appoggiatura:s—and ihe second consists of more than two notes, called passagi. The passagi can include turns, improvised passages, and combinations of trills and turns called groppo}^"^

Ornamental passing tones occur most often between an interval of a third, as can be seen in measures 6 and 7 of the fourth movement of Corelli's ornamentation of Sonata II. In this same example in measure 5, we can observe the use of an ornamental neighbor tone used to break the pattern of a repeated pitch (see example 3-15).

Example 3-15, measures 5-8 of Corelli's Sonata //, movement 4. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.'The top line is Corelli's omamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

In measure 6 of the Bach ornamentation of the Marcello Concerto, the third is not filled in with a passing tone, but instead an ornamental neighbor tone is sounded between the repeated notes (see example 3-16).

' '^Frederick Neumann. 471. 'ISCorelli 18. 52

Example 3-16, measures 4-7 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed from the Roger print, the second Une is the Bach's Harpsichord ornamentation from BWV974.119

In the same Bach example there is an appoggiatura used to omament the third beat.

Likewise, Coreili uses appoggiaturas in measures 11 and 12 in the first movement of

Sonata II (see example 3-17).

ll^Bach, 17-18. 53

Ongaul Melody

Example 3-17, measures 11-12 of Corelli's Sonata II, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam; Estienne Roger, 1710) in facsimile. ^^0 jhe top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

Small graces are common throughout all of the works, but the examples cited above demonstrate the manner in which diey are used.

Passagi are not so easily defined as the smaller-note graces, since most were completely improvised or used to maintain the feel of improvisation. The Corelli ornamentation uses a few examples of passagi known as groppo. An example is found

120coreIIi. 13. 54

at the beginning of Sonata V where Corelli uses a trill in combination with a turn (see example 3-18).

OcipBii Mclotfy (iTOO)

Example 3-18, measure 1 of Corelli's Sonata V, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.The top line is Corelli's ornamentation (1710), the second is the original unomamented line (17(X)), and the third line is the continuo.

The majority of the ornaments used in the Corelli and the other examples of ornamentation are not so easily defined. Many involve scales, trills, turns, and arpeggios in some combination. We find scales, trills, and turns in measure 6 of the first movement of Corelli's Sonata V, where he combines ail three in this one measure (see example 3-19).

121Corelli, 42. 55

Example 3-19, measure 6 of Corelli's Sonata V, movement I. From Aicangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estiemie Roger, 1710) in facsimile.i22 xhe top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

^^^Corelli, 42. 56

More arpeggiated ornaments are used in measures 6-8 of the Pez ornamentation, while in the Coreiii there are more of the other patterns (see example 3-20).

6 7 4 3 I Example 20, measures 6-8 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(I700), the second line is Corelli's ornamentation (1710)'23^ the third line is Pez Anonymous (1707).^24

This use of arpeggios in the Pez ornamentation could be due to awkward fingerings of scale passages for the recorder. In the Sammartini we see both scales and figtires involving both a leap and a neighbor tone. These particular scales work well on the baroque oboe, whereas when an is called for by the harmony, a more arpeggiated figure is used to avoid the to e cross-fingering and sUde (see example 3-21).

123corelli, 32. 124pez, 6. 57

Example 3-21a, measures 38-39 of Sammartini's Sonata 5 in G for oboe, movement 11.^^

Example 3-21b, measures 44-46 of Sammartini's Sonata 5 in G for oboe, movement

The Babell, although published for a wind or string instrument, contains more of the scale-type ornaments. This is probably due to Babell's background as a violinist and not a wind player.'27 All of the movements of the Babell contain such scale-type omaments, and one example of many can be found in measures 1-6 in the first movement of the Sonata I (see example 3-22).

'^^Sammartini. '^^Sammartini. 127Gerald Gifford, 768. 58

Example 3-22, measures 1-6 of Babell's Sonata I, movement I.'28

The remaining two Italian composers, Vivaldi and Geminiani, demonstrate two different approaches to ornamentation. In the Vivaldi Concern we see scales and turns with occasional leaps as in measure 6 of Op. 10 and measure I and 2 of the Flute Concerto (see example 3-23a and 3-23b).

Basso conanuo

Example 3-23a, measure 6 from two Vivaldi concerti. The top line is from Concerto "Tempesta di mare," the second line is from Sei Concerti a flauto traverso, opus 10, No. 1, and the third line is the basso continuo to both.'29

'28Babell, 1. l29Mather, 28. 59

OHVUfled ndooy. Mjilie

Copyright © 1976 by McGinnis and Marx Music Publishers. Used by permission of the publisher. Example 3-23b, measures 1-3 from Concerto for Flute in C Major. The top line is Vivaldi's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts.

Unlike other violin ornamentation, the Geminiani makes use of frequent leaps and arpeggios as in m. 1 and 2 (see example 3-24).

'^OMather. 30. 60

Example 3-24, measures 1-3 from Corelli's Sonate IX, movement I. The top part is the Corelli original (1700)'3i, the second line is Geminiani's ornamentationthe third line in the basso continuo (1700).

One explanation for this change in the Geminiani violin ornamentation might be that it was written later in the century. One can also observe a more precise transcription of the ornament's rhythm in the Geminiani. This can also be seen in the Vivaldi and Sammartini examples above. The Telemann Sonatas also reflect this change. Telemann uses scales and arpeggios, just as the other examples for wind instruments do, but the rhythms of the omaments are carefully placed as in the first three measures of the Sonata in G Minor, (see example 3-25).

131Corelli. 49. '^^Hawkins, 904. 61

6 tf 6 7 6 6

6 5 I 6 6 |4 • 4 2

Example 3-25, measures 1-3 of Telemann's Sonata in G Minor, movement I. The first line is Telemann's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo

The Bach ornamentation also has carefully transcribed ornamental rhythms, yet still uses scalar passages, trills, and arpeggiated patterns as in measures 32 (see example 3-26).

^^^Telemann, 1. 62

Example 3-26, measures 32-33 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed from the Roger print, the second line is the Bach's Harpsichord ornamentation from BWV974.i^

In all of the examples of more precise rhythmic transcription, composers still achieve a feeling of improvisation with their rhythms—they were just no longer leaving the improvisatory "feel" entirely up to the performer. Perhaps a more important observation is the use of combinations of scales, turns, trills, and arpeggios to make up the passagi with an increased use of arpeggios in the wind ornamentations.

Another factor in ornamentation is the melodic frequency of the omamentation. Where are the greatest number of ornaments placed? What is the frequency of omamentadon when there are repeated notes? How are melodic sequences treated? We have already observed that many of the passagi are placed at the end of long tones and

134Bach. 17-18. 63 one- and two-note graces are sometimes place between thirds, repeated notes, and consecutive notes. Certainly in the Coreiii and Fez the greatest number of omaments occur nearer the end of a beat, or cover the entire beat as can be seen in measures 1-2 in the first movement of Sonata /V(see example 3-27).

Corctb'i 1700 adcxiy

Cotdb OtB. skL (1710)

Pex Aooa ORL (1707)

6 7 7 « I Example 3-27, measures 1-2 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second Une is Corelli's ornamentation (1710)'35, the third line is Fez Anonymous (1707) and the fourth line is the Basso Continuo.'36

In later examples like the Geminiani and Telemann, the passagi and graces are spread over entire beats, as in measure 2 of the Geminiani (see example 3-28a) and the first four measures of the Telemann Sonata in D Minor (see example 3-28b).

'^^Corelli, 32. 136pez. 6. Example 3-28a, measure 2 from Corelli's Sonate IX, movement I. The top part is the Coreili original (1700)'^"^, the second line is Geminiani's ornamentationthe third line in the basso continuo 1700.

'^^Corelli, 49. '^^Hawkins, 904. 65

Example 3-28b, measures 1-4 of Telemann's Sonata in D Major, movement I. The first line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.i^^

We can also gain valuable information by observing the way composers and performers ornamented sequences, repeated single-note and multiple-note repeated melodic patterns. Repeated single-note and multiple-note patterns are handled in three

'^^Telemann, 60. 66 ways. Occasionally they are left unomamented, but more often they are ornamented using a repeated pattern of ornamentation in sequence, or they become progressively more or elaborately ornamented with each occurrence. One of the few instances of an unomamented repeated-note pattem is found in the third movement of Telemarm's Sonata in E Minor measure 41. The explanation for this rare lack of ornamentation probably has more to do with the harmonic activity which will be discussed later (see example 3-29).

Tcksaoe'i oxiody

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continue, © 1965 Barenreiter Music Corporation. Example 3-29, measures 40-42 of Telemann's Sonata in E Minor, movement I. The first line is Telemarm's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.^'^

In the first movement of Corelli's Sonata V measures 6 and 7, there is a sequential figure which contains repeated notes. Oddly enough, the first occurrence is highly ornamented, although it maintains the repeated b, while the second occurrence in measure 7 is marked by the near absence of ornaments. Again, this may be due to the harmonies (see example 3-30).

l^Ofelemann, 13. 67

Ca(cltlOm.(l7IO)

CorttUoniBMi md.

—0—- ! - • A 1 , ^ 1 1 u- ^ " w-j , 1

Example 3-30, measures 6-7 of Corelli's Sonata V, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam; Estienne Roger, 1710) in facsimile.*^! The top line is Corelli's ornamentation (1710), the second is the original unoraamented line (1700), and the third line is the continuo.

More often, repeated notes are either ornamented progressively with more ornamentation occurring with each successive repetition, or they are ornamented throughout. The Geminiani contains examples of both within the four measures of bars 15-18 (see example 3-31).

I'^^Corelli, 42. 68

r 7 I Example 3-31, measures 15-19 from Corelli's Sonate IX, movement I. The top part is the Corelli original (1700) ^*^2 the second line is Geminiani's ornamentation'^3, the third line in the basso continuo (1700).

In the first movement of Telemann's Sonata in E Major measures 1 and 4, a repeated e is ornamented in the same or a similar manner with each successive statement. However, when the melodic pattern in measure 1 is repeated in measure 4, the ornamentation in measure 4 differs both melodically and rhythmically from that found in measure 1 (see example 3-32).

•'^^Corelli. 49. ''^^Hawkins. 904. 69

6 7 6 7 5 6 6

Example 3-32, measures 1-4 of Telemann's Sonata in E Major, movement I. The first line is Telemann's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo.''^

In measure 13 of the first movement of Babell's Sonata II, a three-note pattem is repeated, but with ornaments applied to the second occurrence (see example 3-33).

1''^Telemann, 48. Copyright © 1976 by McGinnis and Marx Music Publishers. Used by permission of the publisher. Example 3-33, measure 13 from Sonata II, movement n. The top line is Babell's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts.

Most composers and performers chose to ornament sequences in one of three ways: either progressively using more ornaments with each occurrence, changing the ornaments with each occurrence, or using the same omament each time. Sequences are so common in the works of this period that we need not examine them exhaustively, but we can make general comments by observing some of the more typical treatments of ornamental sequences.

The ornamentation by Pez and Corelli of the Sonata IV has two sequential patterns in measures 5-7 (see example 3-34). The first sequence (Sequence I) is repeated once in measures 5-6 and a different, second sequence (Sequence II) is repeated once within measure 7. The second statement of the first sequence (measure 6) is transposed up one step from the original (measure 5) and closes on a half cadence in F major. The opening of the sequence in the fifth measure is ornamented by adding

•-^^Mather. 27. 71

upper neighbor and passing tones and changing the rhythm to a dotted pattern. The second statement of the sequence (measure 6) is immediately ornamented with Iwo sixteenths and a groppo, all equaling the duration of the original eighth note upbeat,

This second statement continues in free ornamentation to point up the half cadence. The cascade of sixteenth notes moving to thirty-second notes creates a forward momentimi absent from the choppy original sequential statement. We observe that there is an

increase in both the rhythmic activity and the occurrence of ornamentation as we move

through the repeated sections of the sequence. This increase in ornamental activity seems to balance the repetition of the sequence itself.

The pattern of increasing ornamental activity as we move through a sequence is again played out in the very next measure of the Corelli. In measure 7 of Example 3-34, the 1710 edition's omamented line reproduces the original 1700 edition's rhythm of a quarter note tied to three sixteenth notes without adding any ornamentation. The second statement of this sequence then erupts in a flurry of thirty-second notes in free ornamentation (see the third into the fourth beat of measure 7 in Example 3-34). Again, there is an increase in ornamental activity as we move through sequential repetition.

•'^Neumann 289. 72

CoRib on. (I7t0)

Example 34, measures 5-7 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710)''^'', the third line is Pez Anonymous (1707) and the fourth line is the Basso Continue.

A second ornamented version of the CoreLli found in Pez Anonymous uses less ornamentation than the 1710 Corelli edition. Pez Anonymous, nevertheless, increases the frequency of ornamental activity as sequences are repeated. In example 3-34, the second statement of the first sequence is again more florid (measures 5-6) as it moves to the half cadence. The second sequence (measure 7) of Pez Anonymous opens like the 1710 Corelli, restating the 1700 Corelli without omamentation. The second

I'^'^Corelli, 32. 148pez, 6. I'^^zaslaw, 6. 73 statement of the sequence in Pez Anonymous, like the 1710 Corelli, features a rhythmic flourish. However, Pez Anonymous ornaments with six thirty-second notes, ratiier than the ten of Corelli. Pez Anonymous remains somewhat more circumspect, yet follows the general principle that ornamental activity increases as one moves through a sequence.

Bach, in his arrangement of the Marcello Concerto (BWV 974), ornamented the opening sequence in a very modest way (see example 3-35).The first statement of the sequence is augmented by only a single pitch and a mordent on the final note. The second and third statements of the sequence feature the same rhythm. However, the rhythm in the third statement of the sequence (measure 8) in effect doubles the tempo by shifting the notational level and doubling the occurrence of the motive. While this increase in rhythmic activity seems quite characteristic of the Italian style, the mathematical doubling of compositional activity seems much too rigorous and not as free as the working models of Italian performers discussed above. The fourth statement (measure 10) further increases the flow of ornamentation, to continuous thirty-second notes. Even the north German Bach when imitating the Italian style increases the frequency of ornamentation as he moves through the sequence's repetitions.

'^®Johann Sebastian Bach, Complete Keyboard Transcriptions of Concertos by Baroque (New York; Dover, 1987): 17-18. Example 3-35, measures 4-11 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed firom the Roger print, the second line is the Bach's Harpsichord ornamentation fi"om BWV974.15'

151 Bach, 17-18. 75

The Babell presenb; a fonn of omamenlal practice half-way between the Corelli/Pez and the Bach. In the first movement of Babell's Sonata IV measures 10 and 11, we find three statements of a scalar sequence. The second of the three statements is the most highly ornamented, but all three of the omaments are placed at the end of sequential statements (see example 3-36).

OveUtoriLiniO)

Pcz Aooo. an. (1707)

Reprinted, by permission, of McGinnis and Marx. Example 3-36, measures 10-11 from Sonata II, movement II. The top line is Babell's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts. ^52

The earlier Geminiani example of ornamented repeated notes is also part of a sequence and demonstrates a technique more closely allied with the other ItaUan examples where one omaments more and differently with each successive statement (see example 3-37). In measures 15 and 16 there are two statements of a sequence. In the first sequence, most of the ornamentation, a neighbor tone group, appears at the end of the sequence. In the second statement (measures 15 into 16), the ornamentation starts widi the first notes of the sequence and closes with a new ornament based upon an

152Mather. 23. 76 arpeggiation of the harmony. In the next two measures (17 and 18), ±ere is ano±er sequence. The beginnings of both statements remain unomamented, while their close is ornamented. However, Geminiani does use a different ornament for each sequence's close.

fi.l

. -fL .

7 7 I Example 3-37, measures 15-18 from Corelli's Sonate IX, movement I. The top part is the Corelli original (nOO)^^^, the second line is Geminiani's ornamentation the third line in the basso continuo (1700).

There are no sequences used in the Vivaldi examples. Sammartini uses the same ornamental patterns in what was probably a sequence in measure 38-40 (see example 3- 38).

Example 3-38, measures 38-40 of Sanunartini's Sonata 5 in G for oboe, movement

153corelli, 49. '^'^Hawkins, 904. ^^^Sammanini. 77

Likewise, the Teiemann Sonatas, which contain many sequences, are all treated in the same manner. ^Tiatever ornamental figure is used in the first statement of the sequence is maintained throughout all subsequent statements. For example, this can be seen in the first movement of Sonata in A Minor measure 3. The ornamentation of the first sequence of beats one and two is the same as the second sequence on beats three and four (see example 3-39).

6 6 la 7 s <

Reprinted, by permission, of publisher from Georg Philipp Teiemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continue, © 1965 Barenreiter Music Corporation. Example 3-39, measure 3 of Telemann's Sonata in A Major, movement I. The firet line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.^^®

Telemann's only exception to this rule is found in the first movement of Sonata in A Minor measures 34 and 35. There are four statements of a sequence, each one-half measure long. Although the ornaments are the same for each pair in each measure, the two measures use different ornaments (see example 3-40).

'^^elemann, 6. 78

It:

iia(&

6 k 6 7-6 Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation. Example 3-40, measures 34-35 of Telemann's Sonata in A Minor, movement I. The first line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.'^^

Clearly composers do ornament sequences, although German ornamentation— along with Sammartini—was much more stilted, demonstrating little or no change in the figures used to ornament a given sequence. The Italians and Babell (an early example of ornamentation) use variations in the ornamenting of sequential statements and very often increase the ornamental activity with each subsequent sequential statement.

As noted earlier harmonies can not only have an effect upon the choice of notes used in ornaments, but harmonies can also have an effect on the composer's or performer's decision whether to and how much to ornament. In the first movement of

Telemann's Sonata in E Minor measure 41 referred to earlier, there is very complicated harmonic motion: measure 41 is in E major (rV6-ii-IV6/4) in the middle of a section clearly in E minor (measures 39-40 and 42). As a result, no ornaments are added which may detract from this unusual harmonic event (see example 3-41).

'^^Telemann, 26. 79

6 I e 1 6 IS ^6 6 • • 4 5 Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Baienreiter Music Corporation. Example 3-41, measures 39-42 of Telemann's Sonata in E Major, movement I. The first line is Telemaim's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo. ^^8

A similar situation occurs in the first movement of Corelli's Sonata V measure 7 of example 3-42. The harmony becomes more complicated in measure 7 with the use of the WlfV. Consequently, no ornament is used. An extended example of a complicated harmony with few ornaments occurs in measures 24-27 of the fourth movement of CoreUi's Sonata I. Here a series of secondary dominants are used to modulate from D major back to B minor (see example 3-43).

ISSTelemann. 13. 80

6 6 tf Example 3-42, measure 7 of Corelli's Sonata IV, movement 1. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),159 ttuj-d line is Pez Anonymous (1707) and the fourth line is the Basso Continuo.'^o

CoreiliotiL(t7lOt

Example 3-43, measures 24-27 of Corelli's Sonata /, movement 4. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.i®^ The top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

159corelU, 32. l<50pez, 6. l^lCorelli, 9. 81

In passages which used chromatic or unusual harmonies, the composer or performer of the day used very little ornamentation. In general one should avoid omanientalion whenever the interests of the harmonic progression are paramount.

Clearly, harmonies also effect the choice of notes used in omaments. In an arpeggio or leap, the notes are derived from the chord. That is not to say that notes outside of the chord are never used, but non-chord tones usually appear as passing, neighbor, or escape tones, or as appoggiaturas. For example, the Pez ornamentation in measure 6, beat two and measure 7, beat 4 uses leaps and apeggios with notes derived from the chord. In the second example, one non-chord tone is added (d"), which functions as a passing lone (see example 3-44).

6 6 6

Example 3-44, measure 7 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),'^2 the third line is Pez Anonymous (1707)1^^ and the fourth line is the Basso Continuo.

Often the most significant harmonic events in any given work occur at the cadences. Final cadences, appearing at the end of movements and at the end of large

•62corelli, 32. '^^Pez, 6. 82

sections within a movement, have a very definite pattern of ornamentation. In a final cadence, the last note of the cadence on the tonic chord is left untouched, while the penultimate note or beat on the dominant chord contains a trill. In fact, this was such an

accepted omamentation in final cadences that the markings for the trill were often

omitted with the assumption that the performer would include the trill. An example of each type of final cadence can be seen in the final bar of the Pez and Corelli ornamentations. The Corelli omamentation marks the trill, while the Pez omamentation omits it. Both would be performed with a final trill (see example 3-45).

Ongioat meiody

Corelli om. (1710)

Pez AnofL oro. (1707)

Example 3-45, the last measure of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),'^ the third line is Pez Anonymous (1707)1^5 and the fourth line is the Basso Continuo.

Internal cadences, found at the ends of phrases, also often used the final cadence formula for omamentation, although variations of the trill might be used. This is again observed in the Corelli and Pez in measure two, where the Corelli uses the typical final cadential formula, while Pez uses a different ornament, featuring an escape tone and a passing tone. These observations demonstrate that when ornamenting an internal

'^Corelli, 32. '•SSpez, 6.. 83

cadence, place the ornament on the penultimate part of the beat and avoid ornamenting the Cnal note of the cadence (see example 3-46).

6 7 7t a Example 3-46, measure 2 of Corelli's Sonata /V, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),^^^ the third line is Pez Anonymous (1707)'^"' and the fourth line is the Basso Continuo.

The accompaniment can also play a role in the choice and placement of ornamentation. In general, when the accompaniment is simple more omaments are used. Conversely, when the accompaniment is more complicated, or plays a melodic role, fewer or no omaments are used. For example, in measures 11 and 12 of the Pez and Corelli ornamentation, the continuo has a moving line on the fourth beat of measure

11 and on the second beat of measure 12. Both examples place the omaments after the motion in the continuo is completed (see example 3-47).

'66coreIIi. 32. '^^Pez, 6. 84

Example 3-47, measures 11-12 of Corelli's Sonata IV, movement 1. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),'^^ the third line is Pez Anonymous (1707)'^^ and the fourth line is the Basso Continue.

Another clear example is found in the first movement of Telemann's Sonata in b Minor, in measure 14. The continuo has a melodic line for the entire bar and, although the melodic line is simply a repeated note, Telemaim calls only for simple graces on beats one and three (see example 3-48).

168Coreili, 33. 6. 85

Tdaani laekidy

Banoi

Example 3-48, measures 14-15 of Telemann's Sonata in B Minor, movement I. The first line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.

Observation of the pattems used in ornamentation, the rhythmic placement of ornaments, the addition of ornaments to sequences, repeated single-note and multiple- note melodic pattems, and the relationship of ornamentation to the harmony and accompaniment help modem performers of early-eighteenth-century Italian music make informed, appropriate decisions about ornamenting slow movements.

^^^elemann, 37. 86

Tempos

Tempo is another element of music which can affect ornamentation. Opinions

on exactly how to determine the tempo of a movement vary in the writings of eighteenth-century theorists. Most seem to agree that the meter (time sign) determines the tempo and the words adagio or allegro (time words) modify that tempo. The German theorist Johann Philipp Kimberger—a contemporary of C. P. E. Bach, but an advocate for the then "older" style of J. S. Bach dating from earUer in the century—said that a tempo (sometimes referred to as tempo ordinario) "is determined by the meter and

by the longer and shorter note values" and that time words modify the tempo.i"^' Kimberger then went a step further, outlining a system of time signs and time words in his writings.

Concerning die 3/4 meter of the second movement of the Marcello Concerto, Kimberger states that "its natural tempo is that of a minuet" and time words like allegro and adagio determine how the performer is to modify the tempo. In the case of the second movement of the Marcello Concerto, the time word adagio would mean that the minuet tempo would be slowed. The Sammartini and Valentini Concerti are written in

4/4 meter. Kimberger says that there are two types of 4/4: one that he calls "small 4/4

time" is "lively" and "lighter" and the other, "large 4/4 time," he describes as "weighty." In the case of the slow movements of the Sammartini and Valentini we

'^'johann Philipp Kimberger, The Art of Strict Musical Composition, trans, by David Beach (New Haven: Yale University Press, 1982) 377. ^^^Kimberger, 377. ^'^Kimberger, 396. '''^Kimberger, 390 and 391. 87 are clearly using the "large 4/4 time." The time words adagio in the Sammartini and largo in the Valentini further confirm the slow tempo.

J. J. Quantz—reflecting a later eighteenth-century francophile galant asthetic— had a slightly different concept in determining tempo, asserting that meter determined which note received the pulse. The pulse was the heart beat and the time words determined whether the tempo of a movement was slower or faster than the pulse. Thus, an allegro would be faster while an adagio or largo would be slower. In fact, Quantz classifies both time words as "slow and melancholy."Further, the German composer Georg Muffat, writing in the late 1690s, said that the Italians "are accustomed to proceed much more slowly than we do in the directions Adagio, Grave, Largo, etc., so slowly sometimes that one can scarcely wait for them."'^^ While no Italian theoretical treatises survive, three German sources all confirm one another in determining tempos for the four concerto slow movements.

The fast movements of the concerti use common time words like allegro and presto. However, one movement uses an unusual lime word. To find the movement's tempo we can use the eighteenth-century system of meter signature determining the tempo and time word modifying that tempo. The last movement of Valentini's Concerto HI is marked affettuoso. The meter of the movement is 3/8, which is normally played at a faster tempo. Closer examination of the harmonic motion shows that harmonies move at the rate of one chord per measure, reinforcing the belief that this movement is

l^SQuantz, 283. ^^^Quanlz, 231. 177pj.eface to his Florilegium Secundum, quoted in Peter Le Huray, Authenticity in Performance: Eighteenth-Century Case Studies (Cambridge: Cambridge UP, 1990): 25. 88 performed "in one." In fact the form and style of the piece indicate that this movement is a correnie, a fast Itaiian dance.However, the time word affettuoso modifies the faster tempo, so that this movement is a slower version of the corrente.

I'^^Mary Cyr, Performing Baroque Music (Amadeus: Portland, 1992) 43. 89

CHAPTER IV: THE ORNAMENTATION OF THE CONCERTI

The Ornamentation of Sammartini's Concerto I, Adagios

The Concerto I in F Major by Giuseppe Sammartini contains two slow movements, both marked adagio and in common time. The harmonic rtiythm moves at the rate of one chord per quarter note in both, although the first movement of Concerto I occasionally moves at the eighth note. A slow four or faster eight should be the tempo of the movements. In both movements the oboe part doubles the first violin part except for a few measures in each movement when the oboe plays alone with the continuo. In addition, the second violin part often plays in counterpoint to the upper parts as in measures 3 through 5, making ornamentation in the mtti sections even more inappropriate. In the sections of the movements that are doubled, little ornamentation should be used except for a few trills and graces. Passagi should be restricted to the solo areas of the movements.

The solo sections of the first movement start with the upbeat to measure 6 through the third beat of measure 9, and later in measures 13 and 14. In the first solo section, the pick-up to measure 6 through the third beat of measure 9, the longer rhythmic lengths are the dotted quarter and quarter notes, so ornaments on these rhythmic lengths are restricted to the ends of the notes or kept simple like the ornamented examples discussed earlier, (see the Corelli discussion, for example). Another factor influencing the placement of ornamentation is the complexity of the harmonies. At the end of measure 7 going into measure 8 there is a modulation from F major to C major. 90

Measure 7 Beats: i oc ^ oc d 4 &

F Major I 16 V6 iu7 vi7 Y7/V C Major: ii7 V7

Measure 8 Beats: 1 & 2& 3 & 4 & F Major V V/IV IV6 viio6A^ V C Major I VI viio6 I

To avoid detracting from tiie modulation, the ornaments in the last two beats of measure

7 and first half of measure 8 will be kept to a minimum.

The cadential ornaments are the most obvious ones to add, as in measure 9 where a trill is added to the second beat. The b to c trill requires a fake fingering, but that is unavoidable in this case. (The second section of ornamentation in measures 13 and 14 does not cadence until after the strings return with the accompaniment, so cadential ornaments will not apply). Another important aspect of measures 6-9 is the dotted sixteenth- and thirty-second note rhythm found on beats three and four of measure 8. The ornaments used need to maintain the integrity of the rhythm.

Finally, the baroque oboe is taken into account, avoiding forked fingerings wherever possible. In the first omament on beat three of measure 5, a shde to beat four is used. On beat four of measure 5, to avoid the e to f forked-fingering, the ornament starts with an a" and slides down to the e" which is separated from the f' with an 91 articulation. A simple lower neighbor tone is used on the second half of beat one in measure 6, which aiso avoids the forked fingering. Tne forked fingering is nol avoided moving to beat two in measure 6, but again, by articulating the figure, the problem is minimized. The second half of beat two in measure 6 contains a leap to c", a member of the F major chord in the harmony. The leap is followed by a slide to the g" above. A similar figure is used on the second half of beat three, leaping down to the f and sliding up to the b". A more complicated passagi follows, avoiding one possible forked fingering at the end of the ornament by moving from e" to g". Articulating helps avoid spurious sounds created by the forked-fingering of the fourth and fifth notes of the ornament.

In measure 7 the dotted quarter is ornamented with a groppo, so common in the Corelli ornamentation. The notes in this groppo work particularly well on the baroque oboe. The only ornament m the second half of the measure where the modulation occurs is a slide on the second half of beat three from c" to f. The trills in measure 8 are original to the Roger print. One might wish to include a Nachschlag, a lower neighbor, at the end of some of the trills. Only a few notes are added to beats three and four of measure 8 and beat one of measure 9 because of the rhythm as discussed above. The arpeggiated figured in the second half of beat one of measure 8 is added in preparation of the authentic cadence.

The second solo section involves only six and a half beats in measures 13 and 14. Measure 13 is made up entirely of quarter notes requiring only simple ornaments with slides, leaps to chord tones, and trills. The trill on beat three was chosen to avoid the f#" to e" fingering problem on the baroque oboe. The most extensive 92

ornamentation occurs on beats one and two of measure 14 where the melody is more active. To avoid the impossible c'" to d'" fingering, a leap was used from a" to d'" since the a" is in the chord and does not use the right hand little finger. Tonguing the

d'" will help the response of the note.

The second adagio of the concerto is a short third movement of only fourteen measures. There is one four-measure solo section in the middle of the movement. The

harmonies in this section make the ornaments more of a challenge. The d#"s and c#"s of measure 7 restrict possible choices because the only way to play d#" to c#" is to use a ttill fmgering which is out-of-time and produces a poor tone quality. On beat one of measure 7 there is a leap to the chord tone a', followed by a sUde to a trill on a d#" on beat two. A Nachschlag cannot be used at the end of the trill because of the c#" fingering problem. Beat three of measure 7 has a leap to the b' chord tone followed by a neighbor tone. Beat four has a neighbor tone followed by a turn. Measure 8 no longer contains a d#" so the d" neighbor tone from c#" on beat one does not cause a fingering problem.

Beats two and three in measure 8 have the longest duration of the four measures, so the ornamentation of the d" is kept simple by arpeggiating three notes from the chord at the end of the half-note. With a cadence in d minor on beat one of measure 9, a trill is used on the dominant chord found on the fourth beat of measure 8. Following the cadence on beat one, beat two of measure 9 has a short groppo before the mtti section begins. 93

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The Oruamentaiion of Marcello's Concerto II, Adagio

The adagio second movement of the Concerto II in d minor by Alessandro Maicello is the largest-scale slow movement of the four concerti. It contains no turn sections and requires a great deal of ornamentation. The accompaniment is a repeated eighth-note figure providing the harmony under a simple skeletal melody.

Bach's oraamentation of this movement works well on the harpsichord, but there are problems when using these keyboard ornaments for the original oboe concerto. Many of the ornaments are difficult to play on the baroque oboe. For example on the third beat of measure 6, Bach wrote g" to b''". This fingering is particularly unwieldy on the baroque oboe, with a fmger coming up in the left hand while others come down in the right hand, (see example 4-1 a)

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Another problem with the Bach ornamentation is that he still uses a more conservative German style even though he was influenced by the Italians. This is clearly seen in his 100

ornamentation of the sequences in measures 6 through 10. Although the pattern changes in each measure, within the sequential measiires he uses the same rtiythmic and melodic groupings—something almost never found in the Italian sources examined earher. However, he is not consistent with this treatment of sequences, as can be seen in the next sequence (measures 11 through 12). This sequence is stated three times and always starts on the second sixteenth note of each second beat. Here Bach uses a slightly different omamentation each time.

Another sign of the mixed German and Italian omamentation is Bach's use of the symbol of the mordent. The Italians did not use any symbols for mordents until the middle of the eighteenth century; until then their practice was to write out the ornament.So while one might be inspired by Bach's omamentation, one should not be restricted by it when composing one's own ornaments.

The first eight bars of the solo line, measures 4-11, consist of four two-measure statements of a sequence. The first statement of the sequence is kept simple. In fact, the Bach omamentation worics well here except for the mordent in measure 5. The second statement of the sequence in measures 6 and 7 uses a few more ornaments with two neighboring tones in measure 6 and a lower neighbor figure in measure 7 (the Italian version of the mordent). In the third statement of the sequence in measure 8 and 9, ornamental activity increases. Although a cross fingering is created from e" to f, the slow tempo should minimize the problem. In the final statement of the sequence, measures 10 and 11, the most ornaments are added. The faster part of the ornament avoids the use of forked-fingerings, although when it slows on beat three the e" to f is

'^'Neumann. 166. 101 used. The mordent suggested by Bach in measure 11 is not practical here where the e" to f' moves more quickly.

A similar procedure is used in the next three measures which each contain a statement of a sequence. Each of the three statements of this sequence starts on the second sixteenth note of the second beat The first statement of the sequence in measure

11 is unomamented except for the slow, written-out mordent on the first beat of measure 12. The second statement of the sequence adds a few more ornaments, but they are still slow-moving with a slide, upper neighbor figure, and a suspension. The third statement of the sequence in measure 13 is the most highly-ornamented with a scale pattern followed by a suspension on the down-beat of measure 14.

The next four bars, measures 15-18, appear to be the start of yet another sequence. However, at the end of measure 17 the figure takes a different turn and acts as a bridge to the sequences of measures 19-21. These measures also have a more complicated harmonic progression with a circle of fifths/secondary dominant sequence in measures 14-16 (V7/vi to V7/ii to ii7) and a V6/iii to iii in measures 17 and 18. Any ornaments added to these measures should avoid covering the harmonies; in fact, the ornaments should emphasize the harmony. Since die first three measures start as a sequence, the ornamentation of measure 15 is kept simple and the only ornaments are chord tones. The ornament on the first beat of measure 16 echoes the d minor seventh chord by using the c" and a'. Choosing these two notes also avoids the cross-fingering of c" to b'. Measure 17 is the beginning of a second statement of a sequence and should receive more ornaments. However, with the exception of one passing tone, all ornaments are chord tones because of the complicated harmony. The use of chord tones 102 also helps eliminate any problems with gWs (which requires a half-hole fingering). Approaching and leaving the g^s from above further eliminate the haif-hoie problem which exists when coming from below the g#'s. Measure 18 is no longer part of a sequence and is kept simple with only an elongation of the lower neighbor on the third beat.

Measures 19-21 represent yet another sequence with three statements. Unlike earlier sequences, this one contains a longer tied note which must be taken into account. The sequence actually starts with the third beat of measure 18. Ornaments are avoided on each of the tied notes, with only a few notes being added at the ends of the quarter- tied-to-eighth-note durations. In the first statement the ornaments that Bach wrote are usable on the baroque oboe; however, the mordent on the third beat is written-out in keeping with the Italian tradition. The omamentation of the second statement of the sequence is also similar to Bach's, although personal taste changed the g" on the second sixteenth of the first beat of measure 20 to an a". The Bach omamentation in the third statement of the sequence m measure 21 does not work as well with the back and forth motion from c" to b' and e" to f'. Instead, the e" to f motion is limited to one occurrence and the movement from c" to b' is slowed and articulated, making the cross-fingering easier to play.

Measure 22 is a transitional measure from the sequence to the cadence of measures 23 and 24. More omamentation is required in measure 22 because it contains no long durations and a simple harmonic progression from vi to FV. The omamentation Bach uses loses a feeling of improvisation and with all of the b'''s, creates fingering problems on the baroque oboe. To avoid the b^ problem on the first beat, d" to a" is 103 used. On the second beat a scale would be effective, but the b^* to c and the e" to f' move too quickiy to be performed on a Baroque oboe. An arpeggiated figure is used which is easier to finger quickly. The third beat starts slowly while the e" to f is played, and then the ornamental activity can easily progress, giving the passage a more unprovisatory feel. The next two measures move to a cadence and modulation. A hemiola, typically used at cadences, is established with the dotted quarter- and eighth- note figure starting in measure 23. The ornaments must not detract from the hemiola and the dotted quarter note must maintain its duration. Measure 23 is left unomamented, except for the appoggiatura on the first beat. A tum is added to the first beat of measure 24, playing it slowly to minimize die e" to f problem. Because of the cadence, tradition dictates that the second beat of measure 24 be a trill which resolves to the f. Unlike most cadences, it immediately moves to a brief section in B'' major. To avoid the abruptaess of this modulation, an ornamental figure similar to Bach's is used.

The next four measures again contain dotted-quarter notes which need to maintain some length. In measures 25 and 26, ornaments similar to Bach's are used, but the rhythmic motion is slowed so that any fingering problems are overcome. The ornamentation of measure 27 is also similar to Bach's; however. Bach uses a faster- moving ornament. Fingering problems of the baroque oboe must be taken into account, like the e" to f#" thirty-second notes at the end of the second beat as ornamented by Bach.

Measure 28 has the important role of re-establishing the key of D minor with its dominant-seven chord. To emphasize it, this chord, is arpeggiated in the ornamentation at the beginning of the measure. The third beat of this measure is left alone to avoid the 104

f' to e" problem, and in measure 29 the same problem is avoided with the leap of a third from g" to e". On the second beat of measure 29 a trill is dictated because the second violin part, playing in unison with the solo part at this point, also uses one. The long tone of measure 30 is left alone until measure 31 where the Bach ornament is used for the first two beats, but a more improvisitory-sounding ornament is added to the third beat. The first beat of measure 32 is unomamented, with a mordent on the second beat, and an arpeggio leading to measure 33.

The Bach ornamentation in measure 33 with all of its g#"s and f#"s is unplayable on the baroque oboe. In its place an arpeggiated figtu^ is used which avoids this problem. In measure 34 the Bach ornament is used, omitting the e" for fmgering purposes. The second beat sounds a dominant chord before an authentic cadence requiring a trill. However, since the second violin dictates a trill and its anticipation (c#" trill to d"), the same is used in the oboe part. 105

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The Ornamentation of Valentini's Concerto III, Largo

The slow movements of the two Valentini concerti are both entitled Largo. These slow movements need to be ornamented just as the adagios in the Marcello and Sammartini concerti. In ornamenting the second movement of Concerto III we find a problem not seen in either the Marcello or Sammartini. This movement is a duet between the oboe and the first violin. When the two instruments play in parallel thirds, the ornamentation must, for reasons of ensemble, be limited to one- and two-note graces and trills, as in measures 1-4. In other secdons where the violin is independent, more

ornaments are possible in the oboe pan, as in measures 5-8. Only the last six bars are tutti although even then the accompaniment provides only the harmony under a skeletal melody.

The first four measures of the piece are unomamented except for one neighboring tone in measure 4. This was done not only because the violin plays in thirds with the oboe, but because one should establish the main theme at the beginning of a movement. From the third beat in measures 4 through the downbeat in measure 9, the two parts are juxtaposed with the violin moving while the oboe part holds long

tones. A few more ornaments are possible, although again they are restricted to graces, slides, turns and arpeggios. The arpeggio on the end of the third beat in measure 4 serves to connect passages when the violin is not playing. The placement of other ornaments in measure 4-9 comes at the end of the tied notes, or in places where there is

more activity in the oboe part (see for example measure 8). The violin part in measure 8 is also less important as a melodic line, so more ornaments are possible in the oboe line. The fourth beat of measure 8 is the dominant chord of a cadence ending on the first beat 113 of measure 9. A trill is, therefore, necessary on the last beat of measure 8. In measures 9 and 10, the violin and the oboe are again in thirds and are unomamented except for llie trill at the cadence on the fourth beat of measure 10.

In measures 11 and 12 there are four statements of a two-beat sequence. In the first statement of the sequence—the second half of the first beat through the first half of the third beat in measure 11—only one passing tone is used. In the second statement of the sequence—the second half of the third beat of measure 11 through the first half of the first beat of measure 12—a groppo is written on the fourth beat. In the third statement of the sequence at the beginning of measure 12, a similar ornament is used, but the fourth statement also uses arpeggios to bring out the importance of the final occurrence of the sequence.

From the second beat of measure 13 through the third beat of measure 14 there is a rhj^thmic pattern which displaces the accent from beats one and three to beats two and four. This pattern prepares the cadence on the fourth beat of measure 14 to the downbeat of measure 15. In choosing ornaments, one must retain the rhythmic pattern. However, since every other beat has the same rhythm as well as the same two pitches, ornamentation is required. Passagi are added to the end of each dotted quarter note which keep the dotted note long and also do not interfere with the violin part (which moves before the ornament). Different passagi are used for each part of the dotted quarter- and eighth-note pattern: lower neighbors with a turn; a leap with a scale and arpeggio; and step-wise motion descending, then ascending that brings us to the trill on the fourth beat for the cadence. The only fingering problems are e" to f' and the slide to f#" on the first beat of measure 14. The e-f problem can be somewhat alleviated by 114 articulating the second half of the four beat in measure 11. However, there is no solution in the second beat of measure 12 except to use a trill f fingering, but only if the tempo is fast enough. The possible problem with the f#'s in measure 14 is averted by avoiding the e, although a one-finger slide must still be used between the d' to the f#' on the first beat.

Measures 15 and 16 are like measures 9 and 10 except a third higher and, as before, the only ornament is the trill at the cadence. Measure 17 and 18 are the same as the first two measures and are also left unomamented. The ornamentation in the third and fourth beats of measure 19 and the first and second beats of measure 20 is more restricted so as not to take away from the more active violin line. A turn and slide are the only ornaments used imtil the violin stops on the third beat of measure 20. At that point an arpeggio is added to connect the phrase in the oboe part to the next section starting on the last beat of measure 20. This section starting on the fourth beat of measure 20 and going through the downbeat of measure 23 contains the same melodic and rhythmic patterns seen in measures 13 and 14. As with the earlier pattern, which contains the same intervals a whole step higher, the passagi are placed at the end of the pattern after the violin has played its notes. The cadence comes on the third beat after the last statement of the pattern, unlike the first time when the cadence occurred immediately after the pattern. This now allows for more ornamentation and announces the entrance of the rest of the ensemble.

The last six measures are not at ail like the rest of the movement. There is no violin duet with the oboe part, which is very skeletal, so ornamentation is needed. In measure 23 the accompaniment is active so no omaments are added. In measures 24 115 and 25 the long notes maintain their importance with the only ornaments being an arpeggio with a passmg tone on the fourth beat of measure 25. A simple slide from a' to c" is added on the second beat of measure 26 where the melodic motion increases. Another slide, this one back down, is used on the fourth beat. At the final cadence, the suspension in the first violin part is not resolved until the second half of the measure so the cadential trill in the oboe part is saved until the second half of measure 27, allowing for a passagi in the first half of the measure.

Except for the occasional e" to f' and b' to c", most fingering problems were avoided in this movement. The possible sliding and forked-fingering problems with the g# in measures 6-8, the f# in measures 13 and 14, and again the g# in measures 19 and 22 are avoided because the composer placed the difficult notes for the oboe in the violin part—thus eliminating the need for these pitches to be included in an ornament In the case of the f# in measures 21 and 22, its use is avoided except for the downbeat of measure 14 where the leap from the d' eliminates the forked part of the problem as mentioned earlier. Potential problems with the g# in both measures 6-8 and measures 19-22 are averted by approaching most of the g#'s firom above. 116

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The Ornamentation of Valentini's Concerto IV, Largo

The second movement of Valentini's Concerto IV is also a Largo. However, unlike the Concerto III, the oboe part is mdependent with only the continuo

accompanying it. The oboe does not play in the tuttis when all of the strings are playing. The first statement by the oboe comes in measures 4-6, but since this is

repealed two measures later the first statement is not omamented except for a passing tone and arpeggios on the first beat of measure 5 and the cadential trill on the fourth beat. These two-and-one-half bars are repeated in measures 7 and 8, where the melody

then continues with several sequential pattems. A few more ornaments are added in the second statement of the sequence, particularly on the fourth beat of measure 8 where a leap to a chord tone e' is followed by an arpeggio. Although the arpeggio eliminates the forked-fingerings, one slide from e' to g#' is unavoidable. On the second beat of measure 9 the melody begins to change from the earlier melody line of measures 3 and 4 because of a change of key and the first sequence of measures 10 and 11. On the fourth beat of measure 9, an ornamental grouping is created to connect two sections. A triplet figure is used in anticipation of the figure Valentini uses in measure 18.

The first sequence in the oboe part starts in measure 10 and is made up of a figure of two sixteenths- and a quarter-note tied to an eighth-note. There are four repetitions of the sequence, the last being incomplete and closing with an eighth-note instead of the tied quarter- and eighth-notes. Passagi are placed at the end of the longer durations, avoiding the f# sliding problem. In the first statement of the sequence—the second half of the first beat through the third beat of measure 10—a three-note ornament is added to avoid the ^ problem by approaching and leaving the f# firom above. This 121 omameni also connects with the second statement of the sequence. In the second statement—the second half of the third beat in measure 10 through the first beat of measure 11—a longer group of ornaments placed higher in the tessitura are added. In the third statement of the sequence—the second half of the first beat through the third beat of measure 11—the ornament is added to the beginning of the sequence on the sixteenths as a continuation of the ornament started in the second sequence. Lower neighbor tones are used in triplets anticipating the rhythm of measure 18, and the neighbor tones, helping to avoid the sUding problem of f#. The slide from to e" at the end of measure II is unavoidable. If a c" was used, an augmented second would be created, or if a c#" was used an impossible fingering to d#" would be created. The &" to e" on the third beat of measure 12 is slower and is articulated so that the potential problem is avoided.

The next entrance of the oboe is a four-beat sequence beginning on the first beat of measure 16. The sequence is stated only one other time on the second beat of measure 17. Ornaments are used on the last beat of each sequential statement with arpeggios used on the first beat of measure 17. An arpeggiated figure combined with neighbor tones in the second statement of the sequence appears on the first beat of measure 18. The g" used in the arpeggiated figure of measure 18 makes it possible to avoid the e" to f problem. In measure 18 we come to the afore-mentioned sixteenth- note triplets. The rhythmic figure is very important, so the third beat of measure 18 is unomamented. The ornamentation of the next beat maintains the triplet feel with a triplet arpeggio, followed by a scale played as a sexmplet. 122

Measures 19 and 20 contain another sequential-like figure, as well as the cadence. The sequence-iike figure appears first on the first and second beats of measure 19 and is unomamented. The second statement of the figure appears on the third and fourth beats of measure 19 and is omamented, but with the longer duration (a dotted- eighth note) remaining undisturbed. The final statement of the figure—the first and second beats of measure 20—is highly omamented, with passagi connecting to the cadential trill on the fourth beat of measure 20. Throughout these two measures, the g# could present a problem, but by approaching the g# from above the slide is avoided. The triplet is also used one last time on the second half of the second beat in measure 20. 123

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CHAPTER V: CONCLUSION

The ornaments of any early eighteenth-century Italian baroque concerto or sonata should be constantly evolving and changing—there is no single solution. However, despite the lack of contemporary treatises outlining rules to guide ornamentation, ornamented examples by Italian and Italianate composers and performers of the period do give direction to the performers of today. In this study, the use of melodic and rhythmic patterns and their relationship to the harmony and accompaniment were used to develop models of ornamental practice. These results were cast through the possibilities and limitations of the baroque oboe to create historically-informed modem performance editions of the slow movements of four early eighteenth-century Italian oboe concerti.

When writing out ornaments one must keep in mind that they should sound improvised—the models developed for ornamentation should just serve as a guide. Performers must be willing to try all sorts of ornaments keeping in mind that the Italians were often criticized for thek "tasteless" use of ornaments by writers like Quantz, North, and even the Italian singer Tosi.^^® This criticism of early eighteenth-century Italian omamentation was almost certainly a matter of taste and cultural difference.

Italian performers of the period would have used a great deal of omamentation, so we should not feel restricted in the quantity of our own ornamentation.

'SOQuantz, 323. For North see Donnington. 94. For Tosi see Neumann, 553. 128

The eventual goal is to improvise ornamentation in whole or in part after carefixl study of ±e movement. Within a beat, the rhythmic motion is expected to vary and should be from slow to fast. Mordents and slides may be played quicker or slower with the rest of the beat adjusting so that the pulse of the piece does not vary. Performers of the period also added small ornaments and graces to fast movements, with even an

occasional passagi especially near the final cadence However, the speed of these movements gready restricts the ornaments which can be added and there are also very few examples of ornamented faster movements for us to study, By smdying and pracdcing the ornamentation of slow movements, one will soon find that it is easy to improvise the occasional ornament in a fast movement.

Example 5-1. Bach examples from movements I and in.i83

Movement I. measures 11-13.

ISlQuantt, 134. example is the Bach arrangement of the Marcello. Aside from the usual added trills at cadences, Bach added a few passing tones, neighbor tones, appoggiaturas, mordants, and even a couple of notes of an arpeggio to the first and last movements (see Ex. 5-1. Bach examples from movements 1 and 3). ^SSsach, 15 and 21. 129

Movement in, measures 121-127.

Ultimately it is the combination of the study of ornamental practice from the period, the restrictions of the baroque oboe, and personal taste that will determine the choice of ornaments. In this study, appropriately ornamented editions of four concerti should provide a model of ornamentation which might transfer to similar works for modem oboists not experienced with early eighteenth-century Italian baroque ornamental practice. APPENDIX A: PERMISSIONS ^Barenreiter

Baerenreiter Music Corporation u.s. office 224 King Street. Englewood, New Jersey 07631 Telephone 201.569.2898 Fax 201.559.7023

130

November 21.1995

Ms. Rebecca Kemper Scamati 2038 N. Navajo Dr. Ragstaff, AZ 86001

Dear Ms. Kemper Scamati:

This letter, when signed by both parties, shall constitute our agreement to your use of the musical excerpts from Georg Philipp Telemann's Zwdlf Metho

1) Source of said examples be cited in accepted schoiarty style, together with the words •reprinted by pennission."

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BAERENREITER MUSIC CORPORATION

George Sturm ACCEPTED AND

f Scamati fc&GIWNIS Ci MARX »JL(su:PLGi.s:-cr 2:GWgi123£!^11S K«r Ywk. Maw Yc.tt 1C:C1 131

February 8, 1996

Ms. Rebecca Scarnaci Box 6040 School of Performing Arcs Northern Arizona University Flagstaff, AZ 86011

Dear Ms. Scamati:

This is to extend permission to reprint excerpts from Mather & Lasocki's Free Ornamentation in Woodwind Music as described in your letter of February 4, 1996. We request that the following credit appear;

Best of luck with you dissertation.

Truly

Paul Sadowski Owner McGinnis & Marx Music Publishers APPENDIX B: SCORES OF THE CONCERTI 133

Concerto I 1. Adagio Guissepe Samnurtim

Oboe

Onumenunoo

Violuo Secoodo

Alto VtoU

Organo e Violoncello

6 7 7 6 9 6 9 6 9 6 9 7 6 6

Ob.

cm.

Vln.a

vu.

B.C

6 3 6 6 6 6 7 7 134

(Seamwiiei Coecer*>L ait»

Ob.

orn.

B.C

6 6 7 7 7 6 5 6 6 5

Ob.

^^r om.

Vln.1

Vln.U

B.C

6 7 7 6 6 5 6 6 7 7 4 t 6 6 135

Turn

ob.

Turn

om.

, Turn

Vto.1 rum

Tuai VU.

B.C

6 6 7 7 5 8 6 6 5 S6* S5 6 5 6 5 6 5

ob.

orn.

Vln.l

B.C

a 6 6 6 6 4 6 6 4 6 7 6 6

•tbe sbarp wts placed nextto ihe wToag number 136

(SMBna. Cwnn L bm. t)

Ob.

orn.

Vlitl

Via.

B.C.

6 6 6 4 3 137

U. Allegro (Samnamm CoocenoD

Oboe

VtoUaoPhmo

VioUoo SecoiKk)

Alto VioU

Orgaoo e ViolooceUo

6 6 6 6 6 6

Ob.

VU.

B.C 138

(SannmAL Omcca L bvl t> Solo

ob.

Vln.1

Vln-H

Via.

B.C

6 6 7 6 6 4 3 6 6 6 6 6

Turn ot>.

Via. I

Ttfm Vln.fl

Via.

B.C

6 6 6 6 5 6 6 4 ^6 6 6 6

ob.

Vln.n

via.

B.C

6 6 » 6 6 6 139

ob.

VlXLl

V1n.n

VU.

B.C

6 6 6 6 6 6

Via.

B.C.

6 6 6 6 6

VllLfl

Via.

B.C.

6 6 6 140

(Ssfleeemai. CdecKriD L nvt. I) 32

Vln.1

VU.

LC.

6 6 6 6 5

Vln.1

B.C.

6 6 5 6 6 6 6 6

( 40

Vln.1

Vln.U

Via.

B.C pr-^ 6 6 6 6 6 6 5 6 6 6 6 6 141

(SMoamoL Cnttno L mn. 0

m. Ob.

VUuI

Via.

B.C

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 6

A Vln.1

BC.

6 6 4 3 6 6 6 4 3 142

m. Adagio (Sanunanxoi)

Oboe

OnuuDenODoo

t Violino Pnmo

Violini Secoodo

AJto Viola

Organo e Violoncello

6 6 7 7 7 6 6

Solo Ob.

Om.

VIn.I

Vln.n

Via.

B,C.

6 7 7 5 <4 7 143

(Sammamni. Coocato L mvu Ml

Tutti

Tutti Vln.1

Tutti Vln.n

Tutti

Via.

B.C.

6 Ii4 6 7 7 6 7 7 9 8 9 8 6 6 5

*was d' 10 e' in Sammartini 144

rv. Allegro (Sammamnx. Coaceno 0

t ,, _ , !> .» I • '"VA=

- • t , f-. » - «. — Violino Pnmo €> 1 1 - j- i ! 1 1 1. . . U, ' Violino Secondo vr ' ;! • 1i 1 i —:' ^ 1 : . : ; I Alto VtoU

i 1 1 1 1 . . i Or^ano e VioIooceUo • " " V > 1 ' t 0 ' - 145

(SjnmniBv CaocaiD 1. avL (V>

Vln.1 vin.n

B.C.

6 6 6 7 7 7

SoUt

h •« Vln. I

VU.

B.C.

6 c 6 4 3

•wajc-uiSaranumni "wis g'tn Smmumni 146

(SasnarasL Coocmo L t\' *

Ob.

Vln-I

B.C

6 6 7 7 5 6 6 6 6 7 7 6 6 6

Vln.1

B.C

6 6 6 147

(Saaaacm. CoacenD L mn. IVi

Ob.

Vln.1

Via.

B.C.

6 6 6 6 6 6 6 6

48 Tuxxi

I 48 Tuttt

Vln.1

I Tutu Vln.n

48 Turn

Via.

6 6 6 7 6 4 148

Ob.

VULI

Vln.U

B.C.

4 6 6 6 6 7 5

Ob.

Vln.1

vin.n

VU.

B.C.

6 5 6 6 46 6^66 4 6 149

Ob.

Vln.1

VUlU

B.C

4 6 5 6

15 Vln.1

VU.

Soto

B.C

7 6 S 6 4 6 6 6 150

(SMmraSL CODCBHD Lnn. [Vt

Ob. -BP

Vln.1

Vln.n

Via.

B.C.

6 6 6 6 6 6 6 6

Turn Ob.

Turn Vln.1

r«m Vb.

Ifum B.C

6 6 6 6 4 151

iStfBOBRUu. CoooenD L avt [V't

Ob.

VIlLl

VU.

B.C

6 6 5

103

VllLl

103

Via II

103

VU.

103

B.C. 152

^3^ ^3^ 110

Ob.

110

Vln.1

VIilO

110

VU.

110 Soto B.C.

7 7 7 6 4 6 153

iS*BB*08t. Ccaceno L bvl (V >

124 Turn

Ob.

124 Tuai Vln.1

124 Tiun vin.n

124 ITum Via.

124 |7ian

*was d tn Sammartini 154

138

Ob.

138

Vln.r

138

VU.

138

B.C

6 6 6 6 6 6 6 6 6 7

145 Sola

Ob.

145 mi

145

Vln. II

145

145 ra. I.C

7 7 6 6 5 OB

mni ZSl

ZSl

ZSl •<0

SSI 156

Concerto n. in d minor L Andante e Spiccaio AlessandrD Maicello

Oixie

Vioimo SecoofSo

Alto VtoU

Organo e VicJoncello

6 6

Solo s\ Ob.

Via. I

Vln. D

VU.

B.C.

6 6 6 4-3 6 157

fMerHlft r«wcewn ft am l>

1 «1 ^ 1 i 9

«>

9 1

9 \ ,

^ * iL_ ^ ^

, '^t.r _ . . ^

----*• ' ^' i ^m '' ' * ^ •rj wLI E> - • r '.^ "«J • — 4-3 4^6 ®}6 J 6 ® f6

Ob. Piano

Vln. I Piano

Vln. n

VU.

Ptano B.C

*MaxcdIo bas f 158

•MgcriV*. CcwT?** f "

666 666 666

Via. I

Font 20

Vln. a

Font

VU. Font

B.C

**VtafCdlobuc'' 159

5-6 7-6 9 t 160

Ob.

Vln. I

Via.

B.C.

6 6 5 6 6 5

Ob.

JL Vln. I

VU.

7 7 7 161

30 (Macdla. CtacoiD 0 D

Ob.

Vln. (

Vln. n

Piano

Vli.

I Piano

B.C.

7 7 7 87

Vln. I

Vln. n

vu.

B.C.

'Maicdio (igured bass bad 6/4 162

OtfsssQs. CsBcsw 'I ST ^

Vto. I

Vln. a

B.C.

Ob.

Vln. I Forte

VU.

Forrd

B.C

« 4 t * « 6 » « t «

**Marcdlo ngured bass bad 7 163 164

iMkbUo. Conftno U an.1) 60

Vln- I

Vln. a

B.C 165

n. Adagio (Marceilo. Cooceno 0. mvt ID

Oboe

^ .J i i i ^ ,--a Omameoicd vemoo

1 VtoliDO Pnmo

i j /w 1 1 1 ! !L 1 , VioUoo Secoodo ^ !-• i 1 1— j -1 1 ^^ 1 i 1 I 1 ' . . i 9 9 , t t ; J J J J J J 1 1 Alto Viob

1 i i i Organo e ViolooceUo

7 J

Ob. 1

Vln.1

ViiuD

VU. 166

iMamiu. Looetno u. bvllii

Ob.

Om.

Vto.1 Fone Vln.n Fone

VU.

Fone

B.C

Ob. "BW

Om.

VULI

Piano VIILU

Piano

Ptano C. 1 167 168

Ob.

Om.

VULI

VIXLO

VU.

B.C

Ob.

Vla.1

Vln. n

Via.

B.C. 169

Ob.

Om.

Vln.1

Forte

Via.

Forte 34

B.C

5 7 6 6

Ob.

Gnu ! 40

VUlI

VULU

B.C 170

(Coaceno Q. A. MaiceUo) ni. E^to

Oboe

Viobno Pnmo

VioUoo Secoodo

Orgaoo e VidociceUo

Ob.

via. 171

(M^cdkx Gaccrto II sm. Ulk

Ob.

Vln.1

Vlx

B.C

6 6 7 6 5 7

Vln.1

VULU

VU.

B.C.

6 6 172

iMacdlow CoBomo • sn. QD

Vln-I

VOn-II

Via.

6 5 173

(MvccUo. Coacmo U an. Ql) 46 r4*-

! i ^

t; i ! 1 46 1 ! 1 C 1 1 i i 1 1 '' 111' 46 1 1 ! 1 1 1 K - - ' - - i " ' ' " " " i ' ! i : i i :, 1 11''

Vta.

B.C

7 7 7 7 7 6 174

«1 , 0 0^ 1 .1 -11^ ^ ^ ^ ^ ^ - XI _

1 1

I. i

V V 5*

61 ! 1 1 J^

! 1 1 '

• W 6 . 6 , 6 4 J 6

Ob.

Via.

BC.

6 4 3 9 6 175

(Matdla. Coaceno U on. ID)

Ob.

Vln.1

B.C

9 8 8 9 8 6 6 5

Ob.

Vln.1

83 JUt. B.C.

6 4 176

Vla.1

Via.

B.C.

7 6 6 4 7 7

VliLl

B.C.

7 7 7 7 7 6

*Ctftppears in MarctUo 177

(Macdio. Coaceno tl nvt III)

VIiLf

Vltt.U

Via.

5 4 I

Ob.

VllLl

VULU 178

(Mmcib. Giacxno U sn. Qlt 119

119

I.C

127

Via.

B.C

"Mucello tus g' 179

Concerto m

L Allegro by GiusqTpe Valentuu

fj ^ ^ ViobnoPnmo 1 1 1 ^00 a.0. Vioiioo Secoodo 1 y 1 ^ ^ ^ ^ ! 1 t —i ^ p # f Alio Viola

1 ! 1 ! Orgaoo e VtoloQceUo '• ——— — 0— . 6 6

Vln.1

B.C 180

tu.

Ot).

Vla.1

Vlafl

B.C

Vln.1

VU.

B.C.

u 6 * 181

Ob.

; :3

Vln.1

VU.

B.C

6 6

o5.

JLM. vin.ll

Via.

B.C

6 6 6 6 4 182

(Vilranm. Coocena PL gw. R

Via. I

Vln.n

VU.

B.C

7 7 7

VllLl

VU.

*Valentiu was a' 183

iQLi

Ob.

Vln.1

Vla.a

vu.

B.C

JLJL Vln.1

Vln.n

VU.

I.e.

7-6 7-6 7-16 7

*VaJentiai had g' Vln.1

Via.

a.c

7 7 4 3

fIJl 0f r* • m > «) •

4t • i" 1 1 J • • J ^ j i 1 A » ! A j 1 !

• 1-^-'-. ;-r'"* "« ' "* '

6 6 6 6 185

tIL

Ob.

VU.

B.C w

Ob.

Vln.1

B.C

6 6

•>Alcmim nguftd btss bad 7 **V^ieiuim wss f 186

DLi

OtL

Vln.1

vitt.n

via.

B.C

4 6

Piano

Vln.1

Piano

Via.

B.C

•••ViknnmwMC •VUemuiibadr 187

Ob.

Vln.!

60 Vli.

B.C

6 4 6 6

Ob.

VllLl

64 Larfo

VU.

B.C 188

n ( (CoocenoULVUenaoi) n. Urgo

Oboe

Vlolino Secoodo

Alu> Viola

Organo e Vtdoocdlo

Ob.

Om.

Vln.1

Vin-U

B.C. 189

(VUeoniu. Cooceno IIL mvL II)

*>^kntim bad a' 190

ULIDVL Q) 191

Pianot

7-6 (Piaiof *ViienQni figured bass bad 4/2 192

(G}Oceno ffl.. ValeoDoo) HL Presto

Oboe

Vtolioo Pnno

>^liao Secoodo

Alto Viola

Orgaoo e VtoioDcello

Ob.

VU.

B.C

* Valentin! was b\ c". a', b' 193

i>WeBaaL ConcBio tn. Ql>

f rj. ra Ob.

Vln.1

VU.

B.C.

Ob.

VIILU ^

vu.

B.C.

•• 5 » » « t t r t

**vyenoiu (iagoced bus bad 6/4 194

OMeaBOb CbBocno QL BVL D)

Ob.

Vto.1

VIILU

B.C s

Ob.

Vln.1

Vln.n

VU.

B.C 195

(VUaoBk Caaccno QL WL 01)

Ob.

Vln.1

Vln.!I

VU.

B.C

• 5 6 5

*VaJeabai Cigaied btss «vas 6/4 196

otefloiL coBcmD nL BvL nn

Ob.

VllLl TP"

46 ••

B.C

S-m.

Vln.1

VUuII

Via.

B.C.

; « t

*Valeoaiu bad a" lo g' **Valeoiuu had ooie on beat4 ***>^lentiiu bad Dote on beat 3 197

OUonOL COOCRTB QL BVL SI)

f * r 0 2 r 0 ,

mmd ~

£ ^ n , fr g n ,^.- ^ •" ,. I ^ ^ ' ^

57 M :

' 1 57 ;

i 1

57 i !

Ob.

Vte-I

B.C

6 S

••••ViioHini had f 198

0*em IIL wt. mi

tt ^ —V T —

^ ^ ^ l' ' 1 ' ' ;

K6 ±1 .___ 1i ._ 1—i '

«> i M 1 • 68 i l. 1 i

[. 1 1 j j ;

i V ! i i ! - " !r .i • 1* f i=! t i

Ob.

73 VUtl

via.

B.C

*>^kmini had e' 199

rVUoom. CoKoiD ULrnvt. 01)

Ob.

Vto.1

Vln. a

Via.

Ob.

Vln.1

Vln. II

VU.

B.C 200

Ob.

Via.

B.C.

»6 6 6 »6 6 6 >6 6 6

B.C.

*>^Ieoum figured bass wis 6/bS 201

iNWamm. Gmceno DL mvt on

t03.

Ob.

Vln.1

103

via.

103

B.C

Piano 202

[V. Affenuoso (Cooceno in.Valioum)

Oboe

Vioiioo Pnmo

Orgaoo e ViolooceUo

Ob.

vmi

Piano

VU.

B.C

Piano 203

(>^koiim. CoQceno m. fflvL no

Ob.

Piano

Vln.1

i Foru Piano

Vln-U

Fane Piano

Via.

Foru Piano

B.C

Foru Piano

Ob.

Foru

Vla.1

Foru Piano

Vln-U

Foru

Via.

Foru Piano

B.C

Font Piano 204

(>^ieiuiiu, Cooccfto m. mvL IV)

f Ob.

Font

Vln.1 Font

Forte

Vla-

Fone

B.C

Forte

Ob.

Forte

Vln.1

Forte

j Forte

VU.

Forte 35

LC 205

Conceno IV

All":?™ by Giimepe Valendm

Oboe

Violioo Secoodo

Organo e ViolooceUo

Ob. ••

Vliul

It ». •«

B.C.

*VUeQbm figured bass had 7 ••>^lenBiu WIS b" 206

(VUeacuu. Coooeno tV. mvL I)

8 _A 0^, M Ob. - ^ 8 ,0f~^m f' ^ 0^ Vto-I 1 ^ 5•

8 i

Vln-U •*

' 1 .. i Via.

8 . -J B.C — ^7,6 66 66 665 »5 5 4 3

Ob.

VllLl

6 6 6

Wcniini had a" 207

(Vileaofu. Coaceno IV. mvt I)

Ob.

Vln.1

Via.

B.C

Ob.

VULI

Vln. II

VU.

B.C

6 6 5 208

(\Ueniiiu. Concerto [V. mvt D

06.

Vla.1

VU.

B.C.

6 7 6 6

had a' 209

(VUentuu. Cooceno IV. mvL I)

Ob.

vu.

B.C

6 6 6 6 6

Ob.

VllLl

VU.

B.C.

•^^lentim was b 210

(VUcaooi. Coflceno IV. mvt n

Ob.

VllLl

VU.

6 7 6 6 6 6 6 4

Ob.

Vln. I

VU.

B.C.

6 6 6

***VdeoQm bad a' 211

(>^Semxiu. Cooceno IV. mvt. D

Ob.

Vlitl

B.C.

6 6 6 6 6 6 7 7

Vln.n

via.

B.C. 212

(Wcnom, CoQceno fV. m%-L 0

Ob.

Vln.1 •w

Vln.n •w

B.C.

Ob.

Piano Font Piano

Piano Forte Piano

Vln. II

Piano Forte Piano

Via.

B.C.

***>^JenQiu bad a' 213

(Vyenam. Cooceno IV. mvt. I)

Ob.

Vta.1

Vln.U

VU.

B.C

Ob. 62

Vln.1

VU.

B.C

5-6 7 6 9 6 6 5 214

(Vtiemuu. Coocerto {V. mvL D

Ob.

VIILI

B.C

6 5-6 7 6 9 6

VllLl

VIilU

Via.

B.C

4 3 215

Q. Largo

(Cooceno [V. >^iencini)

Oboe

Onuznenuuoa

Vtoiino Secoodo

Aito Viola

OrgJkoo e Vtoloocello

Ob.

Om.

Vln. I

VTILU

VU.

B.C 216

Concern* fV mvt 217 218

Om.

Vln.1

Vln.a

VU.

B.C

Ob.

Om.

1 24 Vln.1

Vln.II

Piano 24

VU.

Piano

6 Pumo 4 219

(>^ienaiu. Concerto IV. mvt UI)

ViobaoPnmo

Vtoboo Secoodo

Orgino e Vralcmcello

'Valeoum was F 220

A^ntmu Conceno IV. mvt III)

VllLl

VU.

B.C

i t4 6 6 6 6 6 * 6 6 5

Via I

Via.

B.C.

6 7 7

**Vaieniini was 3 quaner notes r 221

fv. '"vi TTT'

28 Vln.1

Via.

B.C

6 7 6 5 6 6 7 6

Ob.

B.C

7 6 6 7 6 6 7 222

r»Wntim. CucKctiu Tv. mvL tui

Vln-1

VU.

B.C

6 6 5 6 5 6 5 6 6

I V VllLt

B.C

7 6 6 4 6

'ViienumwisA 223

I Vucnimi. CuoLciiu VK m«i. mi

Ot>.

Vla.1

Via.

B.C

9 8 6 6 9 6 6 6 9 8 i

«7

Vln.1

57 VU.

B.C 224

Ob.

via.1

Via.

B.C

6 6 7 7 6 6 4

Vlo.1

Vln. II

B.C.

6 6 6 6 6 6 87

'Valenont was r 225

rv mvt nr^

Ob.

VllLt

Via. II

B.C

Putno

Vliul

Via.

6 7 6 7 4 3 7 6 226

7 6 5 5 4 3 227

R£FisR£NCii

~~Adkins, Cecil. "Oboes Beyond Compare: The Instruments of Hendrik and Fredrik Richters." Journal of the American Musical Instrument Society 16 (1990): 42- 117.~~

~~Aldrich, Putman. "Bach's Technique of Transcription and Improvised Ornamentation." The Musical Quarterly 35.1 (1949): 26-35.~~

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~~Bach, C.P.E. Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell. New York: W.W. Norton, 1949.~~

~~Bach, Johann Sebastian. Complete Keyboard Transcriptions of Concertos by Baroque Composers. New York: Dover, 1987. Rpt. from Vol. 5, Bach-Gesellschaft Edition. Leipzig: Bach-Gesellschaft, 1895.~~

~~—. Concerto in D Minor, BWV 974. V/xi. Kassel: Barenreiter, 1954.~~

~~Bate, Philip. The Oboe: An Outline of Its History, Development, and Construction. London: Ernest Benn, 1975.~~

~~—. "Oboe." The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. 20 vols. London: Macmillan, 1980.~~

~~Beraardini, Alfredo. "The Oboe in the Venetian Republic, 1692-1797." Early Music 16(1988): 372-87.~~

~~"Woodwind Makers in Venice, 1790-1900." Journal of the American Musical Instrument Society 15(1989): 52-73. 228~~

~~Bigotti, Giovanni. Storia dell'oboe: e sua letteratura. Padva: Zanibon, 1974.~~

~~Brown, Howard Mayor and Sir Stanley Sadie, eds. Performance Practice: Music After 1600. The New Grove Handbooks in Music Series. London: Macmillan, 1989.~~

~~Buelow, George J. "Mattheson, Johann." The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. 20 vols. London: Macmillan, 1980.~~

~~Butt, John. Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach. Cambridge: Cambridge UP, 1990.~~

~~CarreU, Norman. Bach the Borrower. London: Allen and Unwin, 1967.~~

Combs, Julia Carolyn. "Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189) with Critical and a Performing Edition of Sonata Five: A L^ture Recital Together with Three Other Recitals." (D.M.A. diss.. North Texas State University, 1985.

~~Corelli, Arcangelo. Sonate a violino e violone o cimbalo. Amsterdam: Estienne Roger, 1710. from facsimile in Arc/i/vMm VoL21. Florence: Studio per edizioni Scelte, 1977.~~

~~Cudworth, Charles. "Alessandro Marcello: A Tercentenary Note." The Musical Times 110(1969): 1231-32.~~

~~Cyr, Mary. Performing Baroque Music. Portland: Amadeus Press, 1992.~~

~~Donington, Robert. Baroque Music: Style and Performance. London: Faber Music, 1982.~~

~~Emery, Walter. Bach's Ornaments. London: Novello, 1965.~~

~~Gifford. Gerald. "Babell, William." The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. 20 vols. London: Macmillan, 1980. 229~~

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