DOCSLIB.ORG

September 2017 | 75

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
September 2017 | 75 CLASSICAL AND BEYOND sackbuts take us back to the Renaissance – Kuniko, a profoundly brilliant virtuoso at we are listening to compositions by Michael home on both keyboard and percussion Praetorius, Heinrich Isaac and many others. instruments. Still, even the fact that she has Angelo Maria Fioré – Complete Cello What is surprising is the Chorale (with sack- performed and recorded the music of Iannis Sonatas buts and dulcian) by none other than J.S. Xenakis and Steve Reich could not have been Elinor Frey; Suzie LeBlanc; Lorenzo Bach. Mind you, Bach’s father, godfather and sufficient for approaching these masterworks Ghielmi; Esteban La Rota father-in-law were all city trumpeters. on Bach: Solo Works for Marimba. Passacaille 1026 (elinorfrey.com) Ten two highly popular Renaissance Approaching the Prelude No.1 in C Major tunes. Joan Kimball is solo bagpipes player in from the Well-Tempered Clavier, a work ! Oh my, this is an Innsbruck, ich muss dich lassen: her intense unequalled in the profligacy of its invent- elegant recording! interpretation is balanced out by Priscilla iveness, sets the tone for this exquisitely From the simple Herreid’s perky recorder playing and, indeed, sculpted music by Kuniko. Te result is a opening bars of by some spirited crumhorn playing in the fascinating opening, with its sprightly dance- Fioré’s G Major Cello other variations. like passages and concise melody creating Sonata, the highest Te second variations are of Tandernaken myriad resonances and perspectives for the calibre of music- op den Rijn; no bagpipes or crumhorns but cycles of Cello Suites and Violin Sonatas making is established the mellow and ethereal tones of the recorder. that follow. Here the mallets lead the ear, and doesn’t waver for the duration of the disc. In particular, enjoy Antone Brumel’s two- cherishing motivic snippets, highlighting Tere are three strands to the program: the part scoring and the deft playing once again arresting harmonic progressions with crystal- complete sonatas for cello by the little-known of Herreid and Kimball. Tis set is perhaps line articulation. Kuniko’s enormous insight cellist of the late 17th and early 18th century, the most involved – yet enjoyable – on this into Bach and her own limitless invent- Angelo Maria Fioré; a half-dozen arias by CD. Play the set to anyone who still believes iveness make for muscular, exhilaratingly contemporaries of Fioré which feature cello recorders are for schoolkids! voiced and contrapuntally lucid perform- obbligato lines; and two pieces from the same And so to A solis ortus, variations commen- ances of the solo works for cello and violin, in period for solo harpsichord. cing with one by Coelius Sedulius for two which harmony and counterpoint are implied Te handsome CD booklet features a well- recorders which would grace any modern through frequent spreading of component written, substantial essay by Elinor Frey on church (Sedulius died in 450 – early music notes. A bedazzling set of discs, singing with the early history of the cello, the life – such as composition with a vengeance…). Recorders innate beauty. we know it – of Fioré, and a detailed context- again hold sway courtesy of, inter alia, Raul da Gama ualization of the works on the program. Te a Praetorius Chorale played on eight(!) cello sonatas themselves are pleasant, have a recorders, and another Chorale by J.S. Bach. Bruckner 9 great deal of variety and are clearly idiomatic- German dances, as may be expected from Chicago Symphony Orchestra; Riccardo ally suited to the instrument. Fioré was a few the late Renaissance, feature heavily. In one Muti years younger than his celebrated contem- suite shawms and sackbuts can be heard CSO-Resound CSOR 901 1701 (cso.org) porary Arcangelo Corelli, and his sonatas – at separately and in harmony, the former in the their best – share a drive and musical interest Scheidt Allemande with deep rich tone, the ! Tere is no lack with Corelli’s early trio sonatas. latter in the Praetorius Passameze. La Volta of fine record- Te arias are by Paolo Magni, Francesco lives up to its name, Praetorius placing his ings of Bruckner’s Ballarotti and other rather obscure Italians of stamp on this breathtaking popular dance. Symphony No.9, the mid-Baroque and have themes of – what Te CD is rounded off with another suite a work left incom- else? – the raptures and torments of love. Te of German dances, dominated by Praetorius. plete at the time of his highlight is Magni’s É caro il tormento soave Joan Kimball arranges Ballet des Aveugles for death in 1896. Among il dolor featuring sophisticated and truly bagpipes and shawm, a skirling effort with American orches- moving interplay between Suzie Leblanc’s many variations, followed by the relatively tras, the Chicago voice and Frey’s cello. delicate Padouana by Johann Schein played Symphony has long been renowned for its Te performances throughout are well- on sackbuts. Tis dignified piece well deserves performances of Bruckner’s music, and it conceived, leaving ample room for spontan- its popularity among early music enthusiasts. was the CSO who actually gave the North eity and fancy. Kudos to Lorenzo Ghielmi And this CD is well worthy of an audience American premiere in 1904. So this latest and Esteban La Rotta for their warm and wider than just the latter. recording featuring the CSO conducted by classy support. Michael Schwartz Riccardo Muti seems particularly fitting. Larry Beckwith Tis is not Muti’s first foray into Bruckner Bach – Solo works for marimba – he has also recorded Symphonies Four and Back Before Bach Kuniko Seven – but from the forbidding opening Piffaro The Renaissance Band Linn Records CKD 585 (linnrecords.com) measures of Symphony No.9, the orchestra Navona Records NV6106 displays a deep engagement with this monu- (navonarecords.com) ! Playing any clas- mental score. Te first movement – 26 sical music on the minutes in length – is majestic and dignified, ! Just one look at marimba would have with CSO’s outstanding sound displaying rich the photographs of been unthinkable tonal colours and a full dynamic range. We Piffaro’s musicians – before 1892. After all could only have hoped for a little more prom- and from the sleeve it was only then that inence of the renowned CSO brass section, notes the range of the instrument was which at times seems too muted. instruments played equipped with addi- Te strident Scherzo has a rightful mood of – will confirm this tional notes to include the chromatic scale defiance, Muti approaching it with a suitable ensemble’s sheer by adding another row of sound bars, akin amount of intensity. diversity of expertise. to black keys on the piano. However, playing Te third and final Adagio is all serenity, Listen to the 38(!) tracks and you will appre- Bach on the marimba – if not unthinkable – with Muti and the CSO invoking a true sense ciate the exuberance of their playing. would still be enormously thought-provoking, of nobility. Even without the final move- From the outset the shawms and but not challenging enough, it seems, for ment, Muti instills a satisfying sense of thewholenote.com September 2017 | 75.
Load more

Recommended publications
  • L'estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi
    L’Estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi (1678 – 1741) The first decade of the eighteenth century was an exciting one for Vivaldi. In 1703 he became fully ordained as a priest and obtained a teaching post at the Ospedale della Pietài. His duties still left him time to freelance as a violinist (often with his father, Giovanni Battista Vivaldiii) and to compose a moderate amount of music. His works had so far generated a modest amount of local success with two sets of sonatas being published by the Venetian publishing houses of Giuseppe Sala in 1705 and Antonio Bortoli in 1709iii. In addition to various sonatas and concertos, Vivaldi received a commission to compose his first (known) vocal work, a serenata titled Le gare del dovereiv for a performance in Rovigo in 1708. The publication of L’Estro Armonico three years later proved to be one of the major turning points in his career, and his concerto style took Europe by storm. Vivaldi chose the Amsterdam firm of Estienne Roger to publish L’Estro Armonico, whose printing presses used a more modern technology than their Venetian counterpartsv. In addition, Roger had a fantastic distribution network, particularly in Northern Europe where, at various times he had agents in Berlin, Brussels, Cologne, Halle, Hamburg, Leipzig, Liège, London and Rotterdam; Roger’s state-of-the-art technology combined with Vivaldi’s cutting- edge concerto style proved to be an immediate success. In search of an influential patron, Vivaldi dedicated L’Estro Armonico to the Grand Prince of Tuscany, Ferdinando de’Medicivi, son of Cosimo III de’Medici.
    [Show full text]
  • MUSIC in the BAROQUE 12 13 14 15
    From Chapter 5 (Baroque) MUSIC in the BAROQUE (c1600-1750) 1600 1650 1700 1720 1750 VIVALDI PURCELL The Four Seasons Featured Dido and Aeneas (concerto) MONTEVERDI HANDEL COMPOSERS L'Orfeo (opera) and Messiah (opera) (oratorio) WORKS CORELLI Trio Sonatas J.S. BACH Cantata No. 140 "Little" Fugue in G minor Other Basso Continuo Rise of Instrumental Music Concepts Aria Violin family developed in Italy; Recitative Orchestra begins to develop BAROQUE VOCAL GENRES BAROQUE INSTRUMENTAL GENRES Secular CONCERTO Important OPERA (Solo Concerto & Concerto Grosso) GENRES Sacred SONATA ORATORIO (Trio Sonata) CANTATA SUITE MASS and MOTET (Keyboard Suite & Orchestral Suite) MULTI-MOVEMENT Forms based on opposition Contrapuntal Forms FORMS DESIGNS RITORNELLO CANON and FUGUE based on opposition BINARY STYLE The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST TRAITS and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC. Forms Commonly Used in Baroque Music • Binary Form: A vs B • Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc) Opera "Tu sei morta" from L'Orfeo Trio Sonata Trio Sonata in D major, Op. 3, No. 2 1607 by Claudio MONTEVERDI (1567–1643) Music Guide 1689 by Arcangelo CORELLI (1653–1713) Music Guide Monteverdi—the first great composer of the TEXT/TRANSLATION: A diagram of the basic imitative texture of the 4th movement: Baroque, is primarily known for his early opera 12 14 (canonic imitation) L'Orfeo. This work is based on the tragic Greek myth Tu sei morta, sé morta mia vita, Violin 1 ed io respiro; of Orpheus—a mortal shepherd with a god-like singing (etc.) Tu sé da me partita, sé da me partita Violin 2 voice.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • How Its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz
    Music of the Baroque period: how its styles and techniques changed music Item Type Thesis Authors Felis, Lauren Rights Attribution-NonCommercial-NoDerivs 3.0 United States Download date 26/09/2021 16:07:48 Item License http://creativecommons.org/licenses/by-nc-nd/3.0/us/ Link to Item http://hdl.handle.net/20.500.12648/1382 Running head: MUSIC OF THE BAROQUE PERIOD 1 Music of the Baroque Period: How its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz MUSIC OF THE BAROQUE PERIOD 2 Table of Contents Table of Contents 2 Abstract 3 Introduction 4 A Brief History 4 Doctrine of Affections 5 Musical Style 6 Baroque Dance 7 Baroque String Instruments 7 Baroque Composers 8 Arcangelo Corelli 9 La Folia 9 Suzuki 10 Process of Preparing Piece 10 How I Chose the Piece 10 How I prepared the Piece 11 Conclusion 11 Appendix A 14 Appendix B 15 Appendix C 16 Appendix D 17 Appendix E 18 MUSIC OF THE BAROQUE PERIOD 3 Abstract This paper explores the music of the Baroque era and how its unique traits made it diverge from the music that preceded it, as well as pave the way for music styles to come. The Baroque period, which is generally agreed to range from around 1600 to 1750, was a time of great advancement not only in arts and sciences, but in music as well. The overabundance of ornamentation sprinkled throughout the pieces composed in this era is an attribute that was uncommon in the past, and helped distinguish the Baroque style of music.
    [Show full text]
  • Corelli'stonalmodels
    Intégral 31 (2017) pp. 31–49 Corelli's Tonal Models: The Trio Sonata Op.3, No. 1* by Christopher Wintle Abstract. British thought is typically pragmatic, so a British reception of the work of Heinrich Schenker will concern itself with concrete procedure at the expense of hypothetical abstraction. This is especially important when dealing with the work of Arcangelo Corelli, whose work, along with that of others in the Franco-Italian tradi- tion, holds the key to common-practice tonality. The approach of the British author is thus to construct a set of concrete linear-harmonic models derived from the fore- ground and middleground techniques of Schenker and to demonstrate their han- dling throughout the four movements of a representative trio sonata (Op. 3, No. 1). In this essentially “bottom-up” project, detailed discussion of structure readily merges into that of style and genre, including dance and fugue. The text is supported by many examples and includes a reprint of the trio sonata itself. Keywords and phrases: Arcangelo Corelli, Heinrich Schenker, trio sonata, tonal models, fugue. Introduction poser or a single school,” nevertheless suggested that it was Corelli who “was the first to put the tonal formu- here appears to have been no doubt in the minds of las to systematic use.” Christopher Hogwood (1979, 41), on T many of those who have written about the Baroque the other hand, cites two eighteenth-century sources to era that the music of Arcangelo Corelli bore an extraordi- suggest that Corelli’s achievement was one more of man- nary significance, and one that extended far beyond his ner than of matter: according to Charles Burney, he says, having made a remarkable contribution to the repertoire “Corelli was not the inventor of his own favorite style, of solo, chamber, and concerted violin music.
    [Show full text]
  • Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord
    Friday Evening, December 8, 2017, at 7:30 The Juilliard School presents Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord The Pleasure Garden: Music From Handel’s London GEORGE FRIDERIC HANDEL (1685–1759) Concerto grosso in G major, Op. 6, No. 1, from Twelve Grand Concertos in Seven Parts , Op. 6 (1740) A tempo giusto Allegro e forte Adagio Allegro Allegro ROBERT MEALY and SARAH JANE KENNER , Violin Concertino MORGAN LITTLE , Cello Concertino HANDEL Concerto grosso in B-flat major, Op. 6, No. 7 , HWV 325 (1739) Largo Allegro Largo Andante Hornpipe MICHAEL CHRISTIAN FESTING (1705–52) Concerto in G major, Op. 3, No. 9, from Twelve Concertos in Seven Parts (1742) Largo Allegro Largo Allegro Assai Hornpipe—Andante—Hornpipe JONATHAN SLADE and BETHANNE WALKER, Flute Concertino Program continues on next page Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. THOMAS ARNE (1710–78) Concerto No. 5 in G minor from Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte (1793) Largo Allegro spirito Adagio Vivace EUNJI LEE ,
    [Show full text]
  • Vivaldi's Four Seasons
    Vivaldi’s Four Seasons Start time: 8pm Approximate running time: 75 minutes, no interval Please note all timings are approximate and subject to change Programme Arcangelo Corelli Concerto Grosso No 1 in D major, Op 6 Maria Grimani Sinfonia to Pallade e Marte Arcangelo Corelli Concerto Grosso No 2 in F major, Op 6 Antonio Vivaldi The Four Seasons Harriet Smith takes us through tonight’s programme of Italian treasures. Today we get to experience arguably the best-known set of violin concertos ever written – The Four Seasons – alongside a composer whose music has almost entirely vanished from sight. The life of the Italian composer Maria Grimani is so wreathed in mystery that we don’t even know for certain when she died. She appears to have been born into a noble Venetian family and what we do know is that she spent periods of time in Vienna, where she was active during the reign of Charles VI and was one of the last of a series of female oratorio composers at the imperial court. Strikingly she was first-ever woman to have an opera produced there: Pallade e Marte was unveiled at the Vienna court theatre in celebration of the emperor’s saint’s day on 4 November 1713. Maria Grimani’s gifts, though, are self-evident even from the short sinfonia (overture) that opens Pallade e Marte. It ranges from a bustlingly upbeat opening section, strings supported by busy harpsichord continuo, to a slower- moving section full of sighing phrases and juicily biting harmonies. This in turn gives way to a more optimistic theme, underpinned by lilting rhythms that end the sinfonia in a mood of good humour.
    [Show full text]
  • Introduction
    Introduction During the first half of the eighteenth century, the principalities of the Holy Roman Empire of the German Nation witnessed a remarkable efflorescence of palace fresco painting executed largely by Italian artists.1 Beginning in the Austrian and Czech lands in the late seventeenth century and spreading to the German territories by 1700, large-scale Italian ceiling paintings soared in popularity as Catholic and Protestant nobles of all ranks competed with one another to produce ever more lavish decorative schemes that expressed their claim to princely power and political authority. Drawing upon various picto- rial styles and iconographic programs from Italy and across Europe, frescoists and decorators developed new types of imagery that uniquely embodied their patrons’ ambitions and cultural aspirations.2 A synthesis of predominantly Italian and French styles and forms per- vaded Austro-German baroque culture and society in this period and critically shaped the evolution of their visual and performing arts.3 Although this book concentrates on Italy’s primary contribution to the production of these monu- mental fresco cycles, it is important to acknowledge that French culture under Louis XIV (1638–1714) and Louis XV (1710–1774) played an equally crucial role in influencing Imperial palace design and decoration as well as court music and theater. In the past, scholars sometimes viewed the presence of these two 1 Starting in the Early Middle Ages under Charlemagne and Otto I and continuing until Napoleon’s dissolution of the Empire in 1806, rulers and authors referred to the loose federation of states overseen by an imperial monarch as the “Heilige Römische Reich Deutscher Nation.” These lands consisted of present-day Austria, Germany, and the Czech Republic as well as parts of France, Poland, and Italy.
    [Show full text]
  • JOHANN SEBASTIAN BACH — Brandenburg Concertos No
    JOHANN SEBASTIAN BACH — Brandenburg Concertos No. 3 and 5 When asked about what message we might send to an extraterrestrial civilization, physician and former dean of the Yale and NYU medical schools Lewis Thomas remarked, “I would vote for Bach, all of Bach, streamed out into space, over and over again. We would be bragging of course.” Even after more than two-and-a-half centuries since his death in 1750, the music of Johann Sebastian Bach continues to serve as a high-water mark for many musicians, composers, conductors, and music fans. Mozart, Beethoven, and Mendelssohn regarded J.S. Bach as the giant on whose shoulders they stood, and it was his spectacular vision and intricate craftsmanship that inspired them to create masterpieces of their own. And in 1977, the first movement of Bach’s Brandenburg Concerto No. 2 was chosen as the first musical piece to be played on the Voyager Golden Record, a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes. Perhaps someday, an alien civilization will acknowledge our “bragging” by sending along some music by a Bach of their own. Together, the Brandenburg Concertos comprise a set of six orchestral compositions dedicated by Bach to Prince Christian Ludwig of Brandenburg in the spring of 1721. These works are not “concertos” in the sense we think of them today, with a single soloist accompanied by the orchestra. Instead, they represent an older tradition of “concerted music,” in which a small group of featured players (the concertino) converse against a background texture of strings and harpsichord (the ripieno).
    [Show full text]
  • Martha Jane Gilreath Submi Tted As an Honors Paper in the Iartment Of
    A STTJDY IN SEV CENT1 CHESTRATIO>T by Martha Jane Gilreath SubMi tted as an Honors Paper in the iartment of Jiusic Voman's College of the University of Xorth Carolina Greensboro 1959 Approved hv *tu£*l Direfctor Examining Committee AC! ' IKTS Tt would be difficult to mention all those who have in some way helped me with this thesis. To mention only a few, the following have mv sincere crratitude: Dr. Franklyn D. Parker and members of the Honors -fork Com- mittee for allowing me to pursue this study; Dr. May ". Sh, Dr. Amy Charles, Miss Dorothy Davis, Mr. Frank Starbuck, Dr. Robert Morris, and Mr, Robert Watson for reading and correcting the manuscript; the librarians at Woman's College and the Music Library of the University of North Carolina through whom I have obtained many valuable scores; Miss Joan Moser for continual kindness and help in my work at the Library of the University of North Carolina; mv family for its interest in and financial support of my project; and above all, my adviser, Miss Elizabeth Cowlinr, for her invaluable assistance and extraordinary talent for inspiring one to higher scholastic achievenent. TAm.E OF COKTB 1 1 Chapter I THfcl 51 NTURY — A BACKGROUND 3 Chapter II FIRST RUB OR( 13 Zhapter III TT*rn: fTIONS IN I] 'ION BY COMPOSERS OF THE EARLY SEVE TORY 17 Introduction of nasso Continuo 17 thods of Orchestration 18 Duplication of Instruments 24 Pro.gramatic I'ses of Scoring .25 id Alternation between Instruments. .30 Introduction of Various Instrumental devices 32 Dynamic Contrasts 32 Rowing Methods 33 Pizzicato
    [Show full text]
  • Download Program
    Byron Schenkman Friends season five 2017-2018 2017-2018 season Welcome to the fifth season ofByron Schenkman & Friends! 2017 has been a challenging year for many of us. I am very grateful for the power of music to bring us together in community, for healing and for joy. This season our repertoire ranges from early 17th- century canzonas by Girolamo Frescobaldi and Claudia Francesca Rusca to masterpieces of 19th-century Romanticism by Robert and Clara Schumann, with Corelli, Vivaldi, Handel, Mozart, Beethoven, Schubert, and more in between. May this wonderful music nourish our minds, hearts, and souls, giving us the strength to continue moving joyfully forward! byron schenkman, artistic director page 3 Byron Schenkman & Friends announces a new CD R The Art of the Harpsichord Byron Schenkman on eight historical harpsichords in the National Music Museum Available at www.byronschenkman.com Photo: Tony Jones, National Music Museum contents Oct 15 Bach Double Harpsichord Concertos program & notes ..................................... 6-7 Nov 12 Schumann: The Poet Speaks program & notes ..................................... 8-9 Dec 28 An Evening of Viennese Classics program & notes ................................... 12-13 BISCHOFBERGER Feb 18 Handel: From theWar of Love VIOLINS program & notes ................................... 14-15 Mar 18 Beethoven: Kreutzer and Pathétique Sonatas Professional Repairs, program & notes ...................................18-19 Appraisals, & Sales April 22 Vivaldi and the High Baroque 1314 E. John St. program & notes .................................. 20-21 Seattle, WA 206-324-3119 musician bios ............................................................ 22-26 www.bviolinsltd.com page 4 Thank you for joining us for this Fifth Byron Schenkman & Friends Season of Byron Schenkman & Friends! Your support makes all 2017-2018 this wonderful and inspirational music possible.
    [Show full text]
  • A Comparison of Formal and Structural Principles in the Concerti Grossi of Corelli's Opus Vi and Vivaldi's Opusiii
    IC A COMPARISON OF FORMAL AND STRUCTURAL PRINCIPLES IN THE CONCERTI GROSSI OF CORELLI'S OPUS VI AND VIVALDI'S OPUS III THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Euclid A. Hart, B. M. E. Denton, Texas August, 1968 TABLE OF CONTENTS Page LIST OF TABLES . iv LIST OF ILLUSTRATIONS. v Chapter I. HISTORICAL BACKGROUND OF THE CONCERTO GROSSO. The Temperament and Ideals of the Seventeenth Century The Rise of Instrumental Music The Concerto Principle The Emergence of the Concerto Grosso II. BIOGRAPHIES AND WORKS OF CORELLI AND VIVALDI . 24 Corelli's Life Corelli's Works Vivaldi's Life Vivaldi's Works III. A COMPARISON OF FORMAL AND STRUCTURAL PRINCIPLES IN THE CONCERTI GROSSI OF CORELLI'S OPUS VI AND VIVALDI'S OPUSIII . 39 Descriptive Information Pertaining to Corelli's Opus VI and Vivaldi's Opus III Structural Characteristics Pertaining to the Cycle Form as Observed in Corelli's Individual Movements Use of the Concertino by Corelli Form as Observed in Vivaldi's Individual Movements General Comparison of Styles Conclusion BIBLIOGRAPHY. 93 iii LIST OF TABLES Table Page I. Corelli's Instrumental Works . 30 II. Corelli's Opus VI . 40 III. The Concerti Grossi of Vivaldi's Opus III . 44 iv LIST OF ILLUSTRATIONS Figure Page 1. Theme of "Allegro" (Finale) of Corelli's Concerto Number 1 . 53 2. Excerpt from "Adagio" of Corelli's Concerto Number 5 . 56 3. Excerpt from First Movement of Corelli's Concerto Number 1 . 58 4.
    [Show full text]