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Xerox University Microfilms 300 North ZMb Road Ann Arbor, Michigan 46100 76-24,600

GINTER, Anthony Francis, 1932- THE SONATAS OF PIERRE GAVINIES.

The Ohio S ta te U n iv ersity , Ph.D ., 1976 Music

Xerox University Microfilms , Ann Arbor, Michigan 4S106

©Copyright by

Anthony Francis Ginter

1976 THE SONATAS OF PIERRE GAVINIES

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Anthony Francis G inter, B. A., M. M. E.

* * * * *

The Ohio State University

1976

Reading Committee: Approved By

Professor Herbert S. Livingston Professor Keith E. Mixter • Professor Norman F. Phelps

A d v i s e r /

School of Music PREFACE AND ACKNOWLEDGMENTS

This present study is a detailed examination of the formal

procedures found in the sonatas for v io lin and basso continuo and the

sonataB for two violins unaccompanied by Pierre Gavinies. During his

lifetim e, Gavinies, a native of Bordeaux, was held in high esteem by

his contemporaries. As a violin virtuoso, composer and director of

the Concert Spirituel he was an important figure on the musical scene

in P a ris. While his fame may have been temporarily obscured during

the time of the Revolution, in 1794 he was offered a prestigious p o sitio n a t the In stitu t National de Musique. His renown as a d is ­

tinguished violinist was acknowledged by Burney in his General History

1 2 of Music, and V iottl called him the “French T a rtin i." Among his 3 friendships, he enjoyed that of the philosopher Jean-Jacques Rousseau.

Charles Burney, A General History of Music from the E a rliest Ages to the Present Period. Originally 4 vols., 1776-89, with critical and historical notes by Frank Mercer (2 vols.; New York: Harcourt, Brace &Co., 1935), II, 976. 2 Constance D, T. Pipe let CPrincesse de Salm2 Eloge historique de Pierre Gavinils (Paris: Soci£t£ du Lyc£e des Arts, 1802), p. 7. Cf. Arthur Pougin, Viotti et l'lcole moderne de violon (Paris: Schott, 1888), p. 38. 3 Francois Fayolle, “Gavinies," Notices sur Corelli. Tartini. Gavinies, Pugnani et Viotti (Paris: tn.p.l, 1810), p. 29. Fayolle relates the incident where Rousseau, knowing of Gavinies 1 fondness of veal c u tle ts, invited him to share a meal for which Rousseau him­ self prepared the cutlets. l i Most present day violinists are acquainted with Gavinies

through his Twenty-four Matinees, virtuoso studies with which many

may have struggled as violin students. However, as Dufourcq writes

in his La Muslque frangaise, many violinists are totally unaware of 4 his six concertos and sonatas. The latter Include the three collec­

tions of sonatas for violin and basso continuo and the collection of

sonatas for two violins unaccompanied. Nevertheless, David and

Lowenberg, in their article in Grove's Dictionary of Music and Musi-

clans, point out that in France Gavinies is regarded as the founder

of the French school of violin playing, and B orrel, in Die Musik In

Geschichte und Gegenwart.^ praises Gavinies as a violinist, teacher

and composer.

La Laurencie, in his chapter on Gavinies in L'Ecole frangaise

de violon de Lully h V iotti,^ has an extensive, documented biography

but only a short stylistic discussion in which the formal aspects of

the sonatas are touched upon only briefly. Likewise, Newman, in The

8 0 Sonata In the Classic Era, describes Gavinies as the "most successful,

4 Norbert Dufourcq, La Muslque francalse (Paris: A. & J. Picard, 1970), p. 249.

^Paul David and Alfred Lowenberg, "Gavinies, Pierre," Grove's Dictionary of Music and Musicians, ed. by Eric Blom (5th ed.; New York: St. Martin's Press, 1954-61), III, 582.

^Eugene Borrel, "Gavinies, Pierre," Die Musik in Geschichte und Gegenwart. ed. by Friedrich Blume (Kassel and Basel: B#renrelter, 1949- 6 8 ) , IV, 150B-1O. j Lionel de La Laurencie, L'Ecole frangaise de violon de Lully a Viotti (3 vols,; Paris: Llbrairie Delagrave, 1922-24), II, 277-332.

William S. Newman, The Sonata in the Classic Era (2nd ed.; New York: W. W. Norton & Company, 1972), pp. 611-12. i l l renowned, and representative" of the late French composers of sonatas

for violin and basso continuo but provides only an overview of the

formal characteristics of the sonatas.

An examination of Doctoral Dissertations in Musicology, edited 9 by Cecil Adkins, and the annual supplements printed in the Journal of

the American Musicological Society reveals that much less attention has been paid by scholars to the music of French composers of the eighteenth century, including violin literature, than to the music of

German or Italian composers. This study attempts to partially fill that gap and also supplement the important contributions already made to the study of French violin literature by the two dissertations,

"The Instrumental Works of Jean-Joseph Cassanla de Mondonville" by

Edith Borroffand "The Sonatas for Violin and Figured Bass by Jean-

Marie Leclair L'Ain£" by Robert E. Preston.**

In the completion of a project such as this, numerous people must be thanked for their assistance along the way. I am extremely grateful to my adviser, Professor Herbert Livingston of The Ohio State

University, for his help in supervising my entire course of study for

9 Cecil Adkins, ed., Doctoral Dissertations in Musicology (5th ed.; Philadelphia: American Musicological Society, 1971).

*^Edith Borroff, "The Instrumental Works of Jean-Joseph Cassenla de Mondonville" (2 vols.; unpublished Ph.D. dissertation, University of Michigan, 1958).

**Robert E. Preston, "The Sonatas for Violin and Figured Bass by Jean-Marie Leclair L'Atn^" (3 vols.; unpublished Ph.D. dissertation, University of Michigan, 1959).

iv the Ph.D. and for his genuine interest and valuable advice while

directing my dissertation. To my reading committee, Professor Nor­ man Phelps and Professor Keith Mixter of The Ohio State University,

1 wish to extend my sincere gratitude for their careful reading of

the text and many helpful suggestions.

I wish to express my appreciation to Miss Olga Buth, head

librarian of the music library of The Ohio State University, and her s ta f f who were always very congenial and helpful when 1 needed assistance and to the staffs of the British Museum, the Bibliotheque

Nationale, the Bibliotheque du Conservatoire Royal de Muslque (Brus­ sels) and the University of Michigan for their prompt and courteous service in making m aterials av ailable to me.

Finally, I owe the greatest debt to my wife, Dorothy, without whose patience, encouragement and s a c rific e s this whole project would not have been completed and to my four children, Ted, Suzy, Kathryn and Paula, who understood when "Dad was busy writing" and could not always be available to help them with their daily problems.

v VITA

August 28, 1932 .... Born - Windsor, Ontario

1954 ...... Artist Diploma, Royal Conservatory of Music, Toronto, Ontario

1957-1964 ...... Violinist, Toronto Symphony Orchestra, Toronto, Ontario

1963 ...... B. A., University of Toronto, Toronto, O ntario •

1965 ...... M. M. E., Indiana University, Bloomington, Indiana

1965-1971 ...... Assistant Professor, Otterbein College, • W e ste rv ille, Ohio

1965- ...... V io lin is t, Columbus Symphony O rchestra, Columbus, Ohio

1969-1973 ...... Conductor, Columbus Symphony Youth Orchestra

1971 ...... NDEA Graduate Fellowship, The Ohio State University, Columbus, Ohio

1973 ...... Canada Council Doctoral Fellowship

1 9 7 2 - ...... Conductor, Knox County Symphony, Mount Vernon, Ohio Associate in Performance, Kenyon College, Gambler, Ohio

FIELD OF STUDY

Major F ield : Music H istory

Professor Richard H. Hoppin Professor Herbert S. Livingston Professor Keith E. Mixter Professor Norman F. Phelps

v i TABLE OF CONTENTS

Page PREFACE AND ACKNOWLEDGMENTS...... 11

V I T A ...... v i

LIST OF PLA TES...... ix

Chapter

I . BIOGRAPHY...... 1' '

I I . THE SONATA IN FRANCE DURING THE EIGHTEENTH CENTURY . . . 22

The Sonata for Violin and Basso Continue ...... 26 The Sonata for Two Violins Unaccompanied ...... 39

I I I . AN INTRODUCTION TO THE ANALYSES...... 44

IV. SIX SONATAS FOR VIOLIN AND BASSO CONTINUO, OP. 1 . . . . 49

Sonata No. 1 ...... 54 Sonata No. 2 ...... 65 Sonata No. 3 ...... 73 Sonata No. 4 ...... 82 Sonata No. 5 ...... 89 Sonata No. 6 ...... * ...... 99 S u m m ary ...... I l l Violin Technique ...... 118

V. SIX SONATAS FOR VIOLIN AND BASSO CONTINUO, OP. 3 . . . . 121

Sonata No. 1 ...... 124 Sonata No. 2...... 131 Sonata No. 3 ...... 138 Sonata No. 4 ...... 147 Sonata No. 5 ...... 156 Sonata No. 6 ...... 166 S u n m a ry ...... 177 Violin Technique ...... 185

v i i Chapter Page

VI. THREE SONATAS FOR THE VIOLIN, OP. PO STH ...... 187

Sonata No. 1 (Le To m b e a u ) ...... 190 Sonata No. 2 . . . • ...... 202 Sonata No. 3 ...... 212 S u m m ary ...... 228 Violin Technique ...... 235

VII. SIX SONATAS FOR TWO VIOLINS, OP. 5 ...... * . *. 237

Sonata No. 1 ...... 239 Sonata No. 2 ...... 247 Sonata No. 3 ...... 256 Sonata No. 4 ...... 266 Sonata No. 5 ...... 277 Sonata No. 6 ...... 287 S u m m ary ...... 299 Violin Technique ...... 308

V III. CONCLUSION...... 309

APPENDIX

SIX SONATAS FOR TWO VIOLINS, OP.5 ...... 312

BIBLIOGRAPHY...... 371

v i i i LIST OF PLATES

PLATE Page

I. Romance de MT Gavinies, page 1 ...... 7

II. Romance de M? Gavinies, page 2 ...... 8

III. Title-page, Recueil d'airs choisis . . .pour le clavecin par MV Baibastre ...... 9

.IV. Musette de Gavign£...... 10

V. Portrait of Gavinies from Fayolle's Notices ...... 20

VI. Title-page, Gavinies Sonatas, Op. 1 (1760) ...... 51

VII. Dedication, Gavinies Sonatas, Op. 1 (1760) ...... 52

Vlll. Title-page, Gavinies Sonatas, Op. 1 (Sieber edition) .... 53

IX. Title-page, Gavinies Sonatas, Op. 3 (Sieber edition with "Augte. Le Due" l a b e l ) ...... 123

X. Title-page, Gavinies Sonatas, Op. posth. (1801) 189

XI. Title-page, Gavinils Sonatas, Op. 5 (ca. 1771) ...... 238

ix CHAPTER I

BIOGRAPHY

A very detailed and documented biography of P ierre Gavinils

is found in the second volume of Lionel de 1 a Laurencie ' s three-

volume work, L'Ecole francaise de violon de Lully a V io tti.^ Here

La Laurencie augments and elaborates his article, "Gavinies et son 2 temps," published earlier in La Revue musicale. For contemporary

Information about Gavinies' success as a violinist and composer,

La Laurencie relied considerably on the articles appearing in the 3 publication Hercure de France. Three other important sources, also

used by La Laurencie, which appeared in the decade after Gavinies*

death are the eulogy given by Mme Constance P ipelet a t the Lyc^e des L Arts in 1801 and subsequently published a year later, the Notice sur

un celebre musicien-compositeur by P. Bernadau’’ and the Notices by

^Lionel de La Laurencie, L'Ecole francaise de violon de Lully a Viotti (3 vols*; Paris: Librairie Delagrave, 1922-24), II, 277-332.

2 % Lionel de La Laurencie, "Gavinies et son temps," La Revue musicale, February, 1922, pp. 135-48. 3 Mercure de France. 1740-90. 4 Constance D. T. Pipelet (Princesse de Salmi, Eloge historique de Pierre Gavini&s (P aris: Societe du LycAe des A rts, 1802).

^P. Bernadau, "Notice sur un celebre musicien-compositeur, originaire de Bordeaux," Bulletin polymathique du Museum d*instruction publique de Bordeaux, 1809, pp. 115-20, Francois Fayolle.** The article on Gavinies in the Dlctionnaire his- 7 torique des musiciens. compiled by Choron and Fayolle, is similar to

the report in the above mentioned Notices. also by Fayolle. Due to the

comprehensiveness of La Laurencie's study, this chapter will focus only

on the highlights of Gavinies* career as a violinist and as a composer.

Pierre Gavinies was born in Bordeaux on May 11, 1728, the son of

Marie Laporte and Francois Gavinies, a violln-maker. The spelling of the family name appears in various forms: Gavignie, Gavignies, Ga- vigniez, Gaviniet, Gavignes, Gavigne, Gaviniez, Gavinie, Gavinie, Ga- vln£s, Gavinies. The latter spelling (with the accent grave) is seen frequently in twentieth-century publications, including the study by

La Laurencie. The form Gavinies (with the accent aigu) , adopted in this dissertation, is found in the biographical accounts by Pipelet and

Fayolle mentioned above and on the title-pages of his published works

(see Plates VIII and XI). This spelling is also used earlier by

La Borde^ and later in the nineteenth century by F^tis . 1 0 P art of a

^Fran^ois Fayolle, "Gavinies," Notices sur Corelli. Tartini, Gavinies, Pugnani et Viotti (Paris: Cn.p.l , 1810), pp. 24-30.

7Alexandre Choron and Franqois Fayolle, "Gavinies, Pierre," Dlctionnaire historique des musiciens (Paris: Valade, 1810-11. Facsimile reprint. Hildesheim and New York: Georg 01ms, 1971), p. 261. 0 Early sources give conflicting information on the date of his birth, but a baptismal certificate, quoted by La Laurencie, substanti­ ates the above date. See La Laurencie, L*Ecole francaise. II, 277. 9 Jean Benjamin de La Borde, Essai sur la musique ancienne et moderne (4 vols.; Paris: P.-D. Pierres, 1780), III, 421-22.

^F . J. Fetis, "Gavinies, Pierre," Biographie universelie des musiciens et bibllographie generale de la musique ( 8 v o ls .; 2 nd ed .; Paris: Librairie de Firmin-Didot et Cie., 1883-84), III, 430-31. letter written by Gavinies and containing his autograph is included in

La Laurencie*s study and shows the name with an accent aigu. ^

Adequate or accurate information about his childhood is limited,

and, as a result, there is much speculation about his early training.

Presumably the father recognized his son's talent and found a teacher

for him at an early age, but conclusive data about his first teacher is

not available. Mme Pipelet adds that this talent was nourished by "les

artistes avec lesquels l'£tat de son pere le mettait en relations, et 12 la musique qu'il entendait sans cesse . . . By 1734, the father had moved his family and business to Paris.

Gavinies was hardly eleven years old when he appeared initially

in several Parisian homes, and these early successes brought him to the 13 / attention of the director of the Concert Spirituel where Gavinies made his debut on September 8 , 1741. The Mercure de France reported th at a sonata for two violins was played "par le sieur Gaviniet, age de treize ans, & par le sieur Labbe, a peu pres du meme age, avec toute la vi- vacite & la precision convenables a cette Piece de sirophonie, qui est de

M. le Cler (Leclair); ils furent generalement aplaudis par une tres- nombreuse Assemblle."^ Since L'Abbe le fils was a pupil of Leclair,

it is possible that Gavinies may also have been one of his pupils.

Hone Pipelet reported that after the enthusiastic reception at the

**La Laurencie, L'Ecole francaise. II, 307. 12 Pipelet, Eloge historique. p. 2.

1 3 Ib id : 14 Mercure de France. September, 1741, p. 2,092. Concert Spirttuel he was asked to play three more concerts . 1 6 However,

La. Laurencie shows that Gavinies appeared on only one other concert that year, on All S ain ts' Day when he played "Le Prlntemps" from The Seasons t by V ivaldi . 1 6

Gavinies* name did not appear on any subsequent programs of the

Concert Spirituel until the spring of 1748. What occurred in Gavinies' life during those intervening years cannot be precisely reported.

Mme Pipelet wrote that his early successes "lui valut des protections brillantes, parmi lesquelles it coroptait celle du due d'Orleans, qui meme se l'attacha et le garda pres de lui pendant pluslers annees."1^

Bernadau, however, stated that soon after his spectacular reception at the Concert Spirituel "il y fut irr£vocablement fixe par les bienfaits du grand prieur d'OrleanB, qui detourna Gaviniez le pere du projet qu'il avait de mener son fils a Londres." La Laurencie conjectures that during the period 1742-48, Gavinlls was in the service of either the

1 Q Duke of Orleans or the Grand Prior. 7

His retu rn to the Concert S p iritu e l occurred on A pril 10, 1748, and he appeared as soloist on a series of concerts during the remainder of that month . 2 0 He appeared with Michel Blavet, a celebrated flautist

1 5 Pipelet, Eloge historique, p. 2.

16La Laurencie, L'Ecole francaise, II, 279.

^Pipelet, Eloge historique. pp. 3-4.

1 ft Bernadau, Notice, p. 116.

1®La Laurencie, L'Ecole francaise, II, 279.

20Mercure de France. A p ril, 1748, p. 125-27. of his day, and played a series of duo concerns w ith the renowned v io lin is t Jean-Pierre Guignon. By 1750, he was the most famous virtuoso in P arisan idol of the Parisian public. The years 1750-53 saw

Gavini&s as a frequent performer at the Concert Spirituel. and his play- ing was extolled in many articles published in the Mercure de France. 22

Besides his solo appearances he also collaborated successfully with the singer Mile Marie Fel in several concerts in which they performed "un concerto avec voix" by Mondonville.^

In June 1753, Gavinies again vanished from the musical scene of

Paris, and his absence lasted until April; 1759. La Laurencie suggests that it was during this period that Gavinies was involved with a lady of the court in a romantic escapade which resulted in his being sent to prison for one year.^ In her account of this adventure, Mme Pipelet w rite s :

II lui efit £t& facile alors d'etre de La Musique du roi. Son pere . . . le d e s ira it vivement; mais le Jeune a r t is t e , qui d£ja portait impatiemment le joug qu'on lui avait Impose, refusa constamment de rechercher ce su rcro tt d'honneur, qu'il ne consideralt que comme un surcrolt de dependence. Les solllcitations de son pere a ce sujet lui devinrent meme tellement a charge, que, pour s'en affranchir, par une de ces folies de jeunesse qui sont le c&te faib le d'une immagination ardente, 1 1 qultta secrete- ment P aris, r£solu de voyager, et muni de quelqu'argent que,

2 1 % Antoine Vidal, Les Instruments a archet (3 vols.; Paris: J. Claye, 1876-78), II, 275. 22 See La Laurencie, L'Ecole francaise. II, 280-83, for various quotations from articles appearing in Mercure de France during the period 1750-53. 23 This work by Mondonville is no longer extant. See La Laurencie, L'Ecole francaise. II, 281. 14 La Laurencie, L Ecole francaise. II, 282. According to La Laurencie the placing of this romantic escapade by Vidal between 1751 and 1752 is incorrect. Cf. Vidal, Les Instruments, II, 275. comme de raison, 11 croyalt inepuisable. Cette etourdie eut pu rester cachee; mais une intrigue d'amour, melee a sa fuite, la rendit plus grave. 1 1 fut arrete a ‘quatre lleues de Paris, et mis en prison, ou 11 resta un a n . 25

His days In prison, however, were not completely lost. He studied, read

and composed, and during th is imprisonment wrote his famous Romance 26 which became very popular in his lifetime. (See Plates 1 and II.)

Gavinies' Romance is a good example of a genre in vogue around 1762.

It consists of three parts of which the first and third parts, the

latter being a repetition of the first, contain twenty-four measures

and the second part, set in the' tonic minor, contains forty measures.

Each part is divided into eight-measure sections based on simple, .

balanced four-measure phrases. The over-all design is as follows:

aba - cdcec - aba. An abridged, keyboard version of the Romance,

entitled "Musette de Gavigne," arranged by Claude Baibastre is found

in the Recueil d'airs de plusleurs operas accommodls pour le clavecin

(see Plates III and IV). Another version, by Tarade, the first eight

measures of which are included in La Laurencie's article, "Gavinies et

son temps," Is found in the collection entitled, Premier recueil des

plus beaux airs et la Romance de M. Gavignes.2? The Romance was also

used by Franqois Cupis the younger in his Recueil d'airs choisis des mellleurs auteurs, a lustres pour le violoncelle. ^ Gavinils' own

performance of the Romance. on which he improvized variations, so

^Pipelet, Eloge historique. p. A.

2 6 Ibid., p. 5.

^See La Laurencie, "Gavinies et son temps," p. 143.

^®La Laurencie, L'Ecole francaise. II, 283. PLATE I

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Musette de Gavignl

10 11

overwhelmed his listeners that they were moved to tears.2^ Cucuel re

ports th a t between 1770 and 1780 the romance became the c e n tra l movement

In many quartets and concertos, and Its form was treated more freely.3®

While Gavinies was absent from the concert stage, a tribute to

his playing was written by Ancelet in his Observations. He states:

"Gaviniez est n£ avec toutes les dispositions que l'on peut d£sirer pour

le violon: 1 1 a du gout, des doigts & dc l'archet; 1 1 est excellent

lecteur, & saisit avec une facilit£ lncroyable les diff£rens genres ou manieres, ainsi que les traits les plus difficiles a ceux meme qui les

ont pratlquls depuis longtems. Son jeu embrasse tous les caracteres:

il est touchant par la beaute dil son, & il etonne par l'execution."3*

His absence from the concert stage is commented upon by Ancelet in this manner: ". . . le Public est prlv£ du plaislr de l'entendre, puis qu'il a quitt& le Concert Spirituel, pour se livrer aux Concerts particuliers, dans lesquels il n'execute que des symphonies bruyantes, qui le confondent avec les mediocres.

After his return, Gavinies subsequently published his first collection of sonatas for violin and basso continuo, Opus 1, in 1760, with a Privilege du Roi. On November 6 , of that same year, his comic opera, La Pretendu, in three acts, with Rlccoboni as the librettist, was

^®Fetis, Biographie universelie. Ill, 430.

^Georges Cucuel, Etudes sur un orchestre au XVIIIe siecle (Paris: Librairie Fischbacher, 1913), p. 32. 31 J *Ancelet, Observations sur la musique. les musiciens, et les instrumens (Amsterdam: C n.pJ , 1757), p. 18.

3 2 Ib id . 12 33 presented successfully at the Comedie Italienne. During this sane

period the symphonic form was making an impact in Paris (the f i r s t edi- • 34 tions of Haydn s symphonies appeared between 1759 and 1764), and

Gavinies was listed as sitting at the head of the first violin section 35 of the orchestra of the Concert Spirituel. Barry S. Brook, in his

La Symphonic fran caise. quotes La Laurencie, who sta te s that several

symphonies by Gavinies were performed at the Concert Spirituel between 36 37 1762 and 1763. Unfortunately these are no longer extant. Also,

La Laurencie writes that on March 20, 1763, ''Gavinies, assist^ de • *

Lemiere et de Le Due, joue des 'airs nouveaux en trio 1 dont 11 etalt

1 'auteur, et en lesquels il convlent vraisemblablement de reconnoitre

des pieces du Recueil d'airs a trois parties que conserve en manuscrit % 38 la Bibliotheque du Conservatoire."

33 A favorable review of the opera, particularly of the music, appeared in the Mercure de France, December, 1760, pp. 176-83. (Sec­ tions of the review are quoted by La Laurencie. See L'Ecole francaise, II, 284-85.) The opera contains another popular romance, "On craint un engagement," which was published in the Mercure de France. April, 1770, p. 6 6 . 34 Norbert Dufourcq, La Musique francaise (Paris: A. & J. Picard, 1970), p. 253. 35 Michel Brenet CMarie Bobllllerl, Les Concerts en France sous l'anclen regime (Paris: Librairie Fischbacher, 1900), p. 278. 36 / Barry S. Brook, La Symphonie francaise dans la seconde moitie du XVIIIe siecle (3 vols.: Paris; L'lnstitut de Musicologie de l'Universit& de Paris, 1962), II, 257. 37 La Laurencie, L'Ecole francaise, II, 285-86. 38 Ibid., 286. La Laurencie places the publication around 1763. Unfortunately, this collection could not be found when the writer of this dissertation requested a microfilm copy. 13

The years 1760 to 1765 saw Gavinies at the height of his playing

career. Bernadau reported that Gavinies had been successful for twenty

consecutive years against all violinists, Italian or German, who had

competed with him.3^ Mme Pipelet supplies the names, Ferrari, Pugnani and Stamitz.^O In 1763, the clavierist Jean-Godfrey Eckard dedicated

to him his Op. 1, a collection of six solo keyboard sonatas. One of his

gifted pupils, Simon Le Due, followed with another dedication in a collection of sonatas for violin somewhat later in the year 1768.^*

During th is same period Leopold Mozart met Gavinies in P aris and men­

tioned his name in his diary.^ The year 1764 saw the publication of his second set of sonatas for solo violin and basso continuo, Op. 3, and also his six concertos, Op. 4. The latter opus was dedicated to the eccentric Baron de Bagge, who was a patron of the arts, especially music, and whose home was often frequented by Gavinies and other musicians.^

Suddenly in 1765, Gavinies again ceased to appear at the Concert

Spirituel. Bernadau attributed this hasty withdrawal from the concert stage to the preference that the Parisian audience showed for the play­ ing of Antonio Lolli (ca. 1730-1802), the celebrated violinist in the

^Bernadau, Notice. p. 118.

^®Pipelet, Eloge historique, p. 7.

^La Laurencie, L'Ecole francaise. XI, 286-87.

^Theodore de Wyzewa (vols. 1 and II only) and Georges de Saint- Folx, Mozart (5 vols.; Paris: Descl^e de Brouwer et Cie., 1912-46), X, 52.

^For additional information on this unusual personage, see Georges Cucuel, "Le Baron de Bagge et son temps," L'Annee musicale, 1911, pp. 145-86. 14 service of the Duke of Wtlrtemburg.^ Some of lo lll's success was probably due to the novel effects resulting from his u9e of scordatura where he tuned the G string an octave lower than the D string

Although Gavinies hlm9elf no longer appeared at the Concert Spirituel, his violin concertos were performed there with much success by numerous violinists including his own pupils, Moria and Paisible, who had gained th e ir own renown.As a teacher he was successful from the age of twenty-three until his death . ^ The long list of his pupils, many of whom became celebrated virtuosos themselves, include: Antoine L. Baudron,

Isidore Bertheaume, Nicolas Capron, De Blols, Ferdinand Dufresne, Luc

Gu^nle, Marie-Alexandre Guenin, Jean-Jerome Imbault, Nicolas Jacob,

Simon Le Due the elder, Lemierc, L. Loulie, Moria, Louis H. Paisible,

Alexandre A. Robineau, Louis de Valmalete, and Jean VerdiguierWith such "une brillante plliade d'eleves . . . on a pu, non sans quelque raison, l'appeler le pere de l'Ecole franqaise."^ He preferred to help his poor students over the rich and did not charge those pupils who

^Bernadau, Notice, p. 118.

^La Laurencie, "Gavinies et son temps," p. 138.

^®La Laurencie, L'Ecole francaise, II, 288.

^Pipelet, Eloge historique. p. 7.

^®Andrea Moser, Geschichte des Violinspiels, mit einer Einlei- tung: Das Streichinstrumentenspiel im M ittelalter, von Hans Joachim Moser, 2nd ed., improved and supplemented by Hans-Joachim Ntfsselt (2 vols.; Tutzing; Hans Schneider, 1967), II, 90.

^®La Laurencie, L'Ecole francaise, II, 310. 15 planned to have careers in music.At his own expense he found teachers of other instruments for those pupils whom he felt did not have the talent for the violin.His charity was not directed only at musicians. During the period 1769*72, he organized five concerts from which the profits went to l'Ecole Gratulte de Dessin, founded by the king's p ain ter, Bachelier. At the school, indigent young a r tis ts and all the apprentices of the industrial artists received free of charge

"les principes du dcssin"--a privilege given only to the artisans patronized by the king.*^ Before the fourth concert, the Journal de musique reported;

M. Gaviniez, qui n'avait encore fait connaltre que la superiority de ses talens, nous a montre dans tout son jour la noblesse de son coeur. 1 1 s 'e s t forme le projet d'un Concert dont le produit alderait a 1'ytablissement de l'Ecole Gratulte. 11 s'est mis a la tete de cette entreprise, & tous ses Confreres, echauffes par son zele & son exemple, se sont empresses de se rendre a ses cotes, & d'unlr leur talens aux siens . ^ 3

On March 25, 1773, after a time of great financial difficulties, the direction of the Concert Spirituel was leased to Gavinies, Simon

Le Due and Francois Gossec, three musicians held in high esteem by the

Parisian public. Under the new directors, the concerts, revitalized by various changes and improvements, enjoyed both a r t is t i c and financial

^®Pipelet, Eloge historique. p. 8 .

51Ibid.

52La Laurencie, L'Ecole francaise, II, 291.

53Journal de musique, December, 1770, p. 41, quoted by Brook, La Svmphonie fran caise. I I , 255. successes.54 jn describing the programs of the Concert Spirituel

Brook writes: "Sa periode la plus brillante fut probablement de 1773

a 1777, quand il fut place sous la direction de Gossec, Gavinies et

Le Due."’’*’ After the sudden death of Le Due, in January 1777, Gavinies and Gossec resigned, and the lease for the Concert Spirituel was auctioned off to the singer Legros. Gavinies was offended by this action favoring Legros and regarded it as a personal insult.Dis­

illusioned, he retired from the musical scene in 1777 "pour jouir en paix des fruits de ses travaux & de l'amitie de ses amis . . . " • * 7 Due

to his generous nature, he had left himself in a precarious financial situation, but according to La Laurencie, he was able to enjoy some of

the comforts of life thanks to his many friendships, particularly those

to of his lady friends. ° One of his lady admirers, Marie-Anne Merlet

Franqueville, the wife of Alexandre-Jean-Baptlste Alissan de la Tour, with whom his relationship was strictly platonic, gave him a life-long annuity, but whether Gavinies benefited from it during the Revolutionary CQ period is uncertain. 7 Mme Pipelet wrote that at the beginning of the revolution (1789), he had to accept a position as a violinist in the orchestra of the "theatre de la rue Louvois" at the modest salary of 800

^Relevant information on this period may be found in Brenet, Les Concerts en France, pp. 300-314.

■***Brook, La Symphonie francaise. I, 31.

**®La Laurencie, L'Ecole francaise, II, 294.

57La Borde, Essai, III, 422.

-*®La Laurencie, L'Ecole francaise. II, 294. 17

pounds per year.**® Conceived by his admiring and affectionate pupils,

a benefit concert featuring the leading artists of the Opera was given

on July 13, 1795 after the performance of the Ballet de Telemaque. Of added interest was the presentation of his famous Romance arranged for

f u ll orchestra.However, maintaining his generous nature, Gavinies

gave the total receipts from the concert to a family that he knew was suffering great hardships. 62

In 1794, Gavinies was invited to fill the post of professor of violin at the Institut National de Musique which in the following year was renamed the Conservatoire de Musique. He accepted and appeared "sur

la liste des professeurs admis au concours, a partir du ler frimaire an

IV (November 22, 1795) comme professeur de premiere classe a 2500

livres . . ." 6 ^ In spite of his failing health, he fulfilled his position with the zeal of a young man of thirty. 6 ^ On October 4, 1797, he directed the orchestra at the concert where the prizes were awarded for the first time to the students of the conservatory63 and assisted at a similar occasion, the following year, when his own student, Jean

6 °Pipelet, Eloge historique. p. 12.

61see La Laurencie, L’Ecole francaise. II, 296-97, for announce­ ments and a program of the concert. 62 w Pipelet, Eloge historique. p. 11.

6 ^La Laurencie, L'Ecole francaise. II, 298.

6 ^Fayolle, Notices, p. 30.

6 ^Arthur Pougin, Le Violonr Les Violinistes et la musique de violon du XVIe au XVIIIe sifecle (Paris; Librairie Fischbacher, 1924), p. 231. 18

Verdiguier, von the first prize and vas given a violin.Several months before his death, he vas honored at the Thedtre Feydeau vith a special concert, "une sorte d'apoth&ose,"^ which was organized by his frien d s, Rode, Kreutzer, Garat and Lamare. Garat sang the famous

Romance. the vords of which had been modified in honor of the composer and "adressa directement ses chants au v£n£rable doyen de la musique, a qui avalt reserve une place au milieu de l'orchestre."^®

Gavinies remained active until his death. According to

Mme Pipelet, he wrote his most famous work, Les vingt-quatre matinles, 69 virtuoso studies in all the keys, the year of his death. This is con­ firmed by Fayolle.7® It would appear that the collection of three sonatas, the Op. Fosth., was also written close to his death as Bernadau writes: "Lorsque les infirmites de l'age lul laissaient quelques momens de repit, il conversait avec gaite, ou prenait la plume pour ecrire ce qu'il fait mieux. C'es ainsl qu'il composa ses 24 matinees et les sonates dediees a Kreutzer. La troisieme, qu'il avalt appelee son tombeau . . , This c o llectio n was subsequently published by Imbault,

Gavinies* favorite pupil. According to Fayolle, Gavinies, during his

®**La Laurencie, L'Ecole francaise, II, 298-99.

6 7 l b i d ., I I , 299.

^B ernadau, N otice, p. 119. 69 Pipelet, Eloge historique. p. 15.

7 ®Fayolle, Notices. p. 29.

7 ^Bernadau, Notice, p. 119. 19

last Illness, wishing to give Imbault a token of his friendship pre- m/% sented him with his portrait which had been sketched by P. Guerin.

This original drawing engraved by Lambert is found at the beginning of

.the article on Gavinies by Fayolle in his Notices. (See Plate V.)

During his final illness, Gavinies was cared for by a devoted lady / 74 friend identified by La Laurencie as Mme Guerin. She was at his bed- 75 side when he died on September 9, 1800. His funeral was described in

the Journal de Paris as follows:

Hier, 23, les derniers devoirs ont £te rendus a cet artiste c£lebre d'une maniere honorable et cependant con- forme a la simplicite de son caractere; ses £leves et ses amis conduisirent son corps au Conservatoire de musique, ou i l fu t requ par ses collegues reu n is; les £l&ves du Conservatoire ex£cuterent un hymne funebre; ensuite, un cortege se forma pour l'accompagner aii lieu de sa sepulture. Les eleves du Conservatoire pr£cedaient le corps; t ceux auxquels il donna ses soins en etaient plus rapproches; quatre inspecteurs de l'enselgnement portoient le drap fu­ nebre, les citoyens Gossec, Mlhul, Cherubini, Martini; les membres du Conservatoire, un crepe au bras, une branche de cypres a la main, fermoient cette tnarche dont 1 'ensemble pr£sentoit le caractere religieux que l'on desire, avec tant de raison, voir etablir dans le fun£railles de ceux qui, pendant leur vie, ont commande le respect et l'estime par leurs talents et leur vertus.

72 Fayolle, Notices, p. 30. 73 Ibid., the portrait appears on p. 24.

^La Laurencie, L'Ecole francaise. II, 304-05. 75 Pipelet, Eloge historique. p. 13. 76 Journal de Paris. 27 fructidor an VIII (September 14, 1800), pp. 1796-97, quoted by La Laurencie, L'Ecole francaise, II, 300. PLATE V r i

> . * ¥ f V' •. I I ■ i \

w <£■ • V7

f' 4 * * N. /

‘'Vs V r

-X

;...... L ‘S . . v . » ...... ;,.,f \ tiS ^ v . %s

U i d \ ••A y P. GAVINIES.

f'/t . / «

^ j^ V // / t v y / z u r / i'. f ? K t t / ’ r t t / / a j \

i/J imj r 1/ f t, Jl"h'm ,’ 1 « „ « i- ..h '.llVn r— -»J-.jl_;■,. _ .,; , . »***■'•

Portrait of Gavinies from Fayolle*s Notices

20 The Inventory of his possessions taken a f te r h is death showed th a t

Gavinies owned an Amati violin with two bows plus four violins and a viola made by his father, Francois.^ La Laurencie conjectures that 70 he was buried in the Montmarte cemetery.

^La Laurencie, L^cole francaise. II, 303, A detailed descrip* tion of this inventory is found on pp. 301*04.

^Ibid., II, 301, foot*note no. 2. CHAPTER IX

THE SONATA IN FRANCE DURING THE EIGHTEENTH CENTURY

In the third quarter of the eighteenth century, a period when the Rococo keyboard sonata with v io lin accompaniment became firmly established on the Parisian musical scene, Gavinies published two sets of sonatas for violin and basso continuo, Op. 1 and Op. 3. These publications of Gavinies contributed to a long list of violin/basso continuo sonatas which appeared initially in France at the turn of the century. Popular throughout the Baroque era, this instrumental setting was utilized, into the late Classical period, mainly by composers like

Gavinies who were also brilliant violinists. In France, some of these,

Nicolas Capron, Simon I^e Due, L'Abbe Alexandre-Auguste Robineau, were pupils of Gavinies. The renowned Ita lia n v io lin is t Giovan B attista

Viotti published two sets of six sonatas for violin and basso continuo in Paris in 1782 and a set of three in 1784. Outside of France, there were numerous composers excelling as v io lin ists who contributed to this genre. Of the many discussed by Newman in his The Sonata in the Classic

Era,* some of the better known are G. B. Sammartini, Pietro Nardini,

Domenico F e rra ri, Antonio L olli and Gaetano Pugnani from Ita ly . From

*William S. Newman, The Sonata in the Classic Era (2nd ed.; New York: W. W. Norton and Co., 1972).

22 *23

Germany and Austria the list includes Johann Stamitzf Anton Filtz,

F. X. R ichter, Georg Tzarth, Peter Fux, Giacomo Conti, Mathias G. Monn and Franz Benda. In Spain, three composers of sonatas for v io lin and basso continuo were Jose Herrando, Francesco Montali and Bernardo di

Castro e Ascarrega. In the last decade of the eighteenth century, examples appeared in Vienna by Giacomo Conti and Peter Fux, and in

Ita ly by Antonio L olli and P ietro N ardini . 2 Gavinies* set of three

3 sonatas, the Op. posth., was published after 1800.

In the more popular keyboard sonata with violin accompaniment, if the role of the violin was not completely subordinated, the violin had certainly lost its prominence. Most of the violin parts were not aimed at the virtuoso violinist but "were meant for that largely anony­ mous body of dilettantes, who wanted to participate in musical ensembles, but with the least effort."^ This newer form of sonata- writing received its impetus from the Pieces de clavecin en sonates avec accompagnement de violon. Op. 3 . published around 1734 by the violinist Jean-Joseph Cassanea de Mondonville (1711-1772). Newman points out that from the dedication of his Op. 3 Mondonville was well aware of contributing something new. Part of the dedication reads aB follow s:

II y a peut-etre plus que de la t&merite a donner aujourd'huy de la ^sique instruraentale au Public.

2 Ibid., pp. 95-96.

^F^tis gives the date as 1801. See F. J. F^tis, "Gavinies, Pierre," Blographie universelle des musiciens et bibllographie generale de la musique ( 8 vols.; 2nd ed.; Paris: Librairie de Firmin-Didot et Cie., 1883-84), III, 431.

^Newman, C lassic Era, p. 91. 24

On a mis au jo u r, depuis p lu sieu rs annees, un nombre si prodigieux de sonates de toute espece qu'il n'est personne qui ne croye que ce genre esc epuise. Cepen- dant, Monseigneur, anime par la protection que vous accordez a mon art, je me suis applique a chercher du nouveau,^

In some cases the violin parts were optional, and the titles of the sonatas included the words "... avec accompagnement de violon ad libitum." This unessential role of the violin was foreshadowed in the set of Pieces de clavecin en sonates. avec accompagnement de violon.

Op. 13. published in 1745 by another violinist Louis-Gabriel Guille- main (1705-70). In his "Avertissement" he stated:

Lorsque j'a i compose ces pieces en Sonates, ma premiere id&e avoit £te seulement de les lalsser pour le Clavecin sans y met tre d'accompagnement, avant r etna r que souvent que le Violon couvroit un peu tro p , ce qui empeche que l'on ne distingue le veritable sujet; mais, pour me con- former au gout d'a present, j'a i cru ne pouvoir me dis­ penser d 'a jo u te r c e tte p a r tie , qui demande une grande douceur dans execution, afin de lalsser au Clavecin seul la facilit£ d'etre entendue; on pourra, si on veut, executer ces Sonates avec ou sans accompagnement; elles ne perdent rien de leur chant, puisqu'il est tout entier dans la partie du Clavecin, ce qui sera la plus commode, pour les personnes qui n'auront pas toujours un Violon pret lorsqu'elles voudront quelques-unes de ces pieces.

Initiated by the violinists Mondonville and Guillemain, the writing of the accompanied keyboard sonata was continued in France mainly by clavecinists, organists and pianists. A substantial number of these composers active in France, both native and foreign, are dis­ cussed by Newman in his study of the sonata of the classical period.^

^Lionel de La Laurencie, L'Ecole francaise de violon de Lully a Viotti (3 vols.; Paris: Librairie Delagrave, 1922-24), I, 380.

6Ibid., II, 8.

7 #See Newman, C lassic E ra , pp* 624-47* 25

The greatest exponent o£ this genre, particularly with optional violin accompaniments, vas Johann Schobert (c. 1740-1767) who vas active in

Paris in the 1760's, Twenty-one sonatas of this type are attributed to him.**

The violin did not become just an accompanying or ad libitum

Instrument in all the works of this genre. La Laurencie cites two examples in which "le violon cesse de se rldulre au rfile secondaire d'accompagnateur; tel est la cas pour lea pieces de d'Herbain (1756), pour celles de Virbes (1768) . . In the Trols Sonates pour le

Clavecin ou le Piano-forte avec accompagnement de Violon. Op. 5 . pub­

lished in 1781 by the violinist Marie-Alexandre Guenln, a pupil of

Gavinies, the violin was also freed from its limited role of a mere accompanying instrument . 18

More detailed information on the accompanied keyboard sonata and its composers in France may be found in La Laurencie's three-volume work already u tiliz e d . 11 Eduard Reeser's dissertation1^ deals with the history of the accompanied keyboard sonata in Paris and includes twelve complete examples of sonatas by Mondonville, Gulllemain, Clement,

Schobert (2), Honnauer, Armand Louis Couperin, Beauvarlet-Charpentier,

Hullmandel (2), Edelmann, and Guenln. Newman's article, "Concerning

8 lb id ., p. 629.

®La Laurencie, L'Ecole francaise. II, 414.

1 8 Newman, Classic Era, p. 6 6 6 .

^La Laurencie, L'Ecole francaise. II, 412-14 and III, 147-52.

^Eduard Reeser, De Klaviersonate met Vioolbegeleiding in het parilsche Muziekkleven ten Tilde van Mozart, with a suppl. of 12 complete sonatas (Rotterdam: W. L. & J. Brusse, 1939). 26

the Accompanied Clavier Sonata,"*^ and David F u lle r's more recent

a r tic le , "Accompanied Keyboard Music, both found in The Musical

Quarterly, contribute invaluably to the general history of the accom­

panied keyboard sonata in and outside of France.

In order to place the ro le of Gavinies as a composer in h is ­

torical perspective, a brief history of the origin and development of

the solo violin sonata with basso continuo in France is traced to 1760,

the publication date of Gavinils* Op. 1. The focus is primarily on some

of the changes that took place in the formal aspects of the genre.

Only leading exponents are discussed. The main sources used for this

purpose are the monumental work by La Laurencie cited previously, New--

man's The Sonata in the Classic Era, also mentioned previously, together

with his The Sonata in the Baroque Era.*^ The closing section of this

chapter deals with the composers and the publication of sonatas for two

violins unaccompanied—les Sonates a deux violons sans basse.

The Sonata for Violin and Basso Continuo

The sonata for violin and basso continuo appeared much later in

France than in Italy or Germany. In 1695, the lutist Sebastian de

Brossard (1655-1730) composed a set of four sonatas (still in manuscript)

of which two are for two violins and basso continuo with "viola da gamba

oblig£e" and two for solo violin and basso continuo. The latter two are

13 William S. Newman, "Concerning the Accompanied Clavier Sonata," The Musical Quarterly. XXXIII (1947), 327-49.

^D avid F u ller, "Accompanied Keyboard Music," The Musical Quarterly, UC (1974), 222-45.

^William S. Newman, The Sonata in the Baroque Era (3rd ed.; New York: W. W. Norton & Company, 1972), p. 360. 27

both Incomplete; the f i r s t has one movement, the second, two move­

ments. ^ That same year, the violinist Jean-Fery Rebel (1666-1747) com­

posed his Recueil de Douze Sonates a II et III parties, avec la Basse

chiffree, but the collection was not published until 1712-13.The la s t

five sonatas for solo violin and basso continuo are the earliest examp- IQ les of this genre composed in France. The sonatas carry literary

titles such as La Sincere. La Fidelle. L 'lris. They vary from five to

eight movements which are labeled with tempo or descriptive titles

(Lentement. Gay, e tc .) but no dance t i t l e s except a Grande Chaconne which-closes Sonata Mo. 11. While there is no se t order of tempos of

the movements, some sonatas are characterized by the prevalence of

fast movements, others of slow movements.^ His second collection,

[121 Sonates a violon seul Mellles de plusieurs Recits pour la Viole. was published in 1713. It consists of two parts. The first part, utilizing a "concertante" bass viol part which Newman describes as

"varying from elaboration of the b.c. to an independent part,"2® con­

tains six sonatas in four or five movements with tempo or descriptive titles. The remaining six sonatas of the second part have three or 21 four movements employing predominantly dance title s.

^®La Laurencie, L'Ecole francaise. I. 69.

1 7 Ibid.. p. 77. 18 Newman, Baroque E ra, p. 360.

^®La Laurencie, L'Ecole francaise. I, 92-93. 20 Newman, Baroque E ra, p. 361.

2*La Laurencie, L'Ecole francaise. I, 93. , 28

Brossard composed his incomplete sonatas in 1695, but they remain In manuscript form. Rebel also wrote his first collection of sonatas in 1695, but the set was not published until 1712-13. It was

Francois Duval (ca. 1673-1728), a member of the King's Twenty-four 22 Violins and known to have played Corelli's solo sonatas, who was the first Frenchman to publish in France sonatas for solo violin and basso continuo. His Premier Llvre de Sonates et autresplaces pour le violon et la basse appeared in 1704. Newman points out that Duval's collec­ tion was the first publication to reveal the French taste for the 23 Italian style of writing. That same year, the Italian violinist

Michel Mascitti (ca. 1664-1760) arrived in Paris and published his first opus, Sonate a violino solo col violone o cimbalo . . . e Basso con­ tin u o .

Besides the Premier Livre of 1704, Duval left six other books of sonatas published in 1706, 1707, 1708, 1715, 1718 and 1720. The collections contain both sonatas and sulteB and are all for violin and basso continuo except the second collection which is for two violins and continuo. La Laurencie notes that the indecision at the end of the 17th century and beginning of the 18th century about the terminology to be used with instrumental pieces is evident particularly in Duval's

Premier Livre. This collection contains six sonatas and six suites, but the titles could be Interchanged as there are no perceptible 24 differences in the forms. The four-movement plan of the church

22 Newman, Baroque Era, pp. 364-65. 23 La Laurencie, L'Ecole francaise. I, 103. 24 ■ La Laurencie, L'Ecole francaise. I, 108. 29

sonata, slow-fast-slow-fast, is common, but names of dances are used as

often as tempo designations or descriptive phrases as titles. In the

third, fourth and fifth books, the sonatas vary from three to five move­

ments with dance titles predominating. In spite of the Italian influ­

ence, the term inology, however, remains French, and the movements carry

titles such as Lent. Gay. Vite, Sarabande. Gigue. Sub-titles are also

added to the sonatas of the last two books which are labeled with the

collective titles, Amusemens pour la Chambre and Les Idees muaiciennes.

Corelli's Op. 5 which had been published in Paris in 1701 was 25 reprinted in 1708. After this date, French composers accelerated

their activity in the writing of violin sonatas with basso continuo,

and the Italian influence, particularly Corelli's, became much more

apparent. Many of these had gone to Italy to study violin with Corelli

or one of his pupils. Moreover, the Italian violinist Michel Mascitti, who had published his Op. 1 in Paris the same year as Duval, remained

in the capital until his death in 1760. During his lifetime he pub­

lished eight additional sonata collections which appeared in 1706, 1707,

1711, 1714, 1722, 1727and 1731. All of them show Corellian influences.

His sonatas vary from three to five movements, but the four-movement 26 sonata with the tempo scheme slow-fast-slow-fast is most common. Many movements are labeled in I ta lia n with dance t i t l e s combined with tempo

designations. Examples are Corrente Allegro. Aria Presto. Gavotta Al-

ley, ro . 27

25 Marc P incherle, C o re lli; His L ife, His Work, tra n sla te d by Hubert E. M. Russell (Mew York: H. W. Morton & Company, 1956), p. 209. 26 Newman, Baroque Era, p. 368. 27 La Laurencie, L'Ecole francaise. I, 138. The violinist Jean-Baptiste Senallie (16877-1730), who, like his father, was a member of the Twenty-four Violins, was acclaimed as a v io lin is t and composer both in France and Ita ly . His teachers were

Jean-Baptiste Anet, a pupil of Corelli, and Giovanni Antonio Piani in

Paris and T. A. V itale in Modena. He published five books of ten sona­ tas each for v io lin and basso continuo in 1710, 1712, 1716, 1721 and

1727. Of the f if ty sonatas, th irty -n in e are in four movements, and the tempo sequence slow-fast-slow-fast predominates. The remaining eleven sonatas have five movements. VJithin a sonata, the movements are desig­ nated in I ta lia n with a mixture of dance, tempo and descriptive t i t l e s .

In some cases qualifying epithets are added, for example, Allegro assai. 28 Aria affettuoso, Largo ma non troppo. Aria vivace.

In Corelli's Op. 5, eight sonatas are in five movements which follow two definite patterns: slow-fast-fast-slow-fast and slow-fast- slow-fast-fast. Both patterns appear in Senalli£'s five-movement sonatas. The five-movement sonata was also utilized by the two

Francoeur brothers, prominent violinist-composers during the regency of the Duke of Orleans. The older brother Louis (ca. 1692-17A5), a leader of the Twenty-four Violins, left two sets of eight and twelve sonatas each published in 1715 and 1726, respectively. The five-movement sonata, particularly with the tempo scheme slow-fast-fast-slow-fast, predominates. In the first set three sonatas are based on the pattern 29 slow-fast-slow-slow-fast. This gives the slow movements prominence. Francois Francoeur (1698-1787), who succeeded Sena Hie in the Twenty-

four Violins, also published two sets of violin sonatas. The first set,

published in 1720, contains ten sonatas; the second set, published 30 according to La Laurencie after 1730, has twelve sonatas. The sonatas have four or five movements except Sonata No. 8 , of the second book, which has six . Although the four-movement tempo scheme slow -fast-slow -

fast appears most frequently, the five-movement patterns slow-fast-fast- 31 slow-fast and slow-fast-slow-slow-fast are also common.

In eight of the solo sonatas of Corell , the middle slow movement, an Adagio, ends on a half cadence (iv f - V) instead of a full cadence and thereby is linked to the following fast movement. (Seven of these sonatas are in major keys with the slow movement in the relative minor.

In the remaining sonata, No. 5 in G minor, the slow movement begins in

the submediant major but concludes in the ton c key.) Similar linking

of movements is found in the works of Franqois Francoeur. In the sona

tas by Senallie the opening slow movement may also cadence to the domi*

nant, and therefore, in a four-movement sonata with a slow-fast-slow-

fa s t tempo scheme, when each slow movement is linked to the following

fa s t movement, th is grouping gives the sonata a two-part structure as 32 follows: I: slow-fast; II: slow-fast.

The linking of a slow movement to a fa st one is also found in

the sonatas written by Jacques Aubert (1689-1753) but is limited to the

opening two movements. Aubert, like his fa th e r, a member of the 32

Twenty-four Violins, studied with Senallie and was active during the

Regency and up to the middle of the century. Each of the first four

books of sonatas for v io lin and basso continuo (Opp. 1-4), published

between 1719 and 1731, contain ten sonatas. His last set, Op. 25,

published in 1739, contains six. Almost all have four movements with

the tempo scheme slow-fast-slow-fast. The movements are labeled with

both dance and tempo titles in Italian.

The most renowned French vlolinist-com poser of the Baroque era was Jean-Marie Leclair (1697-1764). Born in Lyon, Leclair studied with Giovanni Battista Sorais, a pupil of Corelli, in Torino and

furthered the Italian style of writing in France. He arrived in Paris

in 1728, and the same year had a successful debut at the Concert

Spirituel.. Leclair left four published sets of twelve sonatas, each of

these for violin and basso continuo: Op. 1 (1723), Op. 2 (ca. 1728).

Op. 5 (1734) and Op. 9 (1738). A single sonata was published posthu- 33 mously In 1767. Most of the sonatas are in four movements, and the tempo scheme slow -fast-slow -fast predominates. The Sonata No. 8 . Op. 5 . has a fast-slow-slow-fast tempo scheme. The three-movement sonatas have either the fast-slow-fast or slow-fast-fast design. The linking of a slow movement to a fast occurs only with the last two movements and 34 never with the first two. Movements are identified with Italian terms, including qualifying epithets (Allegro ma non troppo. Allegro

33 La Laurencie, L'Ecole francaise. I, 315. An excellent discus­ sion of all the sonatas is found in Robert S. Preston, "The Sonatas for Violin and Figured Bass by Jean-Marie Leclair L'Atne" (3 vols.; unpublished dissertation, University of Michigan, 1959). 34 . La Laurencie, L'Ecole francaise. Ill, 137. moderato, Largo un poco Andante) , but French dance t itle s are also used frequently. Menuets, usually preceded by a Gavotte. Chaconne or

Tambourin often appear as fin a l movements. La Laurencie indicates that some of the other dance movements, however, have "une tendance d disparaltre des sonates de noteur auteur, de 1723 a 1738." After the first book, the Courante is-not used again, and the Allemande reappears 35 only in the fourth book. The Allemande and the Sarabande completely disappeared from the sonatas in France a f te r 1740. The Courante man- 36 aged to reappear in 1750 in the conservative sonatas of Louis Aubert.

Much use is made of the rondo form which Leclair applies to Allegros. 37 Arias and Tambourine. Newman adds that a French trait found in some of the sonatas is the "addition of a variation or an 'Altro' to most of the gavottes and many of the other dances; with an A-B-A or rondeau 38 design resulting." La Laurencie suggests that although there are hints of a second theme in some of the Allegros, in reality Leclair "reste un 39 artisan de la sonate monothematique ..."

La Laurencie and Newman both deal with a number of lesser known composers like Dauvergne, Travenol and Lemaire, contemporaries of

L eclair, who modeled their sonatas generally on the four-movement plan, -4 8 low-fast-slow-fast. La Laurencie Indicates that the initial slow move­ ment was not always an Adagio or a Lento, but these composers, including

3 6 Ib id .. p. 140.

3 7 Ibid., I, 318. 38 Newman, Baroque Era, p. 382. 39 La laurencie, L'Ecole francaise. Ill, 176. Leclair, chose instead a moderate tempo marking, especially an Andante, with or without an epithet, or even an Allegro qualified with the epithet ma non troppo. The resulting tempo scheme, therefore, would be either moderate-fast-slow-fast or fast-fast-slow-fast. In other instances, the opening slow movement was reduced to a few measures and took on the form of an introduction linked to the following Allegro 40 which then became the actual f i r s t movement. Both practices hinted at the three-movement tempo scheme fast-slow-fast, which was associated with the Italian overture or concerto and became popular in France dur­ ing the second half of the eighteenth century.

Besides the output by native French composers, the French enthu­ siasm for music written in the Italian style was also evident in the enormous quantity of Italian music published in Paris at the time. This interest was further stimulated by the Concert Italien founded by Mme 41 de Prie and Pierre Crozat in 1724. I ta lia n musicians traveled to Paris to perform at the Concert Spirituel where the programs Included their own compositions. Some of these musicians, Jean-Pierre Guignon (1702-74), for one, s e ttle d in P aris. Guignon (Ghignone in Ita lia n ) was the f i r s t 42 foreign musician to reap success at the Concert Spirituel where he also . 43 played his sonatas for two violins with both Mondonville and Gavinies.

A0 Ibid., 138-39. 41 See Michel Brenet (Marie Bobillierl, Les Concerts en France sous l'ancien regime (Paris: Librairie Flschbacher, 1900), p. 160 et seq.

^La Laurencie, L'Ecole francaise, II, 41. For solo violin and basso continuo, he left his Op. 1 (1737) and Op . 6

(after 1742), which contain twelve and six sonatas, respectively, and two other sonatas which are still in manuscript. The sonatas have three or four movements with the three-movement sonatas based on the fast-slow-fast tempo scheme. In the Allegros, Guignon sometimes uses a second theme which is in the dominant key and is based on contrasting 44 m aterial.

Two French composers who published sonatas just before the middle of the century were Andre-Noel Fagin (1721 to after 1785), a pupil of

Tartini, and Charles-Antoine Branche (1722-79?). Pagin published one set of six sonatas for violin and basso continuo in 1748. Two sonatas are in four movements; four are in three movements w ith a slo w -fa st-fa st plan. Branche l e f t one s e t of twelve sonatas for solo v io lin and continuo, published in 1748. Only one sonata has four movements in the slow-fast-slow-fast design. The others have three movements, either fast-slow-fast or slow-fast-fast.

The brothers Pierre (ca. 1715-ca. 1763) and Jean-Baptiste

Miroglio (ca. 1725-ca. 1785) were Italian emigrants, born in the

Piedmont, who settled in Paris and both published sonatas for violin and basso continuo. Pierre published a single set of six sonatas in

1741 with the number of movements varying from two to four. The

Allegros are s t i l l monothematic, and the fin a l movements include an

Andante varie and a Menuet. Jean-Baptiste left two sets of six sonatas each, Op. 1 published before 1750 and Op. 2 in 1750. In the first book, the three-movement sonata predominates; in the second book, only one 36

sonata Is in three movements, the others contain four. In the first

book, an Allegretto opens the third sonata, and the Menuet appears as

a final movement in three sonatas. In the second book, the rondo form

occurs four times as a f in a l movement. Slow movements usually appear

in the relative minor, and the Allegros are monothematic as there is

no,clear-cut second theme.

The violinist Joseph Barnab! Saint-Sevin, known as L'Abb£ le fils

(1727-1803), was born in Agen and in 1731 came to Paris where his father

and uncle were playing in the orchestra of the Opera. His father was

his first teacher, and he also studied with Leclair. In 1741, he and

Gavinies appeared at the Concert Spirituel where the young violinists

played a composition for two violins by Leclair. L’Abb£ le fils is 45 probably better known for his Prlnclpes du violon. published in

1761. This treatise, appearing just one year after Gavinils 1 f i r s t

publication, gives some insight into the performance practices of the

time and "serves to emphasize the new technical ability of the French.

His contribution to the violin sonata literature consists of two sets of

six sonatas for violin and basso continuo, Op. 1 published in 1748 and

Op. 8 published around 1764. Four sonatas of Op. 1 contain four move­ ments w ith the tempo scheme slo w -fa st-slo w -fa st; the remaining two and all six sonatas of Op. 8 have three movements. In the three-movement

t Cf L'Abbe le fils TJ.-B. Saint-Sevinl, Principes du violon (Paris; Chez l'auteur, 1761). Facsimile reprint with an introduction by Aristide Wirsta, Paris: L'lnstitut de Musicologie de l'Universite de Paris, 1961. 46 David D. Boyden, The History of Violin Playing from its Origins to 1761 (London: Oxford University Press, 1965), p. 360. sonatas, there is no se t order to the tempo sequence of the movements.

In Op. 8 , the three-movement sonata sometimes lacks a true slow move­

ment as the middle movement may be an Andante. a Menuet or a Rondo.

An Allegretto begins three sonatas of Op. 8 , and a v ariatio n movement

closes three sonatas of Op. 1. The Allegros of both sets are mono- 47 thematic, but a true recapitulation begins to take shape.

Louis Aubert (1720-ca. 1800), the eldest son of Jacques Aubert, mentioned earlier, published one set of six sonatas in 1750. Their appearance at this time is somewhat anachronistic as they consist of a se rie s of dance movements, resembling a chamber sonata or su ite .

The next two violinists both published one set of sonatas for v io lin and basso continuo before and one set a fte r the appearance of

Gavinies* Op. 1. The Italian violinist John Canavas (ca. 1712-76), successful both as a composer and v io lin is t in P aris, was born in Turin.

There is no information about his youth or early training, but the granting of "un privilege g£n£ral" places him in Paris around 1739.^®

In 1741, he made his debut at the Concert Spirituel and was associated with Gavinies, with whom he performed a duo at the Concert Spirituel 49 on Christmas eve, 1750. He left two sets of six sonatas each pub­ lished in 1739 and 1763, respectively. All the sonatas have three movements, with e ith e r a slo w -fast-fast or fast-slo w -fast tempo scheme.

According to La Laurencie, the two sets, published nearly twenty-five

^La Laurencie, L'Ecole francaise, II, 230-33. years apart, show great differences in style - the first set "appartlent

. . . a la musique ancienne," the second set "se tient tout naturellement JO de modernismeIH The writing in the first set is described as complex

and highly elaborate. The Allegros are monothematic, but the intricate

figuration occasionally gives a slight hint of an incipient second

theme.Like Gavinies 1 Op* 1, the second set is written in the new galant style which shows the influence of the Italian and German sym­ phonies performed successfully in PariB after the middle of the century, 52 particularly those of the Mannheim school. The tendency is towards simplification. La Laurencie describes the melodic writing of the second set as "beaucoup plus limpide, beaucoup coulant; l 'l c r i t u r e . . . c 'e s t maintenant un flux continu . . . Les themes prennent un caractere 53 nettement symphonique . . ." In the Allegros in this set the use of a second theme and the appearance of a recapitulation in the tonic key ' 54 after a development is much more evident.

The last violinist-composer discussed in this section is

Julien-Amable Mathieu (1734-1811). Born in Versailles, he was active in the royal service like his father who was his teacher. His first set of violin/basso continuo sonatas, Op. 1, was published in 1756; the second set of six, Op. 4, appeared in 1765. All contain three 39 movements in the fa st-slo w -fa st tempo scheme, but the f i r s t movement is often in a moderate tempo, for example, Andante con gusto. The t i t l e s of slow movements range from a Largo, Adagio or Lento to an

Andantino. The la s t movement is an A lleg ro . G ratioso or Menuet. In the first set the writing is highly ornamented and complex, and the use of a second theme is not apparent. Like the later set of sonatas by Canavas the melodic writing in the second set by Mathieu is also simplified, and greater use is made of a contrasting second theme in the Allegros

The Sonata for Two V iolins Unaccompanied

The sonata for two v io lin s unaccompanied, la Sonate a deux violons sans basse, appeared in France much later than the sonata for violin and basso continuo. The earliest examples, listed by 56 La Laurencie, are the Op. 10 and Op. 14, published in 1725 and 1726, respectively, by Joseph Bodin de Boismortier (1689-1755). Op. 10 is listed in the Catalogue du fonds de musique anclenne de la bibliotheque *17 CQ nationale as Sonates a 2 violons, but in RISM, the title is Sonates a deux violes. Op. 14 is not a work written specifically for two

5 5 Ibid., II, 274-75.

*^La Laurencie, L'Ecole fra n c a is e , I I , 127.

5 7 J. Ecorcheville, comp., Catalogue du fonds de musique anclenne de la Bibliotheque Nationale ( 8 v o ls .; P aris: J . Terquem & C ie ., 1910-14. Facsimile reprint. New York: Da Capo Press, 1972), III, 100. 58 Karlheinz Schlager, comp., Einzeldrucke vor 1800, Repertoire in­ ternational des sources musicales; Internationales Quellenlexikon der Musik; International Inventory of Musical Sources, Vol. A/l/1 (5 vols. to date; Kassel and Basel: B&renreiter, 1971- ), p. 357.

♦ violins. In both catalogues mentioned above, Op. 14 is listed as

follows: "Quatorzi&me oeuvre . . . contenant 6 sonates a 2 bassons, violoncelles ou v lo lo n s." The sonatas contain four or five movements, 59 mainly dance types.

The first collection of sonatas written exclusively for two violins alone was published by Jean-Marie Leelair - his Op. 3, a set of six sonatas, appearing in 1730. A second set of six sonatas, Op. 12, was published around 1747. In both sets the violins are treated eaually.

In Op. 3, four of the six sonatas contain three movements, the others, four, and in some cases, the sonatas lack slow movements. (The f i r s t sonata of Op. 3 consists of three Allegros.) ^ A recapitulation is common in the A llegros. and some movements h in t at a second theme.

The only dance types used are the Sarabande, Glgue and Gavotte.^

The violinist Jacques Aubert published one set of six sonatas for two v io lin s alone, Op. 24, in 1738. In th is s e t, the slow -fast- slow -fast tempo scheme predominates.

The Italian violinist Guignon left two sets of six sonatas each in this genre - Six Sonates a deux Violons, Op. 3 (ca. 1737) and Six

Duos a deux Violons, Op. 7 (ca. 1742). These compositions for two v io lin s contain three short movements.

The violinist de Tremais, a pupil of Tartini but about whom

l i t t l e is known, composed two se ts of sonatas for two violins

59 Newman, Baroque Era, p. 376.

®\a Laurencle, L'Ecole frangaise, III, 139. 61 unaccompanied. However, only his Op. 2, a set of six sonatas, published around 1737, is extant. These sonatas are all In three movements.

Louis-Gabriel Guillemaln left two books of six sonatas each for two violins alone, Op. 4 and Op. 5, both published in 1739. The

Bonatas contain generally three movements. In Op. 4, the slow movement may be an Sarabande or Largo while in Op. 5, an Aria gratioso is more common. The Allegros are monothematic, and a recapitulation in the tonic key is a regular feature. Both violin 62 parts are treated equally.

A number of lesser known violinlst-composers also contributed to this instrumental setting. The violinist Etienne Mangean

(?-ca. 1756) published his Sonates a deux Violons egaux sans Basse.

Op. 3, in 1744. The set contains six sonatas all in three movements in the fast-slow-fast tempo scheme. The slow movement is labeled a Largo affectuoso three times, an Aria twice, and a Gavotte once.

Among the fin a l movements are found a Caccia, a Chaconne and a

Menuet. The Allegros are mainly monothematic but occasionally con­ tain a recapitulation which presents the initial theme in the tonic key. The two v io lin s are employed equally in presenting and devel­ oping thematic material. Imitation and canonic writing are found frequently.®^ A single collection of six sonatas for two violins alone was also published by Leclair's brother who bears the same name,

Jean-Marie Leelair but with the epithet the younger or "le cadet"

(1703-77). Unlike his brother, he remained and was successful as a v io lin is t in his home town of Lyon. His sonatas are in three movements, labeled in Italian with either tempo or dance titles, but in no se t order. The tempo scheme fast-slo w -fast is used only once. A concluding movement may also be in a moderate tempo such 64 as Allegro ma poco or non troppo.

Nicolas Vibert (ca. 1710-72), who was active as a violinist in the orchestras of the Concert Spirituel. Opera-Comique, and also as a horn-player at the Paris Qplra. published one set of six sonatas for two violins, Op. 1, in 1752. These sonatas have three or four movements, with the opening movement set in either a slow or fast tempo.

Jean-Baptiste Miroglio the younger left one set of six sonatas, Op. 4, published in 1753. The tempo scheme faB t-slow -fast is preferred with the middle movement, five out of six tim es, an

Andante. The Andantes are always set in the relative minor key.

The second violin part, remaining entirely in the lower register,

Is merely an accompaniment for the f i r s t violin.®**

The last set of sonatas for two violins alone, published before the appearance of Gavini^s' set, was written by Mathieu and entitled, Six Sonates en duo pour deux Violons, Op. 3. (1764). The three-movement, fast-slow-fast, plan is preferred, but the

first movement may be in a moderate speed like an Andante con gusto or an Andantino. The use of a second theme becomes more common

in some of the Allegros. Both violins are given equal treatment

in the presentation of thematic material.

After the publication of Gavini£s* set, Six Sonates a deux

V iolons. Op . 5. sometime after 1764,*^ examples of this genre con­ tinued to appear in France until late in the century. Contributions were made by the violinist-composers, Franqois-Hippolyte Barth£lemon,

Nicolas Capron, Simon Le Due, Marie-Alexandre Guenin, and Bertheaume.

(Capron, Le Due and Guenin were pupils of Gavinies.) CHAPTER III

AN INTRODUCTION TO THE ANALYSES

Gavinies wrote fifteen sonatas for solo violin and basso

continuo, six in Op. 1, six in Op. 3, three in Op. posth., and six

sonatas for two violins unaccompanied, in Op. 5. The following

analyses concentrate on the formal aspects of each sonata with a

special emphasis on the forms of the fa st movements.

The majority of the fast movements are in binary forms

having some characteristics of Classical sonata-allegro forms.

In the pre-classical models by Gavinies, the tonal plan of the

repeated first half is usually similar to that of a sonata-form

exposition. The second half, also repeated, often begins with a

complete or partial statement of the opening theme in a related

key. The material that follows, sometimes immediately after the

repeat sign, is new and consists of phrases of varying lengths or

of passage-work ideas that may be repeated or treated sequentially.

This new material is also a modulatory section which digresses to

other closely related keys and gradually leads back to the tonic

key. Coincident with the return of the tonic key in the closing

section of the movement is a restatement of some material found in

the first half* Especially in this last section, Gavinies shows his Ingenuity in the variety of ways he handles the reappearance

44 45 of this thematic material. When appropriate, the terms exposition, development and recapitulation are used in the descriptive sections of the analyses. The forms of many of these fast movements closely resemble types described by Bukofzer in his Mu 3 ic in the Classic

Period.* but others with their own inherent characteristics do not.

The discussion of each opus is preceded by a short b ib lio ­ graphical section dealing with publication data. For each sonata a graphic summary indicates the tempo marking, key, meter and the form of the Individual movements. The d iscu ssio n of each movement is preceded by a diagram which describes the tonal scheme and gives an overview of the form. The diagram consists of a horizontal line over which measure numbers are indicated. Above the line, Roman numerals, I and II, are used as symbols to designate the first and second theme groups presented Initially in the first half or exposition of a sonata-form movement. Subsequent appearances of both themes, either in the development or recapitulation - e.g., a dominant statement of the opening theme at the beginning of the second half - are also shown. Abbreviated statements of both theme groups, common in the second half of the movement, are also indicated.

When more than one idea is included in a theme group subscripts are sometimes incorporated. (Example: Ila and lib may appear in the exposition and only lib in the recapitulation.) Differences in the order of ideas are a lso shown in th is manner.

Hlanfred F. Bukofzer, Music in the Classic Period. 1750-1827, rev. ed. (Berkeley and Los Angeles: University of California Press, 1949), pp. 8-10. 46

Upper case letters appearing above the line identify sections of two** and three- part song forms and other multi-sectional forms.

Below the line, upper case letters refer to major keys and lower case letters to minor keys. An arrow before a letter,-*A, indicates that a modulation takes place at the cadence just preceding a new section which is in the same key. In the text, all keys will be designated with an upper case letter.

To denote specific pitches the procedure of adding numerical sub- and superscripts to the pitch*letters which change from capital to small letters, shifting to a new form always on a C, is employed.

Middle C is written as c*, the octave lower is c and two octaves 2 lower the note ie C. The octave above middle C is c , two octaves 3 above is c .

The lower case letter m, when set within parenthesis in the text or used with examples, stands for measure or measures, and the hyphen between numbers means "through". Therefore, m. 1-4 meanB measure one through four inclusive. Any musical example which be­ gins with an anacrusis or in the middle of a measure is identified from the f i r s t complete measure. The same measure number is used for the first and second endings, but these are differentiated as follow s: 7a, 7b. When phrases o v erlap, the same measure number is used for the concluding measure of the first phrase and the first measure of the second phrase.

In general, the notation in the original publications conforms to present-day practice. Among the deviations is the manner in indicating first and second endings. A curved line or slur is 47

placed above or under two whole or half measures of the violin line.

Sometimes, the curved line is added above or below the continuo line.

Ex. 1

In Opus 1, dynamic markings are used sparingly. In Sonata

Mo. 2, the middle section of the Tempo di Minuetto movement is

labeled Minore e Piano. The terms, Forte, Piano, are used in the

first movement of Sonata Mo. 2, a Pianissimo occurs once in the

second movement, and Piano e Crescendo, Forte and Pianissimo, each

appear once ln:the third movement of the same sonata. The terms,

Plano, F o rte, and the abbreviations, P, F, PP, are used to produce

contrasting phrases in the short, opening movement of Sonata Mo. 3.

The abbreviations, P and F, clearly mark off the first and second

theme groups in the recapitulation of the third movement of Sonata

Mo. 4. The terms, Plano and Pianis. . appears only once each in

the third movement of Sonata No. 5. The remaining movements, not mentioned above, do not contain any dynamic markings.

In Opus 3, the terms, Piano and Forte, and their abbreviations

P and F, occur more frequently. They are found in the f i r s t and third movements of Sonata No* 1* in the first and third movements of Sonata No. 4 - the latter with a single use of the abbreviation,

PP, and in the f i r s t movement of Sonata Mo. 5. The f i r s t movement of Sonata Mo. 2 contains single appearances of the terms, Piano, Forte and Pianissimo. Several examples of a Plano-Forte are found in the first movement of Sonata No. 3. The middle section of the third movement of Sonata No. 5, Tempo di Minuetto, is labeled

Mlnore e Piano. The f i r s t movement of Sonata No. 6 uses both

Piano and P only once.

In conjunction with the dynamic markings, the expressive term Dolce. appearing in the tempo marking of the first movement of Sonata No. 2, Opus 1, is also indicated at the beginning of the second theme group. In Opus 3, the term, Dolce, appears twice in the first movement of Sonata No. 3.

Several d ifferen t dynamic and expressive terms, or th eir abbreviations and symbols are introduced in the Opus posthumous.

The opening movement of Sonata No. 1, which of a l l the movements is most carefully marked, contains the following terms and symbols:

PP, P, Sforzando Sosten.. Legato. rF. expr. F, Smorzando,

FF. Except for the first movements of Sonatas Nos. 2 and 3, which are void of any markings, and most of the variations, some of the above terms and symbols are used again, though sparingly. The abbreviations, poco F. PF, appear at the beginning of the variation themes of the second and third movements, respectively, of Sonata

No. 3.

Both parts of all six Sonates a deux violons. or Duetti, are moBt meticulously supplied with dynamic markings, particularly when both violins are playing together, to indicate the leading or secon­ dary voice. The following symbols and abbreviations are found: P,

F, rinf., cres. , Zmor., PP, FF, P e cres. , Pol. , Pol, e Zmor. CHAPTER IV

SIX SONATAS FOR VIOLIN AND BASSO CONTINUO, OP. 1

Gavinies published his first set of Bix sonatas, Op. 1, in

1760 after having been granted a Privilege General, also called a

Privilege du Roi. (See Plate VI for a reproduction of the title- page.) The Privilege G^n^ral . 1 the text of which appears in its 2 entirety in this edition, was granted on January 13, 1760 and 3 was registered on January 22, 1760. It was valid for ten years.

The sonatas are dedicated to a Monsieur le Baron de Lathan, an officer of the French Guards. (See Plate VII for the dedication.)

The publication of the sonatas was hailed in the Mercure de France with the following statement:

Les talens suplrieurs de 1'Auteur tant pour la composition, que pour 1 'execution, falsoient attendre depuis longtemps qu'il consentit a faire graver ses

^Michel Brenet [Marie Bobillier3 in "La Llbrairie musicale en France de 1653 a 1790, d'apres les registres de privileges," Saramel- btfnde der Internationalen Musikgesellschaft, VIII (1906-07), 408-10, provides two examples of a longer version of the Privilege du Roi and indicates that an abridged version had been introduced during the eighteenth century. 2 A copy of this edition is in the Hirsch Library. See the Catalogue of Printed Music in the British Museum; Accessions. Part 53 - Music in the Hirsch Library (London: The Trustees of the B ritish Museum, 1951), p. 31. 3 C£. Brenet, "La Llbrairie musicale," p. 451.

49 50

GEuvres; et nous ne doutons pas que cet 6 chantilions ne flatte assez agrlablement le gout du Public, pour lui faire d£sirer de voir bientOt les autres Ouvrages de cet habile ct gracieux Artiste*

A Sieber edition, appearing after 1771,5 is identical to

the first except for the title-page which indicates that the music

is obtainable from Sieber but on which the line, "Et aux Adresses

ordinaire de Musique," has been eliminated. (See Plate VIII.)

The text of the Privilege General is not included in this edition.^

The manuscript of these six sonatas, preserved in the library

of the Royal Conservatory of Music in Brussels, does not differ

significantly from the published first edition and, lacking an

autograph, appears to be only an eighteenth-century copy.^

A Mercure de France. April 1, 1760, pp. 190-91,

^According to Johansson, Sieber1s address in August, 1771, is s till Rue des deux Ecrus but by November 4, 1771, it is Rue St. Honore a l'Hdtel d'Aligre, the address which appears on the title-page. See Cari Johansson, French Music Publishers 1 Catalogues of the Second Half of the Eighteenth Century (2 vols.; Stockholm: Publications of the Royal Swedish Academy of Music II, 1955), I, 134.

^A copy of this edition is found in the Hirsch Library. See B r itis h Museum; Music in th e H irsch L ib ra ry , p. 31. 7 See Alfred Wotquenne, ed., Catalogue de la Bibliotheque du Conservatoire de Musique de Bruxelles (4 vols. and suppl.; Brussels: J.-J Coosemans, 1898-1912), II, 273, No. 5689. PLATE VI

V* * , 1.

A * ■ V io lo n St. til c*( nunu.i.s (Ll & Ko/iMCiir/' o'Ba/v/i T f i ? ' ’if . -'J ^ .iL_j .'i. . 1 J. A T IF | A A N \ * * » Oiliuci* dcs C »aixic*s ! VuiKoilcs

COMPOSr.KS PAR ? P.GAVrNIES'. •iT a-iviiR .

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Title-page, Gavinies Sonatas, Op. I (1760) PLATE V II

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Dedication, Gavinies Sonatas. Op. 1 (1760) PLATE V III

fi- r v » • a j l * * r KMX .* *1 v . \ ATF.S A Yiolon Soul c t H a ile DEDIEES a K o/i.uca/ ' /; o oa/v/t

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^ O M P C K K K S PA II 'P. GAVINIES. rraa'vui-.. Or.tvt* par A l^T O ^rr. J * r L v g * !f. AI»AIUS . ' f t t i t u r /w o ,S'VJ/ t o n u t .t t / n /.<'«.*/•■ c /’rc//h /t'r rut nP*Jfttu't't a f fatrf ./> 'Jlufi't . // •/;< /'/r /ifO*r • * i vruww«M W » SwBBiBLivmniiSiMHnSiamwnaBrwsBvvKSMr 1 4 1 / / > 4 *■« M f. ^ Aw k. ^ ,

Title-page, Gavinies Sonatas, Op. 1 (Sieber edition) 54

Sonata Op. 1, No. 1

Allegro assal D m ajor Sonata form 3 Andante B minor 4 Rounded binary form 3 Tempo dl Mlnuetto D m ajor 8 Three part form - ABC

Tonal scheme: First movement

14 H » 1 * u ca I 4 - - f - ft J -»b

Allegro assai.- The opening movement is in sonata form. It is divided into two sections by repeat signs. The first section has twenty-five measures and the second thirty-five measures. The first theme group consists of two contrasting phrases, four and five mea­ sures long. The first phrase, a typical galant melody, is divided into two equal subphrases by a quarter rest. The cadence is on the to n ic .

Ex. 2. Sonata Op. 1, No. 1, m. 1-4.

Alley. - Y

The second phrase consists of passage-work in arpeggiated sixteenth notes over two octaves and concludes with a half cadence. 55 Ex. 3. Sonata Op. 1, No. 1, I, m. 5-9

1 H

* A four-measure transition, related rhythmically to the opening phrase, modulates to a half cadence in the dominant key and leads without pause to the second theme group. The latter, primarily a new tonal area, is based on the close succession of three short ideas.

The first idea is a two-measure unit which is repeated.

Ex. 4. Sonata Op. 1, No. 1, I, m. 14-15.

The second forms the basis of a three-measure, descending' seq u en ce. 56 Ex. 5. Sonata Op. 1, No. 1, I, m. 18-20. ii#e

i SE £ * T" T — r ’ • * i The third idea, a two-measure unit, is cadential. It is re­ peated, slightly modified and concludes with one measure of tonic in the dominant key to round off the exposition.

Ex. 6 . Sonata Op. 1, No. 1, I, m. 21-25. M ± m The development begins with the opening phrase of the first theme group in the dominant key. The next five-measure phrase, contrasting sixteenth notes and triplets, shifts to D major and leads to a half cadence in B minor, the relative minor key. The relative minor tonality is maintained in the following seven-measure phrase which ends with a strong full cadence. The triplet figuration in the first three measures is closely related to the passage of arpeggiated sixteenth notes found in measures 5 to 7.

Ex. 7. Sonata Op. 1, No. 1, I, m. 35-38. I

u y i J - s — i <-if t y < ire 57

The closing, six-measure phrase o£ this section is subdivided

Into two-measure units. The first two units, based on staccato figures descending from the E to the G string and followed by a large leap back to the E string, are treated sequentially and pass from E minor to D major. The third unit, continuing in the tonic key, cadences on the dominant and leads to the recapitulation.

Ex. 8 . Sonata Op. 1, No. 1, 1, m. 42-47.

3 :

i !A Pi U >i 11J& I The recapitulation is abbreviated and begins with the second theme group, modified slightly in places. An additional measure, related to measure 2 2 , is inserted six measures before the end.

Tonal scheme: Second movement I 7 1 W ir II si 3* : I' 1 I r -P ----- 1------i b e ® e -*b

Andante.- The second movement, in B minor, is divided by repeat signs into two sections of fourteen and sixteen measures, respectively. The form is rounded binary. The melody has consider­ able rhythmic variety but lacks extensive ornamentation.

The first half of the movement begins with a six-measure phrase which concludes with a half cadence. The continuo line is 58 melodically significant and quite chromatic due to the extensive use of secondary dominants in first inversion.

Ex. 9. Sonata Op. 1, No. 1, I I , m. 1-6

The music continues for two measures in B minor, two in E minor, and the first half closes with four measures in the relative major key.

The full close in E minor (measures 9 and 10) is weakened by the continuous flow of the violin line.

Ex. 10. Sonata Op. 1, No. 1, I I , m. 9-10.

The first and second endings are indicated by a slur crossing over the repeat marks in the violin part, as illustrated by the following example.

Ex. 11. Sonata Op. 1, No. 1, II, m. 14a, 14b, 15.

The repeat marks indicate that the second half of the movement should begin with the second ending (measure 14b). However, the additional 59 symbol Indicates that the repeat of the second half begins with the up-beat to measure 15.

The second half of the Andante begins with a new three-measure phrase in E minor. The five-measure complementing phrase that follows contains a short passage in which the melodic line weaveB itself

1 2 around an underlying chromatic ascent from b to e .

Ex. 12. Sonata Op. 1, N o .l, I I , m. 18-20.

The phrase ends with a half cadence in the tonic key of this movement,

B m inor.

The opening six-measure phrase returns but incorporates a two-measure extension that provides the movement with a concluding full cadence.

Tonal sceme: Third movement

1 n i l II 1» ST II IT II TV l»i lit UH A B c I— '------1 i 1 J----- 1-----1---- 1— ,— r—I----- 1 I I ■ 1 ■ ------1------1------1— II

D 4 F G**4 F (x*d D

Tempo di Minuetto.- The last movement is in a three-part form with an ABC design. Part A, thirty measures long, is entirely in the key of D major. The opening twelve-measure phrase is based on the repetition of related two- and four-measure subphrases and concludes with a half cadence. Ex. 13. Sonflt^ Op. 1, No. 1, III, m. 1—12.

The following eight-measure phrase, based on new thematic m aterial, begins with the repetition of a two-measure unit in which the bass line appears an octave lower the second time. In the upper voice of the violin part, a dominant pedal occurs through part of the passage. Two measures, freely sequential, lead to a full cadence.

Ex. 14. Sonata Op. 1, No. I, III, m. 13-20.

The next four measures are based on measures 13 to 16, but the violin part is set an octave lower and the bass line is modified. Part A concludes with a six-measure cadential elaboration which begins with a dominant pedal both in the continue, marked Tasto solo, and in the lower of two voices in the violin part. 61

Ex. 15. Sonata Op. 1, No. 1, I I I , m. 25-30.

T * \i o 4.1.

Part B, entitled Minore e piano, consists of forty measures

which are based on the repetition of two sections, six and fourteen

measures long, respectively. In outline, Part B appears as follows:

a + a + b + b. In each case, the repetitions are exact.

The first section is a repeated six-measure phrase in the

tonic minor. The melody has various dotted rhythms while the bass

line, delayed almost a measure, begins with a sequential passage of

ascending sixteenth notes.

Ex. 16. Sonata Op. 1. No. 1, I I I , m. 31-36 and m 37-42.

rfrT f> T f* i j - = — U e H -U - i i . « l i/p r . t-i-rf j 'j-pi-tzL —

4. 4 t 4 * 4 - > The second section of fourteen measures is divided into three sections

( 6 + 4-t 4)* The first six measures, which begin sequentially, are

essentially in F major and lead to a full cadence. The following

four measures, also treated sequentially, begin in G major and lead

to a half cadence in D minor. Although there is a melodic cadence,

the bass line flows uninterruptedly into the concluding four measures which are related to measures 33 to 35, the latter half of the opening phrase of this Minore section, but modified to end on a full cadence.. 62

Ex* 17* Sonfltfl^ Op* I f No* lp XXX p tn* 43^56*

I) M 6 5

Part C, consisting o£ forty-four measures, returns to D major, the tonic key. It is, however, not "une reprise variee du majeur" g as stated by La Laurencie. The internal structure of this part of the Minuetto is unique in itself but more closely related to the

Minore than to Fart A. Like the Minore, Part C is based on the repetition of two individual sections, in this case, eight and four­ teen measures long. In outline, the sequence of the two sections is the same as in the Minore; a -fa + b + b. The first section consists of two, four-measure phrases in which sixteenth-note triplets are an important feature, particularly the descending, staccato figure at the beginning of the first phrase.

Q Lionel de La Laurencie, L'Ecole francaise de violon de Lully a Viotti (3 vols.; Paris: Llbrairie Delagrave, 1922-24), II, 318. 63

Ex. 18. Sonata Op. 1, No. 1, I I I , m. 71-78.

y it CjJa-3~ I T-Lj r- l-l- f ~ r —l-jV]f ■l-^ - T-ir I ■ 1 6 '4^ i tf 6

% 4 ^ * The fourteen-measure section is divided into two phrases of eight and six measures, respectively. The eight-measure phrase is a brilliant violinlstic passage which includes staccato bowing and two measures of barlolage. Under the latter, the Tasto solo bass

line occurs again but, this time, is not static as it moves in tenths with the violin line. The first four measures are sequential, based on the repetition of a two-measure pattern.

Ex. 19. Sonata Op. 1, No. 1, III, m. 87-94.

c F S F c r

y .% 7 T Z Z &

WWW

T««t« Stlo 3 £ The concluding six-measure phrase, slightly modified and extended by two measures, is related to the opening four-measure phrase of the previous section (measures 71-74),

Ex. 20. Sonata Op. 1, No. 1, III, m. 95-100. P 65

Sonata Op. 1, No. 2

Allegro Moderato e dolce G minor * Sonata form Adagio E-flat major c Ternary form

2 A lle g r e tto G m inor 4 Rondo form

Tonal scheme: F irst Movement

‘ 1 1 IT 11 *7 j r n ij I? rr I I I 1------1** 1—1 1 -- i - l ----•— — HH------1 ‘i i 1 ------h- — 1------HI j cBlrBVcd g t ■f t f 3

Allegro moderato e dolce.- The first movement, in sonata form, is marked off by repeat signs into sections of thirty-four and thirty- eight measures. The descriptive term dolce has been added to the tempo indication at the beginning of the movement and is also applied to the second theme group.

The first theme group consists of a balanced eight-measure period. The antecedent phrase ends on a full cadence, the consequent, on a half cadence, and both phrases affirm the tonic key of G minor. 66

Ex. 2 1 . Sonata Op. 1, No. 2 , I , m. 1 -8 .

w m w

§ 1 1 r v r—

g / m " "v I Tv Tr | * * * * The transition is eight measures long. The first four mea­

sures, based on a tvo-measufce pattern, are sequential and set in C minor and B-flat major, the relative major key. The last four measures

continue in B-flat major, the key of the second theme group, and there­

by lose some of their transitional character. In this passage, the

continuo drops out for a measure, and the rhythmic activity in'the violin part, now in double stops, is suddenly relaxed.

Ex. 22. Sonata Op. 1, No. 2, I, m. 9-16.

fWrH i % t t f 1 H H *

# * 67

The second theme group begins with the antecedent phrase o£

the opening theme in the relative major. The key of B-flat major, however, is shortlived as the following six-measure phrase moves

sequentially from C minor to D minor, the dominant of the in itial key. The remaining eight measures of the exposition, of which the first four consist of legato passage-work in sixteenth notes, affirm

the dominant minor tonality. Close scrutiny reveals that the last two cadential measures are similar to measures 3 and 4 of the antece­ dent phrase of the first theme group.

The development opens with a new six-measure phrase in which the violin begins alone and the continuo enters a measure later.

The phrase leads to a full cadence in the tonic key.

Ex. 23. Sonata Op. 1, No. 2, I, m. 35-40.

J . — * 6 * * — V * A two-measure extension modulates to C minor. The succeeding, four* measure phrase which hints at the opening theme begins and ends in

C minor but digresses to F minor.

Ex. 24. Sonata Op. 1, No. 2, I, m. 43-46.

W m i i gHi

M f f ifrr» - « r U j u H I I - H 68

Three additional measures in C minor proceed to a deceptive cadence

which is followed by a modulation to E-flat major. An elaborated,

two-measure dominant pedal plus another measure of dominant harmony,

in the new key, lead to the recapitulation which does not begin in

the usual tonic key. 9 The recapitulation, not eliminated as La Laurencie says,

consists of only the second theme group -- the same material presented

in the exposition but transposed down a perfect fifth. As a result,

the transposition sets the first four measures, in reality the ante­

cedent phrase of the first theme group, in E-flat major. A shift to

F minor in the following sequential passage occurs before the final

twelve measures settle in the tonic key of G minor.

Tonal scheme: Second movement

• S t U H ABA 1 I------1 u i 1 >■------U Efr (V f f l t k Elr

< . . * Adagio.- The slow movement, consisting of only fourteen measures,

is in the major submediant key of E-flat, and its form is simple

ternary or ABA'. Fart A has only four measures: a two-measure phrase

^"Iln'y a .pas de ^exposition dans les Allegros de Sonates II, V, VI, (OEuwe I), II (OEuwe III)." La Laurencie. L'Ecole francaise.. II, 323 (footnote). ending on a full cadence is complemented by a contrasting phrase introducing thirty-second notes and ending on a half cadence.

Ex. 25. Sonata Op. 1, No. 2 , XI, m. 1-4. (i.jrjdj) ffo jg ii i {jjj i

HTt- :^jj jjniJ v i »

f t

i 5 » Fart. B is modulatory and comprises two phrases. The first phrase, of which the first measure is melodically related to mea­ sure 1, begins in B-flat major and, through a short sequential pas sage, returns to the tonic key via F minor. The second phrase, beginning in the middle of measure 8 , is marked pianissimo, which enhances the change of mode to the tonic minor. The return to

E-flat major is accomplished by means of an augmented sixth chord in measure 9.

Ex. 26. Sonata Op. 1, No. 2 , I I , m. 8-10.

g g rtJ-S p i f « * » ’••HUM* y iK. rr^r f IbTJ J J.U — ... t > t h i i f f t Fart A*| beginning in the middle of measure 10, is a shortened version of Fart A plus a two-measure cadential extension. A fertnata over the tonic chord in second Inversion in the penultimate measure calls for an improvised cadenza.

Tonal scheme: Third movement

• 1 II tt 31 H 13 11 f t t t A b a c a' 3 A I— 1— sH— •------1— 1—*------1----- 1— H -i-i --- I— *— II

3 Bb 3 c 3^s -* 3

Allegretto.- The third movement, in the tonic key of C minor, is in the form of a rondo. The over-all scheme of the movement is as follows: A A B A C A' DA.

Section A, repeated the first time, is a balanced period.

The antecedent phrase ends on a half cadence, the consequent, on a full cadence.

Ex. 27. Sonata Op. 1, No. 2, III, m. 1-8. A llegretto . • 71

The second and fourth appearances of A are exact repetitions, the third (A*) consists of only the consequent phrase placed in the tonic major mode. The contrasting sections, B, C and D, are in different keys and made up of new thematic material.

Section B, in B-flat major, contains two phrases of four and five measures. The first phrase does not offer much rhythmic con­ trast to Section A. The second phrase begins with figuration in sixteenth-note triplets over a sustained dominant pedal (Tasto solo).

Ex. 28. Sonata Op. 1, No. 2 , 1 1 1 , m. 13-17.

T«ft»

Section C contains an eight-measure phrase in C minor in which the dynamic marking, piano e crescendo, occurs and a five- measure phrase in G minor. The melodic and rhythmic elements of both phrases do not differ greatly from those of Section A. The latter phrase leads to Section A1, the previously mentioned major version of the consequent phrase of Section A.

Section D, thirteen measures long, begins in G minor, passes through C major, B-flat major, D minor and modulates to a full cadence in G minor. Except for the cadence, the violin part of this whole section is based on arpeggiated figuration in thirty-second notes.

Frequent use is made of the diminished seventh chord. A three- measure pedal point, beginning as a dominant in D minor, is changed to act as a dominant of the dominant and lead to a full cadence in

G m inor. 72

Ex. 29. Sonata Op . 1, No. 2, III, m. 51-55.

------r- 1 It I m " ' : Lh£.,^: Zir^U: fi,--■ U --- ...... ■- ■■■* !■■'■ ■■ ■ — ♦ ' - * . . ^ ^ ^ ^

The final appearance of Section A follows to conclude the movement. Sonata Op. 1 , No. 3

Adagio B minor ? Ternary form

A lleg ro B minor 4 Sonata form

G ratlo so B minor I Theme and variations

Tonal scheme: F irst movement

1 it a B t b capo Signs

Adagio.- Of the six sonatas of Opus 1, this sonata is the only one which begins with a slow movement -- reminiscent of church sonatas by Baroque composers like Corelli or Leclair. In the Baroque sonata, the opening slow movement was generally the first of four movements in the order: slow-fast-slow-fast. In this sonata, the opening

Adagio is followed by only two movements -- an Allegro and a theme and variations. The form is ternary, or ABA. The first two parts are set off by repeat marks, while the third is a Da Capo repeat of the first. The violin part, written in double-stops, together with the continuo is suggestive of a trio-sonata movement in "familiar s t y l e . "

Fart A, in B minor, consists of a balanced eight-measure period

The antecedent phrase ends on a half cadence, the consequent on a full

* cadence, and both are divided into two sub-phrases by a quarter-rest. 74

Ex. 30. Sonata Op. 1, No. 3, I, m. 1-8.

|i i p i j i y ' f t y ^ V V i n j - f'lMff--7 I r i t i.rizW .M ^=tt "* *V§*V j f mTI » # i i‘ri j j t bj ** *-i Part B, in D major, the relative major key, also consists

of two phrases. The first phrase Is four measures long and eiids

with a half cadence. The opening measures of the second phrase are

related to the first, but an exchange of voices drops the upper voice

an octave. A two-measure cadential extension concludes the second

phrase with a full cadence and lengthens It to six measures. The

expression, Da Capo al Segno, and the symbol are used to Indi­

cate the repeat of Part A.

Tonal scheme: Second movement

i 7 n it ii so w it n rtn tf i i i I ■ I i ■ :l|: i l i 1------h- 1------K-H------Ml b e ) e ) bft k e)b

Allegro.- The second movement, divided by repeat signs into

two sections of twenty-three and forty-four measures, is in sonata m form. In the recapitulation, while the first theme group is utilized, the movement is not rounded off by the usual second theme group but by thematic material found in the development. The sixteenth-note trip let, with various articulations, is the dominant rhythmic figure 75 throughout the movement, and this predominance negates any sense of real contrast between the first and second theme groups.

The first theme group consists of only six measures: a three- measure antecedent phrase, ending with a full cadence, followed by a three-measure consequent phrase ending with a half cadence.

Ex. 31. Sonata Op. 1, No. 3, I I , m.. 1-6. s _ ''♦'/'I'

The transition, four measures long, is based on the sequential re­ petition of a two-measure pattern, placed in E minor and D major.

The second theme group, entirely'in the relative major key, consists of three phrases, four, three and four measures long, plus a two-measure cadential extension. The sixteenth-note triplet with different articulations is employed in all three phrases and the ex­ tension. The first phrase comprises a repeated two-measure melodic pattern supported with tonic-dominant harmony.

Ex. 32. Sonata Op. 1, No. 3 , I I , m. 11-12.

The second phrase, treated sequentially, has a more active bass line, emphasizing the drop of a fourth. The harmony changes on every half b e a t. 76

Ex. 33. Sonata Op. 1, No. 3, II, m. 15-17. r.JU . ± . I 1 .

The third phrase opens with a two-measure ascending sequence

in which the bass line moves up diatonically by step in quarter notes,

Each bass note supports two changes of harmony, the second of which

is a seventh chord. In the cadential extension, the bass acts as a pedal point repeating the new tonic with harmonic changes occurring above i t .

Ex. 34. Sonata Op. 1, No . 3 , I I , m. 18-23.

m m

The development is modulatory and opens with a three-measure phrase in the unexpected key of E minor. The sixteenth-note triplet is exploited in new passage-work with varied articulations. 77

Ex. 35. Sonata Op. 1, No. 3, II, m. 24-26. m m &

\ « t £ M 4 (W ,

The phrase is repeated, transposed to D major. Two measures in B minor (measures 3 0 and 3 1 ) lead to a ten-measure passage in F-sharp minor. This whole section is based on passage-work figures in sixteenth-note triplets. Chromaticism is introduced in a short sequential passage found in measures 3 4 to 3 6 .

Ex. 3 6 . Sonata O p . 1 , No. 3 , I I , m . 3 4 - 3 6 . L i .

The tonic chord of the full cadence concluding the preceding F-sharp minor passage unexpectedly acquires a raised third (measure 4 1 ) and becomes the dominant of the following three-measure phrase in B minor.

The latter phrase, ending with an extended and elaborated half cadence, prepares for the recapitulation.

Ex. 3 7 . Sonata Op. 1 , No. 3 , I I , m. 4 1 - 4 4 .

• ... K,

m f f I ? — £ * % H ♦ * * 1 The recapitulation begins with the first theme group and the

transition as they appear in the exposition. Ab stated earlier, the

concluding measures of the movement are not based on the second theme

group but on material found in the development. The first two measures

are an exact repetition of measures 30 and 31. To this are added measures 34 to 41 which contain the above-quoted chromatic passage

but are transposed to the tonic key. The only new thematic material

is the three-measure cadehtial extension which concludes the movement.

Tonal scheme: Third movement (Theme and variations)

« 5 1 1 M it I---- 1— ;H— t — i------HI b f* E F» I.

Gratioso.- The third movement consists of a theme and nine variations. The form of the theme is rounded binary. The first section, six measures long, opens in B minor and modulates to F-sharp minor in measure 5.

Ex. 38. Sonata Op. 1, No. 3, I I I , Theme, m. 1-6. Gratioso ^ A * 7.9

The second section contains eight measures and begins with the sequen­

tia l repetition of a two-measure pattern in E major and F-sharp major.

The last four measures are a modified repetition of the opening four measures in B minor* Both the form and the sequence of keys are

followed in the nine variations.

The basso continuo line which is the same for each variation

is unfigured and is printed only under the melody of the theme. In

some variations, slight adjustments must be made in the harmony,

for example, in the-first two measures of Variations 3, 4, 5 and 6 . * The second half of the theme begins with a two-measure sequence.

This characteristic is duplicated in all nine variations.

Variation 1, while adhering closely to the melodic outline of the theme, is based mainly on passage-work of sixteenth notes slurred in fours.

Ex. 39. Sonata Op. 1, No. 3, III, Var. 1, m. 1-3.

Variation 2 is similar in outline to Variation 1 but employs notably sixteenth-note triplets.

Ex. 40. Sonata Op. 1, No. 3, III, Var. 2, m. 1-3.

In Variation 3, the melodic line of the theme disappears as broken chord and descending scale figures predominate. 80

Ex. 41. Sonata Op. 1, No. 3, III, Var. 3, m. 1-3.

Variation 4 has a perpetual motion quality about it as it is written

entirely in thirty-second notes, slurred in fours.

Ex. 42. Sonata Op. 1, No. 3, III, Var. 4, m. 1-3*

Variation 5 comes closest rhythmically in resembling the theme but has an embellished, descending, dotted figure over a measure and a half as an added feature.

Ex. 43. Sonata Op. 1, No. 3, III, Var. 5, m. 1-4.

3 V a ria tio n 6 covers the widest range (b-f ) and, except for the last two measures of each section, is based on the melodic pattern estab­ lished in the first measure.

Ex. 44. Sonata Op . 1, No. 3, III, Var. 6, m. 1 -3 .

i/rfrf frtf f r t A ^ fr r~bn Variation 7 is highlighted by a dotted rhythm, combined with a held note, which creates a syncopated lilt in the melodic line.

Ex. 45. Sonata Op. 1, No. 3, III, Var. 7, m. 1-3.

. . . * #

V a ria tio n 8 , reminiscent of the first movement, is in double-stops, and each section concludes with a three-note chord.

Ex. 46. Sonata Op. 1, No. 3, III, Var. 8 , m. 1-6.

Quick arpeggiated figures over three and four strings are the con­ spicuous features of Variation 9 which concludes the movement.

Ex. 47. Sonata Op. 1, No. 3, III, Var. 9, m. 1-5. 82

Sonata Op. 1 , No. 4

A lle g ro G m ajor * Sonata form

Adagio G m ajor C Rounded binary form

A lle g ro G m ajor I Sonata form

Tonal scheme: First movement

I 11 IT 2 » If HI n r? 6 ) ?r I 1 J. h -M- * *■ I i 1 < i I ■*» -*3> o b a & &

Allegro." The first movement, in binary sonata form, is divided by repeat signs into two sections of twenty-seven and forty-eight measures, each.

The first theme group consists of thirteen measures in which

two phrases overlap. The first phrase ends in measure 7 with a full cadence of which the final chord is also the beginning of the second phrase. The initial phrase consists of the repetition of a three- measure sub-phrase in which the general outline of the melody rises 2 2 and falls stepwise within the interval of a major third (g -b ).

Double-stops underline the contour of the melody, and the contrast of triple and duple rhythm adds rhythmic variety.

Ex. 48. Sonata Op. 1, No. 4, I, m. 1-7.

yt»vrr j.uttr f ir j urr-j-i^rr u - i * * % 83

The second phrase opens melodically and rhythmically like the firs tv

but instead of stepwise motion, the Initial notes of the first three measures of the melody skip up in thirds and outline a G major triad.

Four-note chords appear at the beginning of each measure. The phrase

continues with two sequential measures based on a descending, three-

note scale fragment and concludes with a two-measure extension of a half cadence. The transition, related to the previous cadential m aterial, is only two and a half measures long and modulates to a half close in the dominant key of D major.

The second theme group, entirely in the dominant key, dis­

continues the use of the triplet prominent in the first theme group and transition in favor of duplets and quadruplets. The first five measures are based on an ascending, sequential pattern in which the violin part resembles two-voice contrapuntal writing, albeit, on a

limited scale.

Ex. 4 9 . Sonata Op. 1, No. 4 , 1, m. 17-21.

ft 7 14 12. 2* t ’1** 1 • The remaining six measures of the exposition, which include a two- measure cadential extension, are devoted primarily to double-stops in "familiar style," with thirds and sixths predominating^,and favor­ ing duple rhythm.

The development begins with a statement of the opening phrase of the first theme group in the dominant key. A seven-measure phrase 84

In E minor reasserts the eighth-note, triplet figuration. The

tonality is strengthened by the use of a dominant pedal which extends

three measures and leads to a full cadence. A four-measure phrase in

A minor, based on ascending and descending scale fragments in triplets,

is repeated, transposed to B minor. The latter phrase is extended

three measures to reinforce the new tonality and ends on a strong,

full cadence (3$ - V - I). The next four measures, the sequential

repetition of a two-measure pattern based on the previous cadential

extension, are set in A minor and G major. Two additional measures,

leading to a half cadence in G major, prepare for the recapitulation.

The abbreviated recapitulation has only nineteen measures.

The first eleven measures of the first theme group appear exactly

as they are in the exposition. Instead of rounding off the second

phrase with the original two-measure cadential extension, a three-

measure dominant pedal follows. The figuration above it is related

to that found over the pedal in the E minor phrase of the development.

No transition or second theme group are used. The movement ends

quickly with two cadential formulas, three and two measures long.

The latter is related to the last two measures of the exposition.

Tonal scheme: Second movement • 5 7 ! •

J. I— l------**w* — t r 6 1 «. G

\ Adagio.- The second movement, in rounded binary form, Is marked off into two repeated sections of six measures. Dotted rhythms play an important part in the ornamented violin line.

The first half consists of a two-measure phrase in G major and a four-measure phrase in D major. Both phrases conclude with a full cadence. First and second endings, only half measures, are indicated by a s lu r .

Ex. 50. Sonata Op. 1, No. A, I I , m. 1-6.

The second half consists of two, three-measure phrases. The first opens in A minor, returns to the tonic key and concludes with a half cadence. The second phrase is a restatement of the opening phrase of the movement plus a one-measure cadential extension.

"k Original notation. 86

Tonal scheme: Third movement

iv ai 31 Hi Tr ii

1 i I - h -*T> -♦G

Allegro.- The third movement, marked off by repeat signs into

two sections of forty-two and fifty-two measures, is in sonata form with a long development and an abbreviated recapitulation.

The first theme group consists of two distinct parts. The

first part is a balanced eight-measure period characterized by .

"Scotch-snap" figures. The antecedent phrase concludes with a full cadence, the consequent with a half cadence.

Ex. 51. Sonata Op. 1, Mo. 4, III, m. 1-8. Alh«r» O..I

u I I if J

1 »- The second part comprises two six-measure phrases. The first phrase consists of a three-measure sub-phrase of considerable rhythmic variety in A minor and its repetition, a step lower in the tonic.

The following six-measure phrase, entirely in the tonic key, begins with a three-measure, descending, non-modulating sequence based on seventh chords with roots dropping a fifth and concludes with a half cad en ce.

The ten-measure transition, based on the repetition of two- measure patterns sequential-like in structure, introduces arpeggiated 87

figuration In sixteenth-note triplets. This passage is entirely in

the tonic key except for the last two measures where a sudden modula­

tion to a half cadence in the dominant key occurs.

The second theme group, only twelve measures long, is primarily

a tonal area and consists of passage-work retaining the sixteenth-note

t r i p l e t .

Ex. 52. Sonata Op. 1, No. 4, III, m. 31-34.

n r s Vs/> ?/■ ■ » « r\*! r \

The last six measures are cadential formulas, affirming the dominant

to n a lity .

The development begins with a dominant statement of the opening

period of the first theme group. The rest of the development is in

E minor, the relative minor key, except for the last two measures,

which modulate and lead to a half cadence in the tonic key. A four-

measure phrase, beginning with the violin alone for one measure, is

based on melodic elements similar to those found in the opening period.

The next six measures are passage-work ideas grouped in two-measure

units in which the sixteenth-note triplet makes a reappearance and

the bass line, in the first four measures, ascends by step in half

notes. The remaining fourteen measures, grouped mainly in two-measure

units, continue with passage-work in sixteenth notes and sixteenth-note

triplets. The one measure which breaks the continuity of the passage- work also contains the rare appearance of a Neapolitan sixth chord

(measure 63). Ex. 53. Sonata Op. l f No. 4, III, m. 61-65.

tlft *t if- " i k 1 tjI w i * r . v i »

The recapitulation appears in a very abbreviated £orm and

consists of the opening period of the first theme group plus the short second theme group. Only slight changes from the original material occur. 89

Sonata Op. 1, No. 5

A lle g ro B-flat major

A dagio B-£lat major ( Ternary form 2 Allegro assai B-flat major 4 Sonata form

Tonal scheme: First movement

IS M W ■» 5* II 1 7 IT *r M 11 n 1 * - h ♦ 1 i 1 H - -fr—1 f t F d cBV

Allegro.- The first movement is in sonata form, divided into two repeated sections of forty and forty-eight measures, respectively.

This Allegro is another of those which La Laurencie describes as not having a recapitulation.^ In this analysis, a recapitulation will be assumed, although the tonic repetition of material from the ex­ position, to round off the movement, is limited to only a part of the second theme group.

The first theme group consists of two distinct ideas. The first is a six-measure phrase highlighting triplet figuration and containing a two-measure tonic pedal.

Ex. 54. S onata Op. 1 , No. 5 , I , m. 1 -6 .

j u . j n m m %7 *7 I ‘

*®La Laurencie, L'Ecole francaise. II, 323. 90

The second idea, enhanced by double-stops, is a balanced eight-measure

period in which both phrases are almost alike.

Ex. 55. Sonata Op. 1, No. 5, I, m. 7-14,

m

A nine-measure transition, sequential in structure and based on passage- work in sixteenth-notes, modulates to a full cadence in the dominant key of F major and leads to the second theme group.

The second theme group contains three distinct ideas. The first is a six-measure phrase plus a three-measure cadentlal exten­ sion. The phrase opens imitatively between the violin and the bass line but quickly moves to a highly chromatic passage of triplets in the violin. In measures 26 and 27, the shift to the tonic minor chord and back to the major underlines the chromaticism. The caden- tial extension reinforces the F major tonality.

Ex. 56. Sonata Op. 1, No. 5, I, m. 24-32. J 3

y&jr-Tr-- fr#f ifrir ~=t r t |r r.J. ^ *

i T j j ;

m i j j J 1J VI * I J l t i n * • ; i s i The second idea is a four-measure phrase which is freely sequential

and introduces new passage-work in sixteenth notes.

Ex. 57. Sonata Op. 1, No. 5, I, m. 33-35.

The third idea, the concluding phrase of the exposition, gives

prominence to "Scotch-Bnap" figures and contains a bass line of two

repeated quarter notes rising a minor sixth by step (A-f).

Ex. 58. Sonata Op. 1, No. 5, I, m. 36-40.

The development is long and contains material from both the

first and second theme groups. A dominant statement of the in itial,

six-measure phrase of the first theme group opens the development.

A four-measure phrase, borrowing elements from the second phrase of

the first theme group, modulates and leads to a half cadence in 6 minor. A modified version of the previous phrase transposed to F major follows. The next ten measures of new thematic material are

in D minor and contain a short passage of imitation (measures 58-60).

The violin'is written in double-stops, and the upper voice imitates the lower voice and the continuo line, which are moving in parallel sixths. 92

m

The music proceeds with an eight-measure phrase in D minor of which

« the imitative beginning is reminiscent of the opening phrase of the

second theme group.

Ex. 60. Sonata Op. 1, No. 5, I, m. 65-67.

A four-measure phrase based on passage-work in sixteenth notes concludes

the development. The first two measures, freely sequential, pass from

C minor to B-flat major, the tonic key, and lead to a half cadence.

The abbreviated recapitulation begins with the third idea of

the second theme group. The fifth measure is overlapped by the three- measure cadential extension of the first idea, and the movement con­

cludes with the second idea, modified to affirm the tonic key and to

lead to a full cadence. 93

Tonal scheme: Second movement

t II

A dagio." The form of th e second movement is te rn a ry or ABA*.

Part A consists of three short phrases. The first phrase, with an

internal full cadenza (measure 2 ), closes with a deceptive cadence

(measure 3). The second phrase, leading to a half cadence, begins

with the repetition of a two-beat pattern in which the use of an

E-natural as a lower appogiatura, adds chromatic coloring. The

third phrase, also characterized by chromatic inflexions in the violin

line, modulates to a half cadence in F major, the dominant.

Ex. 61. Sonata Op. 1, No. 5 , 11, m. 1-7.

1 J J jy.n= )L U

Part B contains two phrases which are highly chromatic. The

first phrase, continuing in the dominant, begins with the rare appear­

ance of a seventh chord on the lowered sixth degree (third beat of

v measure 7). The dominant chord follows, and this progression produces an Interval of an augmented second in the violin line. (See the above example). The second phrase is in C minor and contains a chromatic flourish in thirty-second notes just before the closing full cadence.

Overlapping occurs as Part A' begins simultaneously with the final chord of Part B* As a result, the first phrase of Part A', a contraction of the first two phrases of Fart A, begins in C minor and is adjusted to modulate to E-flat major. The following phrase, similar to the third phrase of Part A, proceeds in E-flat major and modulates to a half cadence in B-flat major, the tonic. Before the tonic tonality is firmly established, the second use of a seventh chord on a lowered subdominant occurs at the beginning of the closing phrase (measure 15). In this case, the interval of the augmented second occurs in~.the bass line. A two-measure cadential extension rounds off the movement. The fermata on the first half of the penultimate measures indicates the place for a cadenza.

Ex. 62. Sonata Op. 1, No. 5, 11, m* 15-18.

*1 3 I* 95

Tonal scheme: Third movement

I i i f a r 7 ) IS <5 47 IS i s q« U ui no mo I H IE — i ■ ■ ■ I ' ‘ i n :» ■ i— i I . — I— ■—•---- Hi » -*F JBtF t d 3 & 6b

Allegro assal.- The last movement is in sonata form, divided

into two repeated sections of sixty-six and seventy-four measures,

each.

The first theme group has two parts. The first part consists

of two phrases, six and eight measures long. The first phrase, in which measures 3 and 4 are identical, highlights sixteenth notes

slurred in twos..

Ex. 63, Sonata, Op. 1, No. 5, XXX, m. 1—6.

The second phrase, introducing syncopation, is eight measures long

(a four-measure phrase repeated, with the first two measures of the second phrase w ritten down an octave).

Ex. 64. Sonata Op. 1 , No. 5 , I I I , m. 7-10. The second part of the firat theme group 1 b a ten-measure phrase which

begins with a five-measure tonic pedal (Tasto solo) followed by five

measures of tonic-dominant harmony. Over this appears an intricate

passage of sixteenth notes, grouped in two-measure units. Moat of

the sixteenth notes are slurred in twos, and the first of these is reinforced by a double-stop, either a third or a sixth.

Ex. 65. Sonata Op. 1, No. 5, III, m. 15-24.

__ 7i> f. r~T| f iT'TJlf |.f—; |kj.k~= : 7 *

f. _ - y h h i r1 - i f l — - ^

The transition is eighteen measures long. In the first eight measures (a four-measure phrase repeated), the violin part is written in double-stops in which the upper voice is a dominant pedal (f ) and the contour of the lower voice moves in tenths with the bass line.

Two, four-measure phrases of new thematic material (the first featuring sixteenths and the second, the '^Scotch-snap") come to an abrupt modulation, a half cadence in the dominant key of F major.

The second theme group opens with a six-measure phrase, marked piano. in which the violin is written in sixths and the descending bass line has greater melodic significance. Ex. 66. Sonata Op. 1, No. 5 , I I I , m. 43-48.

r r.jj. i.r i>r7 ^ ^

1 *■ * * * i t * The phrase is repeated an octave lower and marked pianissimo. The next six measures, based on a two-measure, descending melodic pat­ tern, are freely sequential and shift from F major to D minor and

B-£lat major. The last six measures of the exposition reaffirm the dominant tonality.

The development is modulatory. It opens with a four-measure phrase of new thematic material in C minor and its transposition in

D minor. Two phrases in G minor, four and six measures long, based on passage-work in sixteenth notes follow and lead to a G major statement of the opening phrase of the second theme group. The concluding, eight measures of the development begin sequentially and return to the tonic key via C major.

The recapitulation, in its abbreviated form, begins at measure

99 with the transition. Except for the last two measures which are modified to continue in the tonic key, the changes, in the transition both harmonically and rhythmically, are slight. The second theme group follows in ’.the tonic key. Since the repetition, an octave lower, of the initial six-measure phrase would place it out of the range of the violin, only an exchange of voices, sixths replaced by thirds, takes place. The final twelve measures of the movement are similar to the related passage in the exposition( but the first six measures of the violin part, based on an ascending arpeggio in six­ teenth notes, are new. .99

Sonata Op. l f No. 6

Allegro moderato A major I Sonata form Adagio A major C Binary form

Andante A major 3 Theme and v a ria tio n s

Tonal scheme: First movement

i i n 34 HI * 1 « 74 »< ti it mi no I TE I —L - V i - 1- - f - M - H — I— H HI A -*E 3>E E £ •♦A A

Allegro moderato.- The opening movement, divided into two repeated sections of forty-nine and fifty-one measures, is in sonata

form.**

The first theme group is a single musical idea consisting of two four-measure phrases. The violin begins alone, as the continuo is delayed a measure and a half. In the violin part, both phrases contrast sixteenth notes and sixteenth-note triplets.

This is another of the Allegros which La Laurencie states has no recapitulation, but, again, the present analysis disagrees with his conclusion. 100.

Ex. 67. Sonata Op. lf No. 6 , I , m. 1-8. fllltjr* Mo^trtfo

H t B H=-Lrl f F E ^ - l-1 *■> 7 — * t 7

6 £ * * 7 * * In the transition, a six-measure, sequential passage of sixteenth- note triplets leads to an extended half cadence in E major, the dominant key. Most of the triplets consist of a falling third fol­ lowed by the skip of a large interval, most often an octave but some­ times a fifth, sixth or tenth. The bowing articulation, f T i , is

Ex. 6 8 . Sonata Op. 1, No. 6 , I , m. 9-10.

m 7 * The second theme group is four times as long as the first and consists of rapid passage-work, uninterrupted by rests and designed to display the versatility of the violin. The first ten measures, constructed in two-measure units, feature*sixteenth-note triplets with various articulations. Measures 19 and 20, freely sequential, are enhanced by trills and double-stops and contain the progression: i - N6 of V - V7 of V - V7. Ex. 69. Sonata Op. 1. No. 6 . I . m. 16-20. ------♦_____ ♦ ♦ f .hfoftijnin, ja M n fa

The violin bravura continues with a fifteen-measure passage in thirty-

second notes, sequential in structure. A descending arpeggio figure

dominates the first seven measures. The bass line, roots dropping

a fifth, consists of repeated eighth notes.

Ex. 70. Sonata Op. 1, No. 6 , I, m. 27-29.

In the following eight measures, three-octave, arpeggiated figura­

tion, freely sequential, assumes importance. A modulation to D major

occurs at measure 35, with a quick return to the dominant key three measures later.

Ex. 71. Sonata Op. 1 , No. 6 ,. I, m. 34-37.

The passage-work in the concluding eighth measures of the exposition reverts back to the sixteenth-note triplet and leads to a Btrong full cadence in the dominant key. A violinistic artifice, not used in the recapitulation, is found in measures 42 and 43. 102

Ex. 7 2 .t Sonata Op. 1 , Ho. 6 , 1, m. 42-43. k . k 3 — $ — i ~~y-~ —?r» - P 1 4 N = y w w E r t l r 1 The high e , the second note of the triplet figure, produces a syn­ copated effect and also creates the impression of a high pedal tone which stresses the new tonic.

The development opens with the first phrase of the first theme group in the dominant key. The following three measures modulate to a full cadence in A major and lead to a half cadence in F-sharp minor two measures later. A nine-measure phrase, beginning sequenr. tially and introducing new passage-work in thirty-second notes, con­ tinues in F-sharp minor and concludes with a strong full cadence.

A six-measure phrase, also in thirty-second notes, opens in E major and prepares for the recapitulation by leading to a half cadence, with a full stop, in A major.

The abbreviated recapitulation begins with the transition, which is shortened by one measure and modified slightly to allow for a natural continuation in the tonic key. The second theme group, three measures shorter, is basically the same as it appears in the exposition except that the three-octave arpeggio figuration is re­ placed by a new arpeggio figure written within the interval of a tenth.

Ex. 73. Sonata Op. 1 , Ho. 6 , 1, m. 98-99. 103

Though sequential, this latter passage avoids any modulations and remains entirely in the tonic key.

Tonal scheme: Second movement

I ) *1 10 m i) m it n I 1------1------H ----1—HI A e e ft a

Adagio.- The over-all organization of this slow movement is similar to what is frequently encountered in many works of the Baroque period. The form is binary, and the movement is divided by repeat marks into two halves of nine and eight measures. One mood or

"affection" pervades this movement, and the growth of musical ideas is dependent upon the expansion of thematic material derived from the opening phrase. The movement is distinctly unique as the violin

Is written in a highly elaborated style and almost entirely in double- stops. Only the opening phrase and the beginning of the first phrase of the second half are written as a single line.

The opening phrase is based on three repetitions of motive a. The first two are freely sequential and the third is partly in­ verted. The phrase ends with a full cadence. An ascending scale in the bass leads to what appears to be a repeat of the first phrase, but a new idea, written in thirds, evolves. It is repeated a whole step lower with only the first beat modified. 104

Ex. 74. Sonata Op. 1, No. 6 , I I , tn. 1-4.

1 ' m i n i T U 7 7

The inverted form of motive b is utilized in measure S. The

following measure, based on a descending, syncopated figure ( J'J 3 )

and a more active bass line in sixteenth notes, is sequential and

reaches a full cadence in the dominant key of E major in measure 7.

The concluding three measures, affirming the dominant key, are written

predominantly in thirds and are based on thematic elements found in

measure 1 .

The second half of the movement is more loosely organized.

The first phrase, two measures long, begins with only a single state­

ment of motive a in the dominant key before modulating to a half

cadence in the tonic. After an up-beat, consisting of an ascending

scale*fragment in thirds, the beginning of the next phrase is similar

to measure 3, but the violin proceeds to a short passage of contra­

puntal writing underlined by a modulation to B minor. The next two measures in F-sharp minor (m. 13 and 14) are marked by an increase

in the use of seventh chords. Suspensions accentuate the chromatic

inflexions found in measure 14. 105

Ex. 75. Sonata Op. 1, No. 6 , 11, m. 12-15.

i n - r - * -H p —f t f ■ f- 1

. t r t i J ■ j - *U 7 •?

■ r t t r n

The final three measures, returning to the tonic key, consist of

thematic material written in'.thirds similar to that found in the

first half. The only rhythmic variety introduced is the appearance

of the "Scotch-snap" figure in the penultimate measure.

This movement contains several examples of the use of double-

stops combined with staccato bowing. The best examples occur in

measures 3, 4 and 15*

Tonal scheme: Third movement

• S u II

I i i * ■i E

Andante.- The last movement is a theme and variations. The theme is a simple tune in binary form. Each half is repeated and 106 divided into two, four-measure phrases. The first phrase opens in

A major and ends in E major. The second phrase remains in E.

Ex. 76. Sonata Op. 1, No. 6, 1 1 1 , Theme, m. 1-8.

nininI M d ir iatiw v n r M v

In the second half, the first phrase is in D major, and the concluding phrase returns to the tonic key. The key sequence is kept intact throughout each variation. The basso continuo line, appearing only once, is unfigured, and therefore, some choice in the harmony is pos­ sible. Harmonic adjustments, due to melodic considerations, are necessary in the penultimate measures of each half plus in measure

14 of Variation 3 and measure 6 of Variation 7. The rhythm of the second half of the melody closely parallels that of the first half.

Measures 5 and 13 are exactly alike, but this relationship is carried over only in Variations 2,5, and 7.

The variations, all in the major mode, are miniature studies, characterized by a particular rhythm or a melodic figure, usually exploiting a specific bowing pattern. In none of the variations is the melodic outline of the theme obvious. It is the harmonic struc­ ture and not the melody that is elaborated.

Variation 1 deals primarily with a one-measure rhythmic pattern featuring a short trill and the "Scotch-snap" figure. In measure 3, the dotted rhythm is reversed. Ex. 77. Sonata Op. 1, No. 6 , III, Var. 1, m. 1-3.

In the second half, the first phrase is sequential, and the rhythmic pattern appears in the melodic form of measure 1. The concluding phrase continues the sequence for two more measures. The final chord of each half is preceded by a measure of even sixteenth notes.

Except for the last two measures of each half, Variation 2 is based on a one-measure melodic pattern which begins after an eighth rest. An important feature is the skip of an octave, embellished by a major seventh, on the third and fourth beats.

Ex. 78. Sonata^ Op. 1, No. 6 , I I I , V ar. 2 , m. 1.

The intervallic relationships of the melodic figure are changed only

In measure 4 where the seventh is replaced by a sixth and the octave by a tenth. Sixteenth-note triplets are Introduced in the penultimate measure of each half.

Variation 3, more energetic than the previous two, is dominated by the '^Scotch-snap" figure which is given special prominence in a short, jerky figure which alternates legato and staccato bowing.

Ex. 79. Sonata Op. 1, No. 6 , III, Var. 3, m. 1-4. 108

An unexpected passage o£ chromatic vrltlng is found in measures 13 and 14 where the rhythm of the '^Scotch-snap" has been discontinued but reoccurs in measure 15.

Ex. 80. Sonata Op.lt No. 6 t I I I , V ar. 3 , m. 13-16.

Variation 4, the central one of this group of seven variations, is a pleasant calm between the energetic third and the bustling fifth that follows. This variation is a study in double-stops -- only m easure 1 2 , a cadential measure, does not have any.

Ex. 81. Sonata Op. 1, No. 6 , I I I , V ar. 4 , m. 1 -6 . Mt- i.pi-fl- t rq (i. I'-Tn&i j]. rffi "1- — i-y * ? " 11 — t-4'm ~y -- | ~~~* f — t r y •• U '*r«y t f y ? The rhythmic scheme of each half closely parallel each other -- a characteristic of the theme. The reduced rhythmic activity of the variation recalls the simplicity of the theme.

Variation 5 is busy. The music scurries along in a continuous passage of sixteenth-note triplets which exploit the special type of bowing known as bariolage. With each bow stroke, either two or three strings are contrasted.

Ex. 82. Sonata Op. 1, No. 6 , III, Var. 5, m. 1-2. MiS /S i

The structure of Variation 6 is unique. The rhythmic scheme of each half is exactly the same except for one measure. (Measures

6 and 14 differ). 109

Ex. 83. Sonata Op. 1, No. 6 , III, Var. 6 , m. 1*8.

This sim ilarity In rhythm also exists between phrases. The first three measures of each phrase are rhythmically identical. Only measure

14, which furnishes an uncommon example of a series of rapidly as­ cending appogiaturas played simultaneously with staccato bowing, breaks the pattern. In his treatise, Principes du violon. L'Abb£ le fils

1 calls this ''petite note un coule."

Ex. 84. Sonata Op. 1, No. 6 , III, Var. 6 , m. 14,

** - -f —f—f— F —I—

Melodically, the most conspicuous feature of Variation 6 is th e ascending chromatic scale which rounds off each half.

Variation 7 ends the movement in brilliant fashion. The sixteenth-note triplet returns, and the variation is dominated by passages of ascending broken chords and several measures of bariolage.

12 L'Abbe le fils CJ.~B. Saint-Sevinl, Principes du violon (Paris: Chez l'auteur, 1761), p. 16. 110 Ex. 85. Sonata Op. 1, No. 6 , 111, Var. 7, m. 1 and 5.

x z

In measures 1 and 14, the broken chord figuration is significant as 3 i t reaches a high a , the highest note demanded of the performer in th is opus. Summary

The sonatas of Opus 1 each consist of three movements in the

order fast-slow-fast or fast-slow-moderate, except Sonata No. 3 which

is slow-fast-moderate. All the fast first movements and the second movement of Sonata No. 3, are in sonata form. The slow movements

of Sonatas Nos. 1, A and 6 are in binary form; in Sonatas Nos. 2, 3

and 5, the form is ternary. The third movements offer more variety.

The third movement of Sonata No. 1, Tempo di minuetto. is in a three-

part form - ABC. In Sonata No. 2, there is a rondo. The third move­ ments of Sonatas Nos. 3 and 5 are in sonata form, and in Sonatas Nos.

4 and 6 , the third movements consist of a theme and variations.

Only the slow movements of Sonatas Nos, 1 and 2 are set in a key other than the tonic - the slow movement of Sonata No. 1 is in the relative minor, the slow movement of Sonata No, 2, in the subdominant major. The keys and forms of the movements of the sonatas of Opus 1 are listed collectively in the following table. 112

TABLE I sonata MOVEMENT KEY FORM

No. 1 Allegro assai D major Sonata form ■ Andante B minor Rounded binary form Tempo di minuetto D major Three part form

No. 2 Allegro Moderato e dolce G minor Sonata form Adagio E-flat major Ternary form - ABA' A llegretto G minor Rondo form

No.3 Adagio B minor Ternary form - ABA Allegro B minor Sonata form A llegretto B minor Theme and variations

No. 4 Allegro G major Sonata form Adagio G major Rounded binary form A llegro G major Sonata form

No. 5 Allegro B-flat major Sonata form Adagio B-flat major Ternary form - ABA' Allegro assai B-flat major Sonata form

No. 6 Allegro moderato A major Sonata form Adagio A major Binary form Andante A major Theme and v ariations

The length and nature of the f ir s t theme groups in the sonata form movements are quite different and vary from a six-measure theme, a three-measure antecedent phrase followed by a three-measure conse­ quent phrase (second movement of Sonata No. 3), to a twenty-measure passage consisting of two different ideas - the first, a balanced eight-measure period and the second, two contrasting, six-measure phrases (third movement of Sonata No. 4). When the phrase structure is periodic the antecedent phrase generally leads to a full cadence; the consequent phrase leads to a half cadence. When the phrase structure is not balanced, the complementary phrase also leads to a half cadence. The tonic to n a lity of the f i r s t theme group is 113 disturbed, by a decorative, modulating sequence, only in the third movement of Sonata No. 4.

though marked off by cadences, the second theme group is primarily a new tonal area which is based on passage-work figures and in which the exact and sequential repetition of two-measure units is common. In the f i r s t movement of Sonata No. 2 , the f i r s t phrase of the opening theme, and in the third movement of Sonata No. 5, a new four-measure phrase, are introduced before the passage-work is begun. Only the short second theme group of the first movement of

Sonata No. 5 is not based on passage-work ideas. In general, the sense of contrast of the second theme group is dependent upon tonal rather than thematic considerations.

In a l l the sonata form movements s e t in a major key, the second theme groups occur in the dominant key in the exposition.

This dominant tonality is disturbed slightly by a decorative, modu­ lating sequence only in the third movement of Sonata No. 5 and the first movement of Sonata No. 6 . In the two sonata form movements s e t in-a minor key, the second theme group of the first movement of Sonata No.

2 begins in the relative major and by means of a sequential passage shifts to the dominant minor; the second theme group of the second movement of Sonata No. 3 remains e n tire ly in the r e la tiv e major key.

The development sections are all modulatory although the development section of the third movement of Sonata No. 4 has a somewhat s ta t i c q u a lity about i t as i t is se t in only two keys -the dominant and the relative minor of the tonic. A partial statement of the opening theme, in the dominant key, occurs at the beginning 114 of the development In five of six movements se t in a major key - the first movement of Sonata No. 1, the first and third movements of

Sonata No. 4t and the first movements of Sonata No. 5 and Sonata No. 6 .

No definite plan governs the treatment of the recapitulation.

In all cases, however, the recapitulations are abbreviated as a com­ plete restatement of the material as presented in the exposition is not used. The recapitulations of the sonata form movements of Opus 1 are treated as follows:

F irst movement, Sonata No. 1 - based on the second theme group plus one additional measure.

F irs t movement, Sonata No. 2 - based on the second theme group; reflects the two-key setting as found in the exposition.

Second movement, Sonata No. 3 - begins with the f i r s t theme group plus transition, continues with material from development, rounded o ff with a new cadential formula.

F irst movement, Sonata No, 4 - based on a shortened version of the first theme group, extended by m aterial from the development and concluded by a cadential formula similar to that found in the exposition.

Third movement, Sonata No. 4 - based on a shortened version of the first theme group, no transition, and the complete second theme group.

FirBt movement, Sonata No. 5 - based on a shortened version of the second theme group with the thematic ideas rearranged.

Third movement, Sonata No. 5 - begins with the transition and a partial statement of the second theme group; the closing measures are based on new passage-work ideas though constructed similarly to those concluding the exposition.

F irst movement, Sonata No. 6 - begins with the tra n sitio n followed by the second theme group with one section modified. 115

Only two slow movements, those found in Sonatas Nos. 2 and 5,

In ternary form, are not sectlonalized by repeat signs. The two slow

movements In rounded binary form, In Sonatas Nos. 1 and 4, are of the

type In which the first part of the theme reappears in the second sec*

tlon. Tonally, the slow movement of Sonata No. 5, in ABA* form, is

exceptional as the return of the principal idea in Part A' does not

occur in the tonic key of B-flat major but in C minor. A modulation

to E*flat major also occurs before the tonic key is presented in the

closing cadentlal phrase.

The concluding movements of Sonatas Nos. 1, 2, 3 and 6 , not in

sonata form, are written in a moderate tempo and are labeled, Tempo di

Minuetto. Allegretto, Gratioso and Andante. The Tempo di Minuetto

movement, in three parts (ABC), is not sectlonalized by repeat marks

like the usual minuet movement found in works of the Classical period.

The contrasting middle section is also not a trio, but is labeled,

Minore e piano. The Minore section does not remain exclusively in the minor mode but also shifts to the major. Unlike the classical minuet,

the third section, Part C, is not a Da capo repeat of Part A nor a 13 varied repetition as state'd by La Laurencie. The thematic material

is quite distinctive and much more ornate. In the Allegretto, a rondo, while the contrasting sections differ tonally from the main theme, only

the final contrasting section introduces any startling rhythmical change.

The Gratioso and Andante movements are sets of brilliant variations used as vehicles to display various facets of a violinist's technique.

Both themes are se t in binary form from which the variations do

13 La Laurencie, L'Ecole francaise, II, 318. 1 1 6 not deviate. Each variation is based on a specific melodic motive or rhythmic figure which characterizes the variation. At least one variation is written in double-stops.

The melodic writing of the fast movements is characterized by the usual galant traits such as the frequent use of the trill, desig­ nated by a cross (+), the short trill in particular, lower and upper appoglaturas, series of eighth- and sixteenth-note triplets and various dotted rhythms, particularly the "Scotch snap". (All of these charac­ teristics are exemplified in the third movement of Sonata No. 4.)

Double-stops are prominent in Variations 8 and 9 of the third move­ ment of Sonata No. 3 and Variation 4 of the third movement of Sonata

No. 6 . A limited use of double-stops is found in the first movements of Sonatas Nos. 2 , 4 and 5 and in the th ird movements of Sonatas Nos.

4 and 5. In the third movement of Sonata No. 1, Tempo di Minuetto, upper and lower pedal points are incorporated in the violin line to reinforce the sonority. This reinforcing of the sonority is also supplied by three-note chords used in the initial theme of the opening and closing sections of the above menuetto movement and by four-note chords used in the opening theme of the first movement of Sonata No. 4.

The slow movements are lyrical pieces not highly ornamented.

Except for the trill, melodic embellishments, more prevalent in the slow movements of Sonatas Nos. 2 and 4, are w ritten out and add to the ex­ pressiveness of the melodic line. The slow movement of Sonata No. 3, the opening Adagio, is unusual as it is written entirely in double- stops'. These are also very prominent in the longer, slow movement of

Sonata No. 6 . 117

Although considerable use Is made o£ seventh chords, especially secondary dominants and occasionally incomplete ninths, the harmonic vocabulary, with its stress on the primary chords, is conservative

throughout the six sonatas. The appearance of secondary dominants often results in chromatic coloring being added to both the violin and bass line - to the latter when the chords occur in first inversion.

Notable short passages of chromatic writing are found in the second movement of Sonata No. 3 (Ex. 36), the first and second movements of

Sonata No. 5 (Exx. 36, 61) and the chromatic scale fragment found in

V ariation 6 of the last movement of Sonata No. 6 (Ex. 83). An aug­ mented sixth chord occurs in measure 9 of the slow movement of Sonata

No. 2 (Ex. 26), and a Neapolitan sixth is found in measure 63 of the last movement of Sonata No. 4 (Ex. 53). In each case, this is the only use of these chords. The cadential formula II§ - 1$ - V - I is fre­ quently used to confirm the tonality of a passage. Only full and half cadences are found in Opus 1, except in one instance where a deceptive cadence occurs, in measure 3 of the slow movement of Sonata No. 5

(Ex. 61). 118

Violin Technique

In Opus l t the writing for the violin falls within the first 3 seven positions, the range being G to a , The bulk of the writing, however, is mainly in the first three positions and isconcentrated on the upper three strings. Sonatas Nos. 2 and 5 remain entirely 3 within the first three positions (G to d ). The range of Sonata No. 3 1 is G to f-sharp , which normally covers five positions, but the specific fingering added in measures 75 and 76 and the similar mea­ sures 83 and 84 of the third movement require an ascent to sixth posi­ tion on both the A and E strings.

Ex. 8 6 . Sonata Op. 1, No. 1, I I I , m. 75-76.

In general, there is very little fingering added by the composer, as much of it can be determined by a competent violinist. When specific fingerings do appear, Gavinies has tried to exploit additional string colors. In most cases, the passage becomes more complicated, and greater agility is required of the bow arm. The above and following example illustrate this point.

Ex. 87. Sonata Op. 1. No. 4. III. m. 32-33.

Fifth position is required in Variation 6 o f the la s t movement of

Sonata No. 3 (Ex. 44). In Variation 4 of the same movement, Gavinies has added fingerings which require the use of half position. This is the only instance where fingering in half position is specified. 119

Ex. 8 8 . Sonata Op. 1, No. 3, III, Var. 6 , m. 7 u

In the third movement of Sonata No. 4, the passage-work ascends to the

seventh position. (The following example also Includes a measure with

specific fingering added by the composer).

89. Sonata Op. 1, No. 4, III, m. 36-37.

3 The high a also appears in the brilliant, final variation (No. 7) of

the la s t movement of Sonata No. 6 but can be reached with an extension

from f if th position (Ex. 85).

Although the greater part of the violin writing lies within

the first three positions, much of the passage-work requires a clean

left-hand technique plus an excellent command of the bow. Some of the more demanding passage-work is based prim arily on arpegglated and broken-chord figuration including the skipping of strings. Typical passages are illustrated by the following examples.

Ex. 90. Sonata Op. 1, No. 4, III, m. 23-26.

Ex. 91. Sonata Op. 1, No. 4, 1, m. 21-24. 120

In general, careful attention has been paid to the marking of the diverse bowing articulations found throughout the six sonatas of this opus. Besides the various legato groupings, a short vertical line I over or below a note ( ^ ) is used to indicate single bow strokes.

L'Abb£ le fils, in his Prlncipes. states that notes marked in this way

"doivent etre detach£es. However, he does not describe the manner in which these bow strokes should be played. Another bowing, indicated like staccato in present-day printing ( a n ) and called le coup d'archet articule by L'Abbe le fils, is found occasionally (Ex. 8 ).

L'Abbe le fils indicates that with this bowing each note should be ar- 15 ticulated with perfect equality when played either up- or down-bow.

The proper bowing of only two passages, written in double-stops and contrapuntal in character, is somewhat ambiguous as single or changing bow strokes are Indicated against a sustained note (Exx. 59,

75).

^L'Abb^ le fils, Prlncipes, p. 3.

1 5 Ibid., p. 54. CHAPTER V

SIX SONATAS FOR VIOLIN AND BASSO CONTINUO, OP. 3

The second collection of six sonatas, Op. 3, by Gavinies ap­ peared in 1764, and its sale by the composer was announced in the

Mercure de France.* The original title-page reads as follows:

SIX / SONATES / A / Violon Seul Et Basse / PAR / P. GAVINIES / H ie OEuvre / Grave par M^Ue Vend 6 me chez M. Moria / Prix 9 llvres / A Paris / Chez l'Auteur / Et aux Adresses ordinaires / A.P.D.R. / Impriml par Richomme.2

The Sieber edition appeared around 1780. The title-page reads as fo llo w s:

SIX / SONATES / A / Violon Seul Et Basse / PAR / P. GAVINIES / I I I em OEUVRE / Gravl par Melle Vendome’ Chez M. Moria / Prix 9ty. / A PARIS / Chez L'Auteur rue St Thomas du Louvre / Le Sr Sieber rue Sc Honore a 1 'h o tel D 'A ligre / AVEC PRIVILEGE DU ROY3

Mercure de France. February, 1764, p. 165. 2 Quoted in Lionel de La Laurencie, L'Ecole francaise de violon de Lully a Viotti (3 vols.; Paris: Librairie Delagrave, 1922-24, II, 287. 3 A copy of this edition is held by the Music Library of the Uni­ versity of Michigan. See Karlheinz Schlager, comp., EinzeldrUcke vor 1800, Repertoire international des sources musicales; Internationales Quellenlexikon der Musik; International Inventory of Musical Sources, Vol A/I/3 (5 vols. to date; Kassel and Basel: B&enreiter, 1971- ), p. 173.

121 122

A copy of this edition in the Hirsch Library has an "Augte. Le Due" 4 label pasted over the original itnprint. (See Plate IX for a repro­

duction of the title-page.)

4 Catalogue of Printed Music in the British Museum; Part 53 - Music in the Hirsch Library (London: The Trustees of the British Museum, 1951), p. 31. PLATE IX

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Title-page, Gavinies Sonatas, Op. 3 (Sieber edition with "Augte. Le Due" label)

123 124

Sonata Op. 3 t No. 1

2 A llegro A major 4 Sonata form

Adagio E major I Rounded binary form 3 Presto A major 8 Sonata form

Tonal scheme: F irs t movement

1 li 11 XH )1 H7 4 1 i t * 4

:|s— I—+ E e

A lleg ro .- The f i r s t movement is in sonata form with two r e ­

peated sections of thirty-six and forty-eight measures.

The first theme group consists of a six-measure phrase of which

the structure is 2 + 2 + 2 (aa'b). The phrase ends with a full cadence.

Ex. 92. Sonata Op. 3, No. 1, I, m. 1-6.

tj j j i j j ii j j j-|jj fi u t »------»------* ------»-----— 7 , The transition is comprised of two contrasting phrases of new thematic material. The first phrase, marked piano, consists of the repetition

of a two-measure sub-phrase based entirely on dominant harmony. The

second phrase, marked forte, is six measures long. The first four measures, sequential in structure, feature a descending, staccato scale fragment and modulate to half cadence in E major. The last two measures, based on a descending arpeggio figure, are a forte affirmation of the dominant of the dominant key. 125

After this emphasis on the new dominant chord, the second theme

group opens so ftly (marked piano) and unexpectedly in the key of the

dominant minor. The first six measures, leading to a half cadence,

are a modified sequence based on a two-measure melodic pattern. The

contlnuo is delayed a measure and does not participate in the sequen­

tial pattern established in the violin part.

Ex. 93. Sonata Op. 3, No. 1, I, m. 17-23.

t .0 . 0 - ..igv ~ i f

I I * «i— * J The sudden forte outburst in the violin (m. 23) establishes the major

mode. The nine measures of passage-work in sixteenth-note triplets

slurred in threes, treated sequentially, lead to a deceptive cadence.

The closing four measures, borrowing elements from the transition,

conclude the exposition with a full cadence in the dominant major key.

The development begins with a dominant statement of the first

theme group. Two phrases, based on material drawn from the piano

phrase of the transition, follow. The first phrase is in B minor;

the second phrase modulates, via E major, to a half cadence in C-sharp

minor. The final eight measures of the development remain in C-sharp minor. There is no dominant preparation of any kind for the recapitu­

lation. The first six measures of the final eight, sequential in struc

ture, are based on passage-work in sixteenth notes and arrive at a deceptive cadence. A two-measure cadential extension, introducing

sixteenth-note triplets, is related thematically to the preceding two measures and closes the development with a full cadence. 126

In the recapitulation, the second theme group follows directly

after the first theme group since the entire transition is omitted.

As in the exposition, the first seven measures of the second theme

group are in the minor mode. The concluding measures are in the tonic

key of A major.

Tonal scheme: Second movement

I S * i) 16

l------i - i — m— .— 1------Hi E B f t E

Adagio.- The slow movement, in E major, is a short piece of placid, easy-flowing music. The simplicity of the music is enhanced by the uncomplicated diatonic writing, both in the melody and the harmony.

Ex. 94. Sonata Op. 3, No. 1, II, m. 1-4 ^ ^ cm

The form is rounded binary with each half containing two four-measure phrases. The modulation to the dominant in the second phrase of the first half is noteworthy since the key is B major -- a tonal area used rather infrequently*

The second half begins in F-sharp minor, the dominant minor of

B major, with a new, two-measure idea which is repeated a step lower in the tonic key o£ E major. The final phrase is a restatement of the concluding phrase of the first half in the tonic key. This analysis is in disagreement with La Laurencie who states that "le theme . . . onduler de la tonalite principale a celles de la dominante, de la m&diante e t de la sous-dominante.

Tonal scheme: Third movement

■ n ii n « cs n v t I I t I I------1— I— i------1------f ----1— n ------1—I------1------i|| R a A E b ti b A aft

Presto.- While the overall organization of the last movement is is sonata form, certain Baroque traits and processes are present. The most notable are a more melodic bass line, a fast harmonic rhythm and a melodic tendency to expand through the sequential or free repetition of short, melodic motives. In the exposition, the obvious cadence in measure 12 and the change to longer note values in measures 13 to 16 negate the possibility of a continuous, spun-out melodic line.

The first theme group is an extended twelve-measure phrase which acq u ires i t s length by means of sequence and re p e titio n . S ix - teenth notes, mainly with the articulation f ifft I are its principal 03333 featu re.

5 \ Lionel de La Laurencie, "Gavinies et son temps," La Revue mu8 icale, February, 1922, p. 144. Ex. 95. Sonata Op. 3t Mo. 1, III, m. 1-12.

f }■ i j J f j I j y

t-*-* m mm i

m i £ » Viw * 4 The transition has two parts. The first part (measures 13-16) con­

sists of the repetition of a two-measure unit which slows the motion

to eighth notes and introduces a change of mode (A minor). The con-

tinuo line alternates similar and oblique motion with the top line of

double-stops in the violin part, while the lower line is a dominant

pedal. The augmented sixth chord on the second beat of measures 14

and 16 adds chromatic flavoring.

Ex. 96. Sonata Op. 3, No. 1, III, m. 13-16. y liJJ | hJifl .|-U T M fe r r r gjgjg .fl bfj I Lf f l-fiffi * 1* .AIM » ‘ * H*®» The second part of the transition, ten measures long, returns to A major and reintroduces sixteenth notes. The first measure, related to measure 5, is followed by three, freely sequential measures which modulate to the dominant. A strong full cadence in the new key is 129 delayed by a four-measure cadentlal elaboration based on a new, two- measure pattern in which an ascending scale fragment alternates with a repeated note. Its repetition is varied with new harmony and a different continuo line.

Ex. 97. Sonata Op.3, Mo. 1, I I I , m. 21-26.

f Vi 1 JlibJ 1*1 1 R g — £ —»-»-■4 ----i—JLLJ ---- * Jityj ■*-#—-

«##= = = f i r * -ft- I f 1 ■ ^ -H - ■ - r - 1 ^ ..\zjzz 316 * J S t f J * f * + 1

Overlapping occurs at the cadence, and the sixteenth-note fig­ uration of the transition continues uninterruptedly into the dominant key area. Although the figuration is different, no clear-cut or con­ tra stin g idea marks the second theme group. After three measures of passage-work supported by an ascending, sequential bass-line, the re­ mainder of the second theme group consists of the repetition of a two-measure pattern followed by a four-measure pattern varied slightly and repeated an octave lower.

The development continues the passage-work in sixteenth-notes found in the exposition. Instead of the usual dominant key, the second half begins with a six-measure phrase in B minor. The following twelve measures, leading to the recapitulation, are modulatory. The first four measures, a two-measure unit repeated, are in F-sharp minor, the next four, treated sequentially, pass from F-sharp minor through B minor to A major, the tonic. The final four measures, freely sequen­ tial, lead to a half cadence in the tonic key. 130

The abbreviated recapitulation omits the first theme group and begins with the four“measure, minor phrase of the transition. The second part of the transition is modified to allow for a natural con­ tinuation in the tonic key. The first four measures happen to be the same as measures 5 to 8 of the first theme group. The remainder of the movement is a restatement, in the tonic key, of the second theme group as presented in the exposition. 131

Sonata Op. 3, Mo. 2

Allegro B-flat major < Sonata form

Adagio G minor Binary form

PresCo B-flat major Sonata form

Tonal scheme: First movement

7 tj ii is ri *7 lb Zb I -X- — h ■ f— 4 - Nr -♦F F & >d Bb

Allegro.- The opening movement is made up of two sections of

approximately equal length, thirty and thirty-four measures, respec­

tiv ely .

The f i r s t theme group consists of two six-measure phrases. The

first phrase, leading to a full cadence, divides into two-measure units with an abb design and is strongly diatonic.

Ex. 98. Sonata Op. 3, No. 2, I , m. 1-6.

m

The second phrase, patterned in two-measure units, introduces a few chromatic inflexions and concludes with a half cadence. 132

Ex. 99. Sonata Op. 3 , No. 2 , I , m. 7-12.

The transition is ten measures long and remains in the tonic

key until the final two measures where a sudden modulation to the

dominant occurs. The first four measures are based on triplet figura­

tion while the last six give prominence to "Scotch snap" figures.

The second theme group is very short — a mere eight measures.

In the initial five-measure phrase, a new dotted figure, embellished with a trill, is introduced but not pursued. The final, three-measure

phrase, opening piano and ending forte, is cadentlal and only affirms

the dominant key.

A new idea, retaining the rhythm of the first measure of the

f i r s t theme group, opens the development in the dominant but quickly

leads to a full cadence in the tonic. The following eight measures, partly sequential, continue in B-flat major and proceed, via two mea­ sures in G minor, to a half cadence in D minor. Now there follows,

in D minor, an unexpected statement of the first phrase of the first 133

theme group. An ascending chromatic Inflexion (measure 48) In the violin, marked pianissimo, leads to a single statement of part "b"

of this first phrase in the tonic key. Through this subtle procedure,

the music arrives at the abbreviated recapitulation.

Ex. 100. Sonata Op. 3, No. 2, I, m. 48-50.

i H S f

p a n t f f i mo

yi> f ■ I * t r * I % 3 *

The recapitulation proceeds with the second phrase of the first theme group. The e n tire tra n sitio n is omitted, and the movement ends vith a slightly modified restatement of the second theme group.

Tonal scheme: Second Movement

I 1 14

I 1 i 1 ■— 1------II • 3 W 9

Adagio.- The second movement, sixteen measures long, is in simple binary form. Each section consists of a regular eight-measure period and is not repeated. The melodic line is supple and expressive 1 2 with a range of a minor tenth (g - b-flat ). Thirty-second notes are a principal feature. Both phrases of the first section open with the 134

same thematic material. The first phrase leads to a full cadence in

the tonic; the second modulates to a full cadence in the relative major key of B -flat. * Ex. 101. Sonata Op. 3, No. 2, II, m. 1-4.

f e r r i ffisv -l— bJg_LE-1--^ 1 « i 11 1 i i 1 « 1 | / i q — I n — I — 1"t— UUti S ------ti 5 — T T 7 * , '•* 1 *

The first phrase of the second section, partly sequential, returns to the tonic key. The third measure of the phrase makes use of the thirty-second notes found in measure one. The concluding phrase, based on new thematic material, affirms the tonic tonality and leads to a full cadence.

Tonal scheme: Third movement

• II 17 H 5J Iff «* 41 4f 77 9S 7 7 lo g I IhUb Ic 1 lUlaHV It I------«— H ------1------# ------) ■■ ■■— ------1 II Bfc -»F F i UK ) K

P resto .- The la s t movement is in sonata form. Each repeated section is forty-four and sixty-four measures long, respectively.

The first theme group, ending with a full cadence, is ten measures long and subdivided into two parts by a weak plagal cadence, 135

iv£ - I, in measure 5. An uncommon feature found in the opening two

measures is the three against two rhythm (the triplet figure in the

Violin against the broken octave in eighths in the continuo part).

Triplet figuration becomes prominent in the second half. 9 Ex. 102. Sonata Op. 3, No. 2, I I I , m. 1-10.

» * 3

The transition, due to Its brevity (six measures), is not smooth. It opens interestingly with an imitative passage between the violin and bass line but abruptly modulates to a full cadence in the dominant key, F major.

The second theme group, consisting of twenty-eight measures, comprises two-thirds of the exposition. Except for two beats, where the dotted figure, n , is used, the second theme group is based entirely on triplet figuration similar to that found in the first theme group.

Formally, the second theme group divides conveniently into three parts. The first part, Ila, consists of four measures (a two-measure melodic pattern repeated). 136

Ex. 103. Sonata Op. 3, No. 2f III, m. 17-18.

4r -----

The second part, lib, twelve measures long, contains the surprising harmonic progression, V7 - 1^3 - N 6 of V - V, over a dominant pedal.

An Interesting succession of seventh chords follows (measures 25 to 29)

Ex. 104. Sonata Op. 3, No. 2, I I I , m. 25-29.

"M * i

The final chord of the cadence marks the beginning of the third part,

IIIc, which consists of a new eight-measure phrase (a four-measure unit repeated) plus a four-measure cadential formula.

The development begins with a complete statement of the first theme group in the dominant key. The remainder of the development is modulatory and based on triplet figuration similar to that found in the exposition. After a six-measure phrase in C minor, the music proceeds sequentially through B-flat major and A-flat major (triplets and eighth notes are alternated between the violin and the bass line) to reach G minor. 137 Ex. 105. Sonata Op. 3, No. 2, III, m. 61-68.

The concluding eight measures o£ the development remain in G minor

and end on an extended full cadence. The violin line descends mainly 2 by step from a high b-flat to the open G string at the cadence.

An abbreviated recapitulation is used as both the first theme

group and transition are omitted. Before the second theme group is

presented in the tonic key to round off the movement, an unusual pro­ cedure is employed. Part 11a of the second theme group is inserted in

the dominant key. Its function is not clear, but this insertion of part Ila may be interpreted as having dominant function and is in­ cluded as part of the recapitulation. 138

Sonata Op. 3 , No. 3

Allegro ma cantabile G minor % Sonata form 3 Adagio Cantabile G major 8 Rounded binary form 2 Presto G minor 4 Sonata form

Tonal scheme: First movement

17 II tt *0. <7 51 n I t

3

Allegro ma can tab ile.- The f ir s t movement, divided by repeat

marks into two equal sections of thirty-tw o measures, is in sonata form.

Formally, the movement is unusual due to the reversal of melodic ele­

ments of the f i r s t theme group.

The first theme group consists of four, four-measure phrases.

In outline, the phrase sequence is as follows: a + b + a' + c. The

f irst eight measures constitute a regular period in which the first

phrase cadences on the tonic and the second phrase on the dominant.

Both phrases give prominence to dotted rhythms. The first phrase is

also characterized by the dynamic markings found in the first two measures. 139

Ex. 106. Sonata Op. 3, No. 3, I, m.1-8.

The next phrase appears to be a varied repetition of the first phrase,

but instead, leads to a full cadence in the relative major key of

B-flat major.

Ex. 107. Sonata Op. 3, No. 3, I, m. 9-12.

3 « t i % i t

The following four measures (a two-measure unit repeated) affirm the new tonality apd lead to another full cadence. A new six-measure phrase, beginning in the home key of G minor, functions as the transi

tion and modulates to a half cadence in the dominant key, D minor. 140

Ex. 108. Sonata Op. 3, No. 3, I, m. 17-22.

$ i w i

% H #

The lnclpit of the first theme group, transposed to the dominant

minor, opens the short second theme group. Three measures of new

thematic material follow, are repeated but altered to end with a ris- % ing, thirty-second-note figure (the alternation of a D minor melodic

scale and a repeated d') which leads to a two-measure cadential ex­

tension.

Ex. 109. Sonata Op. 3, No. 3, I, m. 23-32.

»..... P - - i — r i

The development begins with the opening measures of the first

theme in the relative major key of B-flat. The third measure is al­

tered to permit a modulation to C minor. A two-measure unit is re­ peated and leads to a full cadence. The six-measure transition, 141 transposed to provide a modulation from G minor to the tonic key of G minor, is used to prepare the recapitulation.

An abbreviated recapitulation follows. It begins with the third phrase of the first theme group with its modulation from G minor to

B-flat major, but a two-measure extension quickly returns the tonality to the. tonic key. At the cadence, a rising, extended scale-passage in thirty-second notes leads to the second phrase of the first theme group.

The phrase sequence of the first -theme group as it appears here is: a' + ext. + b. No transition is used, and in the second theme group, the incipit of the first theme group is also omitted. Since the mode is already minor, no adjustments are necessary, and the remainder of the second theme group is a restatement of the same material found in the exposition.

Tonal scheme: Second movement

• s t n xs »

I— 1— *-“l ------t-I-1— '— 1— I & J> A f t

Adagio cantabile.- The second movement, written in the tonic major, is in rounded binary form. Each half has sixteen measures, but they are not divided by repeat marks. In general, the violin part is quite florid with the turn as the principal embellishment. 142

The first eight measures, are a regular period in which the first phrase leads to a plagal cadence and the second ends on a full cadence.

Ex. 110. Sonata Op.3, No. 3, 11, ,m. 1-8.

-h-tfivf r ir^w iJT I ^4|

j — »— »• 4— *■ 7 t 7

(The first measure of each subsequent eight-measure unit is based on the rhythm of the opening measure, including the turn). The next eight-measure phrase modulates to D major and arrives at a full cadence.

The final chord, however, is minor. A descending, sixteenth-note fig­ ure in the bass line leads into the second half of the movement.

The first four measures, based on the repetition of a two- measure melodic pattern, utilizing the opening motive, are freely sequential and pass from A major to G major. Four additional measures affirm the tonic key and conclude with a half cadence. The following four measures are based on the second phrase of the opening period with only the cadence modified. The concluding four measures are cadential and introduce a modal inflexion in the second last measure. 143

Tonal scheme: Third movement

l I » n 49 ff f t *7 71 77 la Zb X l b x 1 - 1 ----- 1------L. H- » I 1 1 H- ♦ — *------1 % m ->Bb Bb a 3 -*S

PreBto.- The last movement, in the tonic key of G minor, is

in sonata form. The first repeated section has forty-two measures.

The second section, with an expanded development and an abbreviated

recapitulation, has fifty-six measures.

The first theme group, twelve measures long, consists of a

four-measure phrase (a two-measure unit repeated) and an overlapping

eight measure phrase (a four-measure unit repeated). The first phrase 2 is highlighted by the initial two-octave (g-g ) leap. The second

phrase begins with an ascending broken chord figure which appears

later in the second theme group and in the development. In the rep­ etition, the broken chord figure is embellished with a lower appog- glatura chromatically altered three times to be a minor second away

from the main note. 144

Ex. 111. Sonata Op. 3, No. 3, III, m. 1-12.

The structure of the transition, sixteen measures long, is based on a succession of different ideas grouped in two- and four-measure units. The first four measures, in G minor, are related, thematically and rhythmically, to the opening phrase of the first theme group, but the two-octave leap has been reduced to a minor seventh. The following four-measure phrase, plus an exact repetition, proceed to B-flat major, but due to the sequential character of this passage, the new tonality is not firmly established. The rhythmic activity is reduced in both the violin and continuo parts. The violin has eighth-notes embellished with a lower appoggiatura, in some cases, chromatically altered to be a half step away from the main note. The continuo descends in half notes from the sub-dominant to the tonic. 145

Ex. 112. Sonata Op. 3, No. 3, 1 1 1 , m. 17*20 and tn. 21-24.

y Ll. |i I f I <1 I J I «, t t- I

In the concluding four measures, sixteenth notes return to the violin part while the preceding bass line, in half notes, appears in diminu­ tion, in quarter notes, before arriving at the half cadence in B-flat major.

The second theme group, entirely in the relative major key,

B-flat major, consists of a succession of various, two-measure ideas.

The first is a sixteenth-note passage in which a melody note alternates with a repeated note. The passage, played twice, is written over a tonic pedal, marked Tasto solo, but figures are Included. The ascend­ ing, broken chord fig u re of the f i r s t theme group follow s. Four mea­ sures (a two-measure unit repeated), employing the "Scotch snap" with a lower appoggiatura, lead to a full cadence. A two-measure cadential extension affirms the key of B-flat major.

Except for the fifth and sixth measures which reintroduce the broken chord figure of the first theme group, the development is based on new thematic m ateria l. The harmonic scheme has the f i r s t eight measures in B-flat major, and the remainder of the development in D minor. Periodic structure, similar to that found in the exposition, prevails. The first two periods consist of two four-measure phrases of which the antecedent phrase, concluding with a full cadence, is 146

always a two-measure unit repeated. The consequent phrase ends with

a half cadence. The third period is similar~.in structure, but the

consequent phrase ends with a deceptive cadence (m. 65-66).

Ex. 113. Sonata Op. 3, No. 3, 111, m. 65-66.

The latter phrase is repeated with the cadence altered to end on a tonic

chord. A four-measure tonic pedal (in D minor), with violin figuration

related to the opening phrase, becomes a two-measure dominant pedal

(in the tonic key) and leads without a pause-into the recapitulation.

The pedal is marked Tasto solo, but figures are again included (mea­

sures 71-76).

Ex. 114. Sonata Op. 3, No. 3, I I I , m. 71-76.

The recapitulation begins with the second phrase of the second

theme group. No transition is necessary as the cadence is altered to

lead directly to the second theme group. The latter is the same as in

the exposition but with only slight changes to present it in the minor mode. 147

S o n ata Op. 3 f No. 4

Allegro moderato D minor 4 Sonata form

Grave D minor 4 Binary form

A llegro D minor ^ Sonata form

Tonal scheme: F ir s t movement

i i) K >1 «IS *11 « <1 11 r« n TU I t l b l a l b i I— ¥ r + * T + J 4

Allegro moderato.- The first movement, with two repeated sections of thirty-eight and forty-two measures, is in sonata form with a very unusual scheme of key re la tio n s h ip s.

The f i r s t theme group co n sists of two, dynamically co n trasted , six-measure phrases -- the first, piano, the second, forte. The first phrase, partly sequential, is subdivided into three two-measure units and leads to a full cadence. In the violin line, two intervals, the octave and the seventh, are prominent. The bass line ascends conjunct- ly, in long notes, from the tonic to the dominant before dropping off at the cadence.

Ex. 115. Sonata Op. 3, No. 4, I, m. 1-6. 148

The second phrase, highlighted by broken chord figures over three strings, opens with a two-measure digression to G minor. The return to the tonic key leads to a half cadence.

Ex. 116. Sonata Op. 3, No. 4, I , m. 7-12.

m HP

* + i «

The six-measure transition, beginning like the first theme group, is freely sequential and modulates to a half cadence in the relative major key of F major.

A four-measure, bariolage passage in sixteenth notes, over dominant-tonic harmony, opens the second theme group and proceeds to a measure of ascending triplets, chromatically colored, and a full cadence.

Ex. 117. Sonata Op. 3, No. 4, I, m. 19-24.

I 149

Two transition-like measures, with a bass line ascending chromatically

from C to E in half notes, lead to a half cadence in the dominant minor,

A minor. The opening motive of the first theme group introduces a new arpeggiated figure in the violin. Both are repeated.

Ex. 118. Sonata Op. 3, No. 4, I, m. 27-30.

Four quasi-sequential measures lead to the four cadential measures affirming the dominant minor key. Here is an instance where the second theme group is found in two d iffe re n t key areas.

There is no development section in this movement. A single four-measure phrase, beginning in the tonic and modulating to a full cadence in 6 minor, precedes the recapitulation. The bass line, nine notes descending by step, is unusual.

Ex. 119. Sonata Op. 3, No. 4, I, m. 39-42.

K T I li iJ $ ------i * I 4 t* j _ _ l •

Instead of firmly establishing the tonic key, the recapitulation continues in G minor since it begins with the second phrase of the first theme group. Only in the third measure is the tonic key of D 150 minor Introduced. Also, the transition, lengthened from one to two, six-measure phrases, does not aid in the establishment of the tonic key.

The first phrase, similar to that found in the exposition, is altered and permits a modulation back to G minor. The second phrase, freely sequential, passes through D minor to B-flat major. The tonal insta­ bility of the recapitulation is manifested also in the second theme group. In the restatement of the material found in the exposition the second theme group continues in B-flat major. Only the concluding twelve measures are in the tonic key. (The key relationship of B-flat major to D minor corresponds to that of F major to A minor found in the exposition.)

Tonal scheme: Second movement t

I * O U 11 M •

1------S— ■—II d • a d

Grave.- The second movement, also in the tonic key, has two re­ peated sections of sixteen and eighteen measures. The form is rounded binary.

The f i r s t sectio n co n sists of two reg u lar periods. In the f i r s t period, the first phrase is based on the repetition of a two-measure rhythmic pattern. The first measure is stated by the violin alone, and the delayed entrance of the continuo results in an overlapping at the first cadence. 151

Ex. 120. Sonata Op. 3 , No. 4 , I I , m. 1-8.

In the second period, the first four-measure phrase, based on the sequential treatment of a two-measure motive, modulates to the dominant. The second phrase, contains an accompanimental motive,

, in the violin part and leads to a strong, full cadence in the new key.

The second section returns to the tonic key. The first period of this section is based on new thematic material although the first measure, as in the opening phrase, is played by the violin alone and begins with the same rhythmic motive, J» ^3 , The next period rein­ troduces the last eight measures of the first section but In the tonic key. The final chord is altered to form a deceptive cadence which leads to a two-measure cadentlal extension with a full cadence. A fermata in the penultimate measure allows for a cadenza. 152

Tonal schema: Third movement

1 n i* H i f

Allegro.- The last movement Is In sonata form. There are several features of the form, especially in the thematic organization and in the key relationships, which are unique to this movement.

The first theme group consists of two, almost identical, eight- measure phrases -- the first in D minor, the second in F major. The phrases are subdivided into four two-measure units. The first unit is played by the violin alone. The second and third are identical except that in the latter the continuo line is an octave lower. The fourth unit is cadential, and double-stops are added in the violin p art.

Ex. 121. Sonata Op. 3, No. 4, I I I , m. 1-16.

AHtjrv i H

t i t > «* 153

The transition, in four parts, is lengthy and sectional. The

first part, eight measures long and marked pianissimo, begins as a

modulating sequence and passes through B-flat major, C major to D minor.

There are double-stops in the violin part, and the exchange of a de­

scending, syncopated figure between the upper and lower voice, pro­

duces a passage of imitation (measures 17-20). The third transposition

of the pattern, in D minor, is altered to conclude with a cadence and

then is repeated with the violin part an octave lower without the

syncopation. The last two measures, labeled "x", reappear at the

end of the exposition.

Ex. 122. Sonata Op. 3, No. 4, I I I , m. 17-24.

- i f . y

t 4— i V7— * j h— t * j —

The second part of the transition is a four-measure phrase,

based on a descending, dotted figure, with the first half of the phrase

played by the violin in sixths. There is a modulation to a half cadence

in the dominant key, A minor. The second theme group might be expected

to follow here, since the dominant minor is often used by Gavinies as

a contrasting key, but this is not the case. The third part of the

transition, a modulating sequence, follows. A new, two-measure motive,

played again in sixths by the violin, proceeds from A minor, via F major, to D minor. The fourth part of the transition, six measures 154

of new thematic material, modulates and leads to a full cadence again

in the dominant key of A minor. (In the recapitulation, these same / six measures, transposed and in a new context, lose their modulatory

fu n c tio n ).

A contrasting theme, or even a strong tonal area in the dominant

minor key, does not follow. The second theme group consists of only

a repeated four-measure phrase which is not convincing in its affirma­

tion of the dominant minor key. The first two measures of the phrase

are based on the D minor measures of the'.transition, labeled "x."

Only the final two measures are left to affirm the A minor tonality.

Ex. 123. Sonata Op. 3, No. 4, III, m. 41-48.

The development begins with a six-measure phrase related to the

opening six measures of the first theme group. The first two measures

are a dominant version of the unaccompanied violin motive, but the

following four measures are in the tonic key of D minor. A four- measure phrase in F major, freely sequential and utilizing "Scotch snap" figures, follows. The subsequent eight measures, partly sequen­

tial, pass through B-flat major and back to F major again. The second and third parts of the transition, reversed and transposed to proceed from F major, through D minor, B-flat major, G minor, to a half cadence in D minor, are used to prepare the return of the first theme group in the recapitulation. 155

A very abbreviated recapitulation is used. The first theme group consists of only the first six measures of the opening phrase. A trans­ position of the last six measures of the transition follows and leads to a full cadence in D minor. The second theme group is the same as the concluding eight measures of the exposition but transposed to the tonic key. The elimination of the modulatory parts of the transition

(the two used in the development) give these last eight measures, now in a new context, greater tonal stability. 156

Sonata Op. 3 , No. 5

Allegro G major \ Sonata form

Andante C major C Binary form

Tempo di Minuetto G major $ Ternary form - ABA

Tonal scheme: First movement

* *f « W S3 H n (» u H tl 10 16 101 ||6 I* lb Tk lb He I* la m> Xc U I— *— 1— l ------1 •— y I - 1— l— In 1 ■1------1— II G -»D T> G C -*£ AW . • ♦ * . **

A llegro.- The f ir s t movement, in sonata form, is divided by a repeat sign into two sections of fifty-three and sixty-four measures.

The f ir s t theme group consists of fourteen measures: a six - measure' phrase (subdivided Into two-measure units forming an abb struc­ ture) and a complementary phrase of eight measures (a four-measure phrase repeated, the second time an octave lower and played piano).

The first phrase concludes with a full cadence, the second with a half cadence. Both phrases are characterized by a short, sixteenth-note triplet figure and dotted rhythms^ 157

Ex. 124. Sonata Op. 3, No. 5f 1, m. 1-14. mdjrl /T< „ [jfyiflnniiiT^idfrnrfi H'TFTT frifTffrffirrji ^irrnnTiimirpiirwTrnrmj-

The eight-measure transition, based on new thematic material,

leads to a half cadence in the dominant key of D major. The first four measures, a two-measure unit repeated, introduce a new rhythmic pattern

m s m while the last four measures revert to the dotted figure, fc—^ J.UJ.^ , used in the first theme group.

The second theme group, thirty-one measures long, remains en­

tirely in the dominant key and consists of three phrases of which the

first two are based on a succession of differentiated, two<-measure .

ideas, many extended by repetition. The first phrase, 11a, has an a-a-b-b-c structure. The first idea (unit a), not used in the re­ capitulation, provides a rare example of thematic interplay between

the bass line and the violin part, including the alternation of six­

teenth notes and sixteenth-note triplets. 158

Ex. 125. Sonata Op. 3 , No. 5 , I , m. 23-26.

A lt

v -

Dotted rhythms are found In unit b while unit £, which is cadentla 1,

introduces an ascending, triplet figure which leads to a deceptive

cadence measure 32).

Ex. 126. Sonata Op. 3, No. 5, 1, m. 31-32.

I

T *.* i

Due to a held note in the violin part and the melodic continuity

of the bass line, the second phrase, lib, flows directly out of the

first. The structure of the second phrase is abbccd, also grouped in

two-measure units. The dotted figure, , becomes more conspicuous, and a noticeably faster, harmonic rhythm is seen in units £ and d.

Unit d is related to unit £ of the first phrase but is extended one measure to end on a full cadence. The active harmonic rhythm, begun

In the previous phrase, is continued in the concluding phrase of the exposition, lie, shown in the following example. This consists of a

three-measure unit, repeated, plus a two-measure, cadential extension.

v 159

Ex. 127. Sonata Op. 3, No. 5, I, m. 46-53.

A dominant version of the opening phrase of the first theme

group begins the second half of the movement and is followed Immediately by a tonic statement of the same phrase. An early recapitulation might be expected but does not materialize as the music proceeds with a modulatory section. An eight-measure phrase, based on new thematic material, begins in C major and modulates to a half cadence in E minor.

The next eight measures, having a design similar to the preceding phrase — the first four measures are a repeated two-measure unit -- re­ main in E minor and are concluded with a full cadence. By means of a modulating sequence touching the keys of A major and D major, the following eight measures return to the tonic key of G major and lead to a half cadence.

An abbreviated recapitulation rounds off the movement. The first four measures of the transition lead directly to the ninth mea­ sure of the second theme group, transposed to the tonic. The remainder

\ 160

of the movement is a transposition, in the tonic key, of the same mate­

rial found in the exposition.

Tonal scheme: Second movement

I ( lo If i» » 11 I# % M A * y 3 I— 1" r - J" M -rr -L l-I

Andante.- The second movement is in the key of the subdominant,

C major. The form is rounded binary, but the two havles are not set

o ff by rep eat marks.

The f i r s t h alf opens w ith two phraBes, fiv e and four measures

long, in the key of C major. The first phraBe concludes with a full

cadence, the second with a half cadence. In the violin part the first

phrase is fragmented by rests into short subphrases. The continuo

joins the violin one measure late and proceeds in a steady flow of

quarter notes - characteristic of the whole movement.

Ex. 128. Sonata Op. 3, No. 5, II, m. 1-5.

fri r f g f L^ri

The second phrase, like the first, expands from the freely, sequential

treatment of a one-measure motive. The concluding thirteen measures of the first half, consisting of three phrases of four, six and three 161

ueasures, respectively, are set in the key of the dominant, G major,

and make greater use of sixteenth notes. Each phrase concludes with

a full cadence.

The second half of the movement begins with the first three

measures of the opening theme s till in G major. A one-measure motive,

treated sequentially, returns- to the tonic key via D minor. The next

four measures, in C major, are new material and lead to a full cadence.

With only slight changes in the continuo line, the following nine

measures are a tonic transposition of the six- and three-measure phrases

(marked x and y in the tonal scheme) of the G major section in the f i r s t

half. A four-measure cadentlal extension, partly sequential, closes the

movement.

Tonal scheme: Third movement

•t » n n ir «i 17 tit it) i>m ■A S ft | 1 1 1 1 1 1 1 1- 1|

Tempo di M inuetto.- The la s t movement is in ternary or ABA'

form with the third section, Majore. a varied repetition of the first.

The ternary design of the movement persists in each section. Thus, the overall scheme of the movement is aba - cdc - a’b’a*. Each section has

forty-eight measures, and each part, sixteen measures.

The opening theme of Section A is a regular period with the first phrase ending on a feminine full cadence, the second, on a 162

masculine half cadence. The period Is repeated with the second phrase

adjusted to end on a full cadence. Dotted rhythms play a prominent

part In the violin line.

Ex. 129. Sonata Op. 3, No. 5, III, m. 1-16.

4! M inw dto

s ------i— *— i— t $ T * * ... The contrasting part consists of two different periods In the

dominant key, D major. In the first period, there is ornamentation

added in the violin line plus the use of lower pedals which, La Lau-

rencle states, "suscitent des effets de vie lie."*’ The bass line moves

in repeated .eighth notes.

^Lionel de La Laurencie, "Gavini&s e t son tem ps," La Revue m usicale. February, 1922, p. 147. 163

Ex. 130. Sonata Op. 3 , No. 5 , I I I , m. 17-24. m

I *H *— * — » ------9 *H « 1

The second period is really a four-measure phrase repeated with an adjustment at the cadence. The dotted figure of the preceding period is pursued, but the sixteenth notes are replaced by thirty- seconds, m m , The figure is used in a quasi-sequentill passage with double-stops employed on the dotted eighth notes. The th ird part is a literal repetition of the first part.

The second section of the movement, Mlnore e piano, s in the tonic minor, G minor, and has the same internal structure as the first section. The first part consists of the repetition of a regular period, the second part has two contrasting periods, and the third part is a repeat of the first.

The first part begins with a four-measure phrase which contains the sequential treatment of a two-measure motive with syncopation used in the first measure. The cadence is to the tonic. The second phrase, leading to a half cadence, gives prominence to the '^Scotch at nap. ti

These eight measures are repeated with the cadential measure! s of the second phrase altered to permit a full cadence. 164

Ex. 1 3 1 . Sonata Op. 3, No. 5, III, m. 49-56. i

* '* ■ » # The Initial phrase of the first period of this contrasting section con­ sists of the sequential treatment of another two-measure motive. A mod­ ulation to B-flat major occurs. In the following four measures, a one- measure motive, based on the "Scotch snap," is Introduced and is treat­ ed sequentially. The chromatic alteration of the first note on the first and third beats keep it always a half step away from the main note.

Ex. 132. Sonata Op. 3, No. 5, III, m. 65-72.

i-f H— 1 H - l i 4 1 4 j «• i * The second period also has two contrasting phrases. The first features an off-beat figure in the violin part. The second phrase, beginning with two, freely sequential measures, leads to a strong, full cadence in B-flat major.

Ex. 133. Sonata Op. 3, No. 5, III, m. 73-80. '• ' i l i i i/vtiiij f f f f f r. i fr Fr. r r i fffr jsip

»»‘ m *** «■ * 7 T » » 165

The G minor section follows directly. The only changes occur in the

first and third measures where the syncopation is changed to an

afterbeat figure

As stated earlier, the Majore section is a varied repetition of

the first section. Overall, prominence is given to thirty-second note

figuration, but in the identical, first and third parts, the outline

of the thematic material is closely followed. In the opening phrase, multiple stops are also introduced in the second and third measure.

Ex. 134. Sonata Op. 3, No. 5, III, m. 97-104.

rf-t-fr-rrra -r m —

In the contrasting, middle section, the thirty-second-note figuration incorporates more frequent string crossings and also a wider range. As a result, the thematic outline is less evident. In the first period, the pedal notes, found in the first section, are retained only in the first two measures and then are replaced by the thirty-second-note figuration.. The second period is baaed on arpegglated figuration which follows the quasi-sequential pattern found in the first section and leads directly into the third part. The latter is a literal repeti­ tion of the first part.

« 166

Sonata Op. 3, No. 6

Allegro F-sharp minor Sonata form

Adagio 3 A major 4 Binary form 2 Aria Andante F-sharp minor 4 Theme and variations

Tonal scheme: First movement

<» 17 77 HI SI IS (i 4% IS it I I JL. 1 1 " H - ■t ■1 r r i-1—H- f ll 1 . 1 f *

Allegro.- The first movement is in sonata form with two repeated sections of thirty-eight and fortyelx measures. Two distinct ideas occur in the second theme group.

The first theme group consists of a period in which the first

two and a half measures of the consequent phrase are identical with that of the antecedent.* The first phrase ends on a full cadence, the second, on a half cadence.

Ex. 135. Sonata Op. 3, No. 6 , I , m. 1-8. • ... * ■ «•« A llc jr#

v T 1 TTjjItV f |fv=X-f— ------;------—1 ’- f . Mil1----- — t 7....’ . ... * — t7 1— ” * - # • * * *

The transition, eight measures long, is modulatory. It begins in the relative major key of A major, passes through F-sharp minor, D major and returns to A major. The first four measures are based on material 167

related to the first theme. The second half of the transition is en­

tirely new and leads to a half cadence in the relative major.

The second theme group remains entirely in the relative major

key. The first idea consists of a six-measure phrase characterized by

sixteenth notes. The first two measures are identical and include the

'fScotch snap" on the second beat.

Ex. 136. Sonata Op* 3( No. 6 , I, m. 17-22.

1 ------I fc

r f T i f

A repetition of the phrase follows. The second idea is a ten-measure passage, marked piano. The first four measures are based on a new two- measure motive which is repeated and gives prominence to "Scotch snap" figures. The next three measures, treated sequentially, alternate sixteenths and embellished triplets. The second measure of this pas­ sage (measure 34) contains an augmented second in the violin line and an augmented sixth chord on the second beat. Due to the sequential nature of the passage, the arrangement of the chord members is such that the characteristic interval of the augmented sixth is inverted 168

to become a diminished third. This "inverBion," however, does not de­

stro y the id en tity of t'he augmented sixth chord.

Ex. 137. Sonata Op. 3, No. 6 , I, m. 29-35.

W q f r f a : f * >• fr — 3 f 3 J - J * +H

The final three measures are an exact repetition of the last three measures of the first phrase of the second theme group.

The development opens with a four-measure phrase related to the antecedent phrase of the first theme group. (The first two measures, in the relative major key, are modified slightly and followed by a transposition of the third and fourth measures, in D major.) The next eight measures are a slightly altered transposition of the transition.

These measures pass from D major to B minor, E minor and return to a half cadence in B minor. The B minor tonality is affirmed with a four- measure phrase of which the first two measures are based on the open­ ing motive of the first theme group but supported with different har­ mony. The phrase ends with a full cadence. The following four measures, a two-measure unit repeated, return to the tonic key of F-sharp minor. 169

The passage consists of legato eighth notes, slurred In fours, crossing

down and up over three strin g s and supported by dominant and tonic

harmony. Two, freely sequential measures lead to the two concluding

measures of this passage -- similar to the final two measures of the

transition but transposed to the tonic key.

An abbreviated recapitulation follows. It consists of the en­

tire second theme group set in the tonic key, F-sharp minor. With the

change of mode, the "inverted" augmented six th chord is found in the

first measure of the sequential pattern.

Ex. 138. Sonata Op. 3, No. 6 , I , m. 79-81.

Tonal scheme: Second movement

I (1 il a t t

I— i - f r — ■------REA * 170

Adagio.- The second movement is in the relative major key of A major. The form is binary with each half set off by repeat marks.

The first half consists of a balanced period. The initial phrase Is comprised of two related sub-phrases, the first ending on a half cadence, the second, on a full cadence. The second phrase is in the dominant key of E major and concludes on a strong, full cadence. Dotted rhythms are prominent in both phrases.

Ex. 139. Sonata Op. 3, No. 6 , II, m. 1-8.

C m j a r r u n M am ■ m i * 'e m -

m m f * «■ .» t— i.

The second half of the movement is entirely in A major and consists of twelve measures (4 + 8 ). While the Initial four-measure phrase is related to the opening phrase of the first half, the eight- measure phrase is based on new thematic material. The ascending, stac­ cato scale figure, in measure 18, is novel and adds to the charm of the movement. There is a f i r s t and second ending with the la tte r having a two-measure cadential extension. In the penultimate measure, a fer- raata over the l£ chord allows for a cadenza. 171

Ex. 140. Sonata Op. 3 , No. 6, II, m. 17-22.

H 1 U ) s 4 5

Tonal scheme: Third movement, theme and variations

' i r i i3 ik

1 1— i— #■— ■— id f* * f*

Aria Andante.- The third movement consists of a theme with eight variations. The structure of the theme is simple binary. Each half

is a balanced period, and each is repeated. The antecedent phrase of

the first period is in the tonic key of F-sharp minor. The contrast­

ing, consequent phrase is in the dominant minor key of C-sharp minor.

Both phrases conclude with full cadences.

The second period is entirely in the tonic key. Both phrases are based on new thematic material, but in the consequent phrase, the bass line is similar to that of the consequent phrase of the first period. In the variations, thematic similarity in the consequent phrases also occurs in the violin part. In Variations 1 and 2, the 172 final two measures are the same, while in Variations 3 to 8 , the com­ p lete consequent phrase is the same.

The basso continuo line, printed only once, is unfigured, which permits some variety in the choice of harmony.

Ex. 141. Sonata Op. 3, No. 6 , I I I , Theme, m. 1-8.

Art*

if u 'O’ ii

The variations are of the tune-embellishment type, popular during the Rococo period, but in this case, the contour of the theme is not readily apparent in any of the variations. Except for Varia­ tions 1 and 2 , a characteristic melodic idea or rhythmic pattern is utilized throughout each variation in the nature of a miniature etude.

In general, the melodic figuration of each variation is progressively more complex. The borrowing of a short melodic or rhythmic figure from one variation for use in the succeeding variation seems to bring an element of unity to Variations 1 to 4. Whether this is mere coinci­ dence, the use of a common resource in variation writing, or a conscious awareness by the composer remains debatable.

In Variation 1, different rhythmic and melodic elements are combined with legato (two to eight notes slurred) and some detach^ bowing. Most of these are introduced in the initial phrase of the first period. "Scotch snap" figures used in the fourth measure, are employed again in the similar, penultimate measures of each period. Xhe rising, three-note motive found in measure 3f with the bowing,

(US , becomes the basis for the first phrase of the second period,

In this latter phrase, some resemblance to the theme may be found.

Ex. 142. Sonata Op. 3, No. 6 , III, Var. 1, m. 1-8.

p ' \ < r o i ' j g i & W 1 I

Variation 2 is also based on notes of different values, com­ bined with various specified bowings, and shows some rhythmic similar­

ities to Variation 1. The first two measures are based on a dotted F 1 1 [ ■ [ ^ rhythm, J , and melodically, the skip of the octave on the first beat is an important feature. In the third measure, a thirty-second- note motive iB introduced on the second half of each beat. In the

fourth measure, the descending line of the seven, slurred sixteenth notes shows a thematic relationship to the opening measure of Varia­ tion 1. The second phrase of each period also reveals melodic and rhythmic similarities to material in Variation 1.

Ex. 143. Sonata Op. 3, No. 6 , Var. 2, m. 1-8. 174

The first phrase of the second period is comprised of sixteenth-note figuration which reintroduces the sk ip , up and down, of the octave found in measures one and two. (The dotted rhythm is dropped.) Similar to

Variation 1, the main notes of the theme, G-sharp, A, E-sharp, F-sharp, occur as the first note of each group of sixteenths in this phrase.

Variation 3 is a study in contrasts, both in dynamics, piano versus forte, and in articulation, legato versus staccato. The thirty- second-note motive found in measure 3 of Variation 2, has a prominent role in this variation. The motive is played piano and legato and is answered by various sixteenth-note figures, played forte and staccato.

4 Variants of the thirty-second-note motive also occur. (See measures

3 and 6 )•

Ex. 144. Sonata Op. 3, No. 6 , III, Var. 3, m. 1-8.

Variation 4 is a virtuoso study in thirty-second notes -- an expansion of the figuration begun in Variation 3. Except for the dotted rhythm in the first measure and changes at three cadences, the thirty-second notes are used continuously throughout the variation.

The notes are slurred primarily in fours except at cadential points where detach^ and a mixture of detach^ and legato are introduced.

Another feature is the necessity to play some of the passage work in 175

the higher positions on both the A and E strings. The C-sharp, in

measure 6 , is the highest note yet demanded of the violinist in any

of the six sonatas of this opus or of Opus 1.

Ex. 145, Sonata Op. 3, No. 6 , III, Var. 4, m. 1-8.

Variation 5 features the "Scotch Snap." The music ranges over all four strings (D,A,E, in the first half; G,D,A, in the second half) and disjunct motion predominates throughout the entire variation.

Ex. 146 Sonata Op. 3, No. 6 , III, Var. 5, m. 1-4..

Except for the final note of each half, Variation 6 is written e n tire ly in sixteenth-note tr ip le ts . The predominate bowing is

• * * UJUJ but in the cadence measure of the first phrase, and the first, third and fourth measure of the second phrase of each period, the bow­ ing is reversed to

Ex. 147. Sonata Op. 3, No. 6 , III, Var. 6 , m. 1-4.

_ I I 1 rffltv I 1 r | | r M i r - In i / • * 176

Variation 7 reverts to the note values found In Variations 1 and 2 and acts as a foil to the quick-moving variation that follows.

1 2 The melodic range of this variation (e-sharp -g ) is the narrowest of this set. No one rhythmic figure predominates as the following pat­ tern s, with th eir sp ecific bowings - m r m are conspicuous. ^ • • *

Ex. 148. Sonata Op. 3, No. 6 , III, Var. 7, m. 1-4.

V ariation 8 , the most brilliant of the set, is based entirely on thirty-second notes. While not set in the higher positions like

Variation 4, a greater command of the bow is needed to manage the numer* ous string crossings. In addition, the passage work contains scales and arpeggiated figuration, and both detache and legato bowing are employed.

Ex. 149. Sonata Op. 3, No. 6 , III, Var. 8 , m. 1-4. 177

SUMMARY

All of the sonatas of Opus 3 co n sist of th ree movements in the order fa st-slo w -fa s t. The f i r s t movements are a l l A llegros, w ith or w ithout qu alify in g e p ith e ts , s e t in sonata form. The slow movements are in binary form - rounded binary in Sonatas Nos. 1 and 3. Sonata form is also used for the fin a l movements of the f i r s t four so n atas.

The first three are labeled Presto, a tempo marking not found in Opus

1; the fourth is an A llegro. The two remaining fin a l movements are set in moderate tempos. The last movement of Sonata No. 5 is labeled, Tempo di M inuetto. and is in ternary form, or ABA'. The la s t movement of

Sonata No. 6 is a theme and variations with the theme labeled, Aria

Andante.

Compared to Opus 1, Opus 3 offers a greater variety of keys for the middle slow movements. Only the slow movement of Sonata No. 4 is set in the tonic key. The dominant is used in Sonata No. 1, the rela­ tive major in Sonata No. 2, the tonic major in Sonata No. 3, the sub- dominant in Sonata No. 5 and the relative major in Sonata No. 6 . A ll concluding movements re tu rn to the to n ic key. A c o lle c tiv e lis tin g of the keys and forms of the movements of the Sonatas of Opus 3 is found in the following table. 178

TABLE I I

SONATA MOVEMENT KEY FORM

No. 1 A llegro A major Sonata form Adagio E major Rounded bindry form Presto A major Sonata form

No. 2 Allegro B -flat major Sonata form Adagio G minor Binary form Presto B-flat major Sonata form

No. 3 Allegro ma cantabile G minor Sonata form Adagio Cantabile G major Rounded binary form Pres to G minor Sonata form

No. 4 Allegro Moderato D minor Sonata form Grave D minor Binary form Allegro D minor Sonata form

No.; 5 Allegro G major Sonata form Andante C major Rounded binary form Tempo di Minuetto G major Ternary form or ABA*

No. 6 Allegro F-sharp minor Sonata form Adagio A major Binary form Aria Andante F-sharp minor Theme and variations

As in Opus 1, there is considerable variety in the length and nature of the first theme groups found in the sonata form movements.

They vary from a six-measure phrase (first movement of Sonata No. 1) to a sixteen-measure passage consisting of four, four-measure phrases

(first movement of Sonata No. 3). The latter is unusual in that the tonality shifts from the tonic key (G minor) to the relative major

(B-flat). The return to the tonic key occurs immediately at the be­ ginning of the transition and is followed by a modulation to the dominant minor, the key of the second theme group. There are two other instances where the tonic tonality of the first theme group is inter­ rupted or disturbed. In the first movement of Sonata No. 4 a short digression to the subdominant occurs. In the third movement of the 179

same sonata, the complete first theme group, a balanced period,

Is repeated in the relative major key.

Compared to its presentation in Opus. 1, the second theme group is handled in a more d iv ersifie d manner in the sonata movements of

Opus 3. Second theme group treatments are described below:

F irs t movement, Sonata No. 1 - opens with a contrasting six-measure phrase followed by passage-work figures utilizing the sequence.

Third movement, Sonata No. 1 - prim arily a new tonal area which incorporates the repetition of a two- and a four-measure u n it.

F irs t movement, Sonata No. 2 - very sh o rt, consists of two phrases (644), mainly a new tonal area.

Third movement, Sonata No. 2 - twenty-eight measures of passage-work in triplets extended in part by the repetition of two- and four-measure units.

F irs t movement, Sonata No. 3 - ten measures long, begins with the incipit of first theme group but mainly a new tonal area.

Third movement, Sonata No. 3 - consists of a strin g of different two-measure units some of which are repeated.

F irs t movement, Sonata No. 4 - consists of a succession of ideas Initially set in the key of the relative major and ending in the key of the dominant minor.

Third movement, Sonata No. 4 - consists of a four-measure phrase repeated, mainly a new tonal area.

F irs t movement, Sonata No. 5 - consists of a loosely organized mosaic of thematic ideas, frequently in two-measure units which are expanded by repetitions and extensions into a lengthy section of thirty-one measures.

F irs t movement, Sonata No. 6 - consists of a six-measure phrase, featuring sixteenth notes, plus its repetition, and a contrasting ly ric a l phrase, marked piano; both phrases are extended by repetition, the second also by sequence. 180

In general, as in Opus 1, the first theme group consists of a clearly defined theme with obvious cadences and regular phrase struc­ ture. The second theme group, always a new tonal area, introduces thematic material different from the first theme group. Though more loosely organized, this section is also marked off by cadences. More often than not, the second theme group consists of a succession of ideas, in units of varying lengths, which are often based on routine passage-work figures. Repetition and sequence are s till Important characteris tics.

The dominant key is employed for a ll the second theme groups found in the sonata form movements s e t in a major key. In the move­ ments se t in a minor key, some v a rie ty occurs. In the f i r s t movement of Sonata Mo. 3, the second theme group is found in the key of the dominant minor. In the third movement of the same sonata, the tonality utilized is,the relative major, the expected key used in the Classical era. As mentioned earlier, the second theme group of the first move­ ment of Sonata No. 4 is placed in two keys, the relative major followed by the dominant minor. In the last movement of Sonata No. 4, only the dominant minor key is found, and in the first movement of Sonata No. 6 , the second theme group is in the relative major.

Reference to the opening theme at the beginning of the develop­ ment section occurs in six of the ten sonata form movements. A complete restatement of the opening theme, in the dominant key, is found in the first movement of Sonata No. 1 and also in the third movement of Sonata

No. 2; however, only the first phrase of the opening theme Introduces the development of the f i r s t movement of Sonata No. 5. P a rtia l r e f e r ­ ence to the opening theme, in these cases only the beginnings, occurs in the f i r s t movement of Sonata No. 3 and in the th ird movement of

Sonata No. 4, in the dominant and tonic keys, respectively. In the first movement of Sonata No. 5, only the opening two-beat motive ap­ pears at the beginning of the development. A further reference to the opening theme of the latter movement Is made in a later section of the development. Manipulation of thematic material from the transition occurs In the development of the first movement of Sonata No. 1 and the th ird movement of Sonata No. 4. A complete statem ent of the tra n s itio n is u tiliz e d in the f i r s t movements of Sonatas Nos. 3 and 6 .

The remaining development sections not previously discussed, while providing the opportunity for tonal digressions, are completely episodic, i.e ., based on fresh thematic material. The development section of the first movement of Sonata No. 4 is just four measures long and can only be considered a bridge between the exposition and the recapitulation.

As in Opus 1, the recapitulations are all abbreviated and do not follow any set pattern. Their treatment is as follows:

First movement, Sonata No. 1 - based on the complete first and second theme groups; no transition.

Third movement, Sonata No. 1 - begins with modified troisltion followed by the entire second theme group.

First movement, Sonata No. 2 - begins with a partial statement of the first theme group, no transition, and the complete second theme group.

Third movement, Sonata No. 2 - based only on the second theme group which is expanded.

First movement, Sonata No. 3 - begins with partial and altered first theme group, no transition, and a shortened second theme group. 182

Third movement) Sonata No. 3 - based on a shortened f i r s t theme group, no tra n sitio n , and the e n tire second theme group.

F irs t movement, Sonata No. 4 - based on a shortened f i r s t theme group, an expanded tra n sitio n , and the entire second theme group; reflects the two-key setting as found in the exposition.

Third movement, Sonata No, 4 - based on a shortened f i r s t theme group, no tra n sitio n , and the e n tire second theme group.

F irs t movement, Sonata No. 5 - begins with a reduced transition followed by a reduced second theme group.

F irs t movement, Sonata No. 6 - based only on the e n tire second theme group.

Three of the slow movements in binary form (Sonatas Nos. 1,

4 and 6 ) are sectionalized by repeat signs, and three are not (Sonatas

Nos. 2, 3 and 5). Also, the slow movements of Sonatas Nos. 1, 3 and 5 are in rounded binary form. In the first example, the second or clos­

ing phrase of Fart A returns to round off Fart B. In the second ex­

ample, the second phrase of the opening theme, part of a longer sec­

tion, is incorporated in the second half of the movement. In the third example, the first three measures of the opening theme and the closing material of Fart A are used in Part B.

The last movement of Sonata No. 5, Tempo dj Minuetto, in ternary

form (ABA*), like the Minuetto movement in Opus 1, is not sectionalized by repeat signs. Similarly, the middle section, not a trio, is labeled

Minore e piano and also digresses to the major mode. The third section,

Fart A1, is not a Da capo repetition of Fart A. In this instance, it also differs from the Tempo di Minuetto movement of Opus 1 as this third section is truly "une reprise variie du majeur" - a highly ornate .183

re p etitio n of Fart A. The theme and eight v ariations which co n stitu te

the la st movement of Sonata No. 6 are set in binary form, and like the

variations found in Opus 1, these are miniature studies exploiting

different technical aspects of violin-playing.

Similar galant traits as found in Opus 1 characterize the fast

movements of Opus 3, but the symbol (+), for a trill, appears less fre­

quently. Double-stops are prominent in the third movement of Sonata

No. 4, and limited use is made of them in the first movement of Sonata

No. 4 and the third movement of Sonata No. 5. Short passages incorpo­

rating pedal points in the violin part are found in the third movement

of Sonata No. 1 and the first and third movements of Sonata No. 5.

Three- and four-note chords are featured in the third part of the Tempo

dl Minuetto movement of Sonata No. 5.

Even more than in Opus 1, the slow movements of Opus 3 "respirent un charme langoreux et melancolique extremenent caract£rique."^ The melody is very flu id and tends towards a simple lin e. Even in the

Adagio Cantabile of Sonata No. 3, which features a written-out turn,

there is much less use of melodic embellishments, including the trill,

in a l l the slow movements.

The harmonic vocabulary of Opus 3 is similar to that of Opus 1,

i.e., an emphasis on the primary chords plus considerable use of secon­ dary dominants. Touches of chromaticism are added to the v io lin line often by the chromatic altering of lower appoggiaturas and neighboring

tones to be a minor second away from the principal note (Exx. 102, 111,

132).' Other notable examples of chromatic w riting are found in the

7 La Laurencie, L'Ecole francaise, II, 323. 184

. f i r s t movement of Sonata No. 2 (Ex. 99) and the third movement of Sonata

No. 4 (Ex. 122). The augmented sixth chord Is used In measures 14 and

16 of the exposition of the third movement of Sonata No. I (Ex, 96)

and Its related passage In the recapitulation; also measures 34 and 81

of the first movement of Sonata No. 6 (Ex. 137). The Neapolitan sixth

chord occurs only in the related measures 26 and 90 of the third move* .

ment of Sonata No. 2 (Ex. 104). As in Opus 1, full and half cadences

predominate throughout Opus 3, and the cadential formula, II§ - ii? -

V7 - I , is utilized often. Exceptions to this are the two examples of

plagal cadences (Exx. 102, 110) and four appearances of a deceptive

cadence. The latter are found in measure 32 of the first mevement of

Sonata No. 1, measure 6 6 of the third movement of Sonata No. 3 (Ex.

113), measure 32 of the second movement of Sonata No. 4 and measure 32

of the f ir s t movement of Sonata No. 5 (Ex. 126). Violin Technique

As in Opus 1, the writing for the violin is found mainly within the first three positions and on-the upper three strings. However, ' there are fewer occasions when the writing goes above the third posi­ tion. These occurrences are as follows:

Sonata No. 1, first movement, identical measures 72 and 74 - use of fourth position.

Ex. 150.

Sonata No. 4, first movement, m. 65 - passage requires fourth position.

Ex. 151.

Sonata No. 5, first movement,^m. 106-07 - short decorated scale fragment ascends to g (sixth position).

Ex. 152.

t *

1.

The use of specific fingerings is limited. In the first case,

(Ex. 103), the fingering keeps the string crossings the same for the bowing pattern that is established. Similar fingering is found in the 186

related passage In the recapitulation. The specific fingering in the

following two examples, both short sequential passages, also keeps the string crossings the same. In the second example, half position is marked.

Ex. 153. Sonata No. 3, 3rd movt., m. 85-86.

Ex. 154. Sonata No. 6 , 3rd m ovt., v a r. 8 , m. 9-10.

Although many facets of the violinist's technique are required in the performance of the six sonatas of Op. 3. overall, these sonatas are not as difficult as the sonatas of Op. 1. A variety of bowings and patterns, similar to that found in Opus 1, is utilized, but the sonatas are less demanding, as most of the rapid passage-work remains in the first position. CHAPTER VI

THREE SONATAS FOR THE VIOLIN, OP. POSTH.

The collection of three sonatas, Op. posth., of which the first

• sonata is sub-titled, Le Tombeau. was published soon after Gavinies* death. According to F^tis, the publication date is 1801.* The sonatas are dedicated to Gavinies* friend and colleague, the cele­ brated violinist Rudolph Kreutzer, to whom Beethoven's Sonata Op. 47 is dedicated. (See Plate X for a reproduction of the title-page.)

The continuo part of this first edition, unlike that found in the sonatas of Op. 1 and Op. 3, is unfigured. The edition has been carelessly prepared as the violin part contains numerous small errors such as Incorrect rhythms and the omission of accidentals.

Another edition, consisting of a separate violin and cello part, appeared in Berlin around 1828. The title-page reads as fo llo w s:

*F. J. F^tis, "Gavinies, Pierre," Biographle universelle des musictens et bibliographic g^nirale de la musique ( 8 v o ls .; 2 nd e d .; Paris: Librairie de Firmin-Didot et Cie., 1883-84), III, 431. A copy of this edition is in the Hirsch Library. See the Catalogue of Printed Music in the British Museum; Accessions. Part 53 - Music in the Hirsch Library (London: The Trustees of the British Museum, 1951), p. 31.

187 Trois / SONATES / pour le Violon / avec accompagnement de V10L0NCELLE ad libitum / dont 1'une cn Fa mineur, dite son Tombeau / COMPOSEES ET DEDIEES / A SON AMI KREUTZER / par / 2 Gavinies / Prix I Rthlr. 4 Gr. / A BERLIN CHEZ F. S. LISCHKE.

Except for the addition of one slur (Sonata No. 1, first movement, measure 24) and a f la t (Sonata No. 2 t f i r s t movement, measure 8 ) , the

continuo part of the first edition and the cello part of the Berlin

edition are identical. The violin part of the Berlin edition cor­

rects only a few of the errors found in the first edition. Eitner

lists both editions but does not seem to realize that they contain

the same music.^

2 For this edition Bee Alfred Wotquenne, ed., Catalogue de la BibliothBque du Conservatoire Royal de Musique de Bruxelles (4 vols. and suppl.; Brussels: J.-J. Coosemans, 1898-1912), III, 468, No. T 11,944.

Robert Eitner, "Gavinies, Pierre," Biographisch-biblio- graphisches Quellen-Lexikon der Musiker und Musikgelehrten der chrlstlichen Zeitrechnung bis zur Mitte des 19. Jahrhunderts (10 vols.; Leipzig: Breitkopf & Htfrtel, 1898-1904. Reprinted with supplements. New York: Musurgia, 1947), IV, 182. PLATE X

•>% •

T R Of S 'U' SOXATES r 7 \ • j / & Ji m m / i

(?oinj»o.u,t,f> juin (c

Jo/if ////it’ e/i/'

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J'fiyv/cYi’ J,* /'A’i//?.•///', A P A R I S ifijn X/kfermMf/hf/^ur ^ //a ^ r At t '/,•/' t/itr,. ' . iBifr*df* /rtZoi/xrs.T/ryt' / / • ZiM/rr/f /)£)'•’t/t' /'o r >. £t t'foi Zt>/»rv/tuedu/feu/c * i t A* t'f*'/'•/(**'. , 47 Orttfcc par M . I.«I*rjr.

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Title-page, Gavinies Sonatas, Op. Posth. (1801)

189 190

Sonata Op. Posth., No. 1 (Le Tombeau)

Adagio F minor 4 Free form

Allegro ma Affetuoso F minor C Sonata form 2 Allegro con fuogo . . . Presto F minor 4 Sonata form

Tonal scheme: F ir s t movement

I 7 13 IS II J& Iff 37 HI SH

I------=4------M ------*~l i i ‘t t i ------1— 1----- 1— n ------1 a ,f M f c fttBbCf kt f (tbM)

.Adagio*- The melodic material of the first movement of this sonata is a continuous unfolding of new ideas except in three instances where a two-measure idea is repeated sequentially. Tonally, however, it is possible to divide the movement into three sections. The firBt eight measures are in F minor. The middle section (measures 9-38) is modulatory. The tonic key is touched several times, but in each case, it is a point of departure for another key. The concluding sixteen measures retu rn to the home key of F minor. The movement lacks orna­ mentation, and the shortest note value used is an eighth note. The violin part is written entirely in double-stops and combines both

"familiar style" and contrapuntal writing. With the bass line, the w ritin g resembles a movement from a trio -so n a ta .

The first eight measures consist of a five-measure phrase ending with a half cadence (II $ - V) plus a three-measure cadential extension in which the dominant harmony is decorated by a VII7 of V.

\ 191

Ex. 155. Sonata Op. p o s th ., No. 1, 1 , m. 1-8. i PB 77

The modulatory section begins with a four-measure phrase in

B-flat minor. A two-measure unit, based on dominant-tonic harmony in

F minor, follows and is repeated.in c minor. The next four-measures continue in C minor. The first two measures, identical and based on the dominant of the dominant, are part of an elongated half cadence.

The final chord is extended by melodic decoration and has the popular, galant. appoggiatura uBigh."

Ex. 156. Sonata Op. posth., No. 1, 1, m. 17-20. 5feli4J33|^^iLjJ9Pi>-c7|'

The following four measures, sequential in structure (another two-mea­ sure unit repeated only once) pass from C minor, via F minor to E-flat major. The next ten measures, opening sequentially, become highly chromatic, modulate from E-flat major, via B-flat major, C major, F minor to B-flat minor and lead to a half cadence in the latter key.

Extensive use is made of the diminished seventh, and a Neapolitan chord occurs in measure 31. Ex. 157. Sonata Op. posth., No. 1, I, m. 25-34.

J J. IJ JJI .--n r - ■ '2' ------Zjfr fif 1^ I rW~ |T

A new four-measure phrase in B-flat minor, ending with a full cadence,

concludes the middle section.

The final section begins directly in F minor. In the initial

ten-measure phrase, the tonality is temporarily unsettled by a short, modulating sequence (measures 41-43) which passes quickly through E-flat minor, D-flat major and reaches the dominant chord of the home key. The

phrase ends on a deceptive cadence. A full cadence is reached two mea­

sures later, and a four-measure elaboration of the tonic follows to

end the movement. A Neapolitan six th occurs on the la s t beat of mea­

sure 52.

Ex. 158. Sonata Op. posth., No. 1, I, m. 45-54. 193

Tonal scheme: Second movement

: I 1 «l 11 ir yi n TO I I x 1 4- H------1- I : f f f

Allegro ma Affetuoso.- The second movement is in sonata form, but unlike a l l the sonata form movements found in Opus 1 and Opus 3, this movement is not sectionalized by repeat signs. The second theme group is set in the dominant minor key, chosen often by Gavinies, but unusual since, by the last quarter of the century, the relative major vas the conventional key for works in the minor mode. In both the first and second theme groups the bass line is active and has greater melodic significance.

The first theme group illustrates well what Newman describes as "the syntactic tendency of galant music to fall into two-measure A units. Eight two-measure units make up the first theme group. Only two are related -- measure 7 and 8 are similar to the opening two mea­ sures. Motivic unity is lacking as the thematic material has consider­ able rhythmic variety. The first eight measures are in F minor. Dotted rhythms are prominent, and passing chromatic inflexions occur in measure

3 in both the violin and continuo part. The first and second two- measure units are marked off by full cadences, the third by a half cadence which leads directly into the repetition of the opening two- measure unit.

A William S. Newman, The Sonata in the Classic Era (2nd ed.,; New York: W* W. Norton and Co., 1972), p. 122. 194

Ex. 159. Sonata Op. p o s th ., No. 1, I I , m. 1-8.

I m m Ij j u

r .... p S E

a i t t

Tonal contrast is introduced in the next two-measure units; the first unit is in B-flat major, the second modulates th A-flat major. Both end with full cadences. The final two units return to the home key of

F minor and are marked off by half cadences. The last unit (m. 15-16)

is significant as the first two measures of the transition, both identi* cal, are related rhythmically to measure 15.

Ex. 160. Sonata Op. posth., No. 1, II, m. 15-16.

The four-measure transition begins In F minor and modulates to a half cadence in C minor.

The second theme group, only ten measures long, is mainly a new tonal area and consists of a succession of various short ideas. 195

Although rhythmic changes occur every two measures, there are no ca-

dences to Indicate independent two-measure units as in the first theme

group. Chromatic coloring is added in the bass line by the secondary

dominants found on the second half of each beat in measure 24. Mea­

sures 25 and 26 are identical and related rhythmically to the opening

measures of the transition.

Ex. 161. Sonata Op. posth., No. 1, II, m. 21-25.

The last measure of the exposition (measure 30) also serves as a modulatory measure leading into the development which is entirely

in A-flat major. Three transition-like measures lead to two, identical measures which are the same as the opening two measures of the transi­ tion. The concluding ten measures of the development are based on new material which contains several short medIodic figures which are used sequentially. A full cadence, in A-flat major, closes the development.

In the recapitulation, the first theme group is shortened to six measures. Only the opening two-measure unit and the first measure of 196

the second are related to the exposition. The third unit, of which

both measures are id e n tic a l, emphasizes dominant harmony.

Ex. 162. Sonata Op. posth., Mo. 1, II, m. 45-50.

• 7 ^ ^ r r ... [T Mf j i j

The transition is modified and extended from four to six measures to allow fo r a natural continuation of the second theme group in the tonic key. The final two measures are related to measures 5 and 6 .

The second theme group is a restatement of the same material in the exposition plus the repetition, an octave lower, of the three measures preceding the final tonic chord. A one-measure cadential elaboration concludes the movement. 197

Tonal scheme: Third movement

11 if )* it hi rj t» % to hi m iu« ni m ai in in

1 L i I » i ic j i ic i4—CL—y J I__»a lb

A llegro con Fuogo ma non troppo P resto .- The la s t movement is also in sonata form but, unlike the preceding Allegro movement, is divided into two sections — sixty-seven and ninety, measures, respec­ tiv e ly --by repeat signs.

The first theme group opens with an eight-measure phrase with a 2 + 2 + 4 structure in which measures 3 and 4 are a repetition of measures 1 and 2. Measures 5 and 6 are freely sequential with a de­ scending tonic scale occurring in the continuo line. The phrase ends with a full cadence.

Ex. 163. Sonata Op. posth., Mo. 1, III, m. 1-8.

; Alls. t*n fw je *■»*. MU trMli Prttt* « 1 1 / ' i P 198

The following eight measures consist of a four-measure phrase and a varied repetition. Arpegglated triads in sixteenth-note triplets are introduced in the first two measures, but in the repetition, trill fig­ ures are found on the second half of every beat. Each phrase concludes with a half cadence.

The eight-measure transition, based mainly on ascending, arpeg­ glated triads, remains in the tonic key. The chord of the dominant minor ninth is implied in measures 17 and 19, and an augmented sixth chord, in measure 2 1 , is used to precede a decorated two-measure domi­ nant pedal and the concluding half cadence.

Ex. 164. Sonata Op. p osth., No. 1, I I I , m. 17-24.

I

!

The second theme group is a lengthy section of forty-three mea­ sures entirely in A-flat major and consists of a succession of con­ trasting ideas. The first of these is an eight-measure, aostenuto theme, divided into two four-measure phrases. The first phrase ends with a plagal cadence, the second with a half cadence. The violin be­ gins the theme alone with the continuo joining a measure later. 199 Thirty-second-note figures occur in both phrases. The theme is note­

worthy because the performer is directed to play it entirely on the

G s trin g ( 4 6 Corde).

Ex. 165. Sonata Op. p o sth ., No. 1, I I I , m. 25-32.

yP tw it

r m > i .j i ; J n l m

The final measure of this theme leads into an eight-measure passage of sixteenth-note triplets. The first three measures are sequential in stru c tu re , and a dominant pedal occurs in measures 37 and 38. The use of the C-flat and D natural in the violin part introduces some startling chromaticism and implies the use of the major form of the dominant ninth of the dominant over the pedal point.

Ex. 166. Sonata Op . posth., No. 1, III, m. 37-38. t

200

The uninterrupted flow of the sixteenth-note triplets in the preceding passsge leads to a new, four-measure phrase with slower rhythms. A similar, complementing four-measure phrase, with the second measure varied by syncopation, follows.

Ex. 167. Sonata Op. posth., No. 1, III, m. 41-48. • ** * > . • t

i

The next section of the second theme group is ten measures long. The first seven measures, of which the initial three are sequential, are based on thirty-second-note figuration. Three measures of slower rhythm lead to a full cadence. A new, one-measure idea in thirty- second notes, overlapping the final note of the cadence, is repeated and followed by a six-measure cadential elaboration over a tonic pedal, concluding the exposition.

The development begins with a statement of the opening eight- measure theme in the relative major key of A-flat major. The first . four measures are repeated in the tonic key. Thirteen measures in C minor follow. The initial idea of this section is not related to any previous material, but the third and fourth measures are based on mea­ sures 43 and 44, shown in Example 167. The concluding four measures of this section are based on the final four measures of the transition.

The development remains in C minor with a new six-measure phrase that has an abb structure based on two-measure units. Four more measures 201

lead to a deceptive cadence where overlapping occurs, and the following eight measures, slightly modified, are a transposition, In G minor, of measures 41 to 48, a part of the second theme group and cited in Example

167. The development ends with a four-measure phrase containing an abrupt modulation to the tonic key on the first chord of the phrase.

The phrase ends with a half cadence.

Ex. 168. Sonata Op. posth., No. 1, III, m. 111-14.

An abbreviated recapitulation follows. The complete first theme group is omitted, and the recapitulation begins with the transition.

Except for minor variants in figuration, the transition is the same as the original in the exposition. The initial, sostenuto theme of the second theme group is dropped while the remainder, modified principally for the change from major to minor mode, is a restatement of the mate­ rial presented in the exposition. 2<£

Sonata Op. Posth., No. 2

Adagio ma non troppo C minor C Free form

2 Allegro con espressivo C minor 4 Three-part form, or ABC

2 Andante con variazlone C minor 4 V ariation form

Tonal scheme: First movement

3 5 7 1

I ------«- 1 1 1 ! i c f EV c & CWEMk

Adagio ma non troppo.- Like the f i r s t movement of the preceding sonata, this movement is slow and is treated freely. It opens with a strong, six-measure theme which consists of an antecedent phrase of two measures and a consequent phrase of four measures. The antecedent phrase ends with a full cadence in G minor, the consequent phrase ends with a half cadence. The first two measures of the consequent phrase, touching the keys of F minor and E-flat major, are freely sequential and utilize the rhythmic figure and turn found in measure 1. 203

Ex. 169. Sonata Op. p o sth ., No. 2, I , m. 1-6.

K J m b ii ijji'n i I m

. • •

The first five beats of the opening theme begin the next two-measure phrase in E-flat major. The remainder of the movement is based on new thematic material. The music proceeds for six measures in E-flat major and reaches a full cadence. The final note of the cadence is overlapped, and three measures, sequential in structure, follow and pass quickly through G major, F minor, B-flat major, E-flat major, A-flat major to reach the tonic key of C minor in the last half of measure 18.

Ex. 170. Sonata Op. posth., No. 2, I, m. 15-18. 204

The final six measures affirm the tonic key. The full cadence, reached

in measure 22, is evaded by another cadential formula which concludes

the movement.

Tonal scheme: Second movement

i 1 » a it it u it n » va ?• at it io im t*t A ® C f .ft.f-li-J, . I** | .» ■, |

!* f f t c 5 3 -» e .E V t ( P i i t

Allegro con espressivo.- Formally, the second movement is one of the most unusual and interesting Allegros found in any of the sona­

tas. While having many characteristics of a sonata-form movement, this

Allegro is in an ABC form with three, nearly equal parts revealing an

interrelationship of thematic ideas. Fart A, however, is similar to a sonata-form exposition although the transitional material is longer than either the "first" or "second theme group."

The movement opens with a nine-measure theme which gives promi­ nence to a dotted figure and concludes with a half cadence. A full cadence is avoided in measure 5 by the use of an accented appoggiatura and the uninterrupted flow of the melodic line in the violin part. 205

Ex. 171. Sonata Op. posth.t No. 2, II, m. 1-9.

Allcv* - «*’ #i >«*•* w m ' . r m r t

»F I »F F J

(nm) __

m t f ^ l l j j T

a w

The transition begins with a five-measure phrase divided into

two related sub-phrases: the first in F minor, the second in E-flat

major. Both conclude with full cadences. The following seven measures,

based on new thematic material, return to the tonic key and lead without

pause to a new tonal area, only ten measures long, in the key of the dominant, G minor. In sonata form, this would be considered the second

theme group. The passage opens with a two-measure dominant pedal and a touch of chromaticism in the violin line. Measures 25 to 27 are used again in Fart B. 206 Ex. 172. Sonata Op. posth., No. 2, II, m. 22-31.

t » 1

Part B, forty-one measures long, begins with a six-measure phrase

of which the first three measures, in G minor, are based on the opening

theme and the final three are modified to modulate to the tonic key of

C minor.

Ex. 173. Sonata Op. posth., No. 2, II, m. 32-37.

The next phrase Is only five measures long, The first two measures, in the new key, are also based on the opening theme, but the last three are varied again and lead to a full cadence in E-flat major.

t 207

Ex. 174. Sonata Op. p osth., Mo. 2, I I , m. 38-42. fvaRfrrirBfrTifTTT^ififf

Wl' I'LL I'lI i II fir i II.....-

The following nine measures remain in E-£lat major and cadence on the

tonic chord. The sixth, seventh and eighth measures are based on mea­

sures 25 to 27, shown in Example 172. A new phrase, also in E -fla t

major and extended to five measures through repetition, follows and

concludes with a full cadence.

Ex. 175. Sonata Op. p o sth ., Mo. 2, I I , m. 52-57.

sm J jttj f.ifjT r ir f

The tonality shifts quickly to F minor. The concluding fifteen mea­ sures of Part B, based principally on sixteenth-note figuration using some melodic chromaticism, lead to a full cadence. In the course of

this passage, short melodic motives are sequenced or repeated, and a dominant pedal, in measures 64 to. 66, affirms the new key. No double­ bar separates Parts B and C.

Part C is thirty-one measures long and includes thematic material from both preceding parts. The initial five-meaBure phrase, beginning in F minor and modulating to A-flat major, follows closely the second 208 statement based on the opening theme found in Fart B and cited in Ex­ ample 174. The subsequent five measures of Part B (measures 43-47) are'

Included, but are preceded by three measures of new thematic material.

The next four measures modulate to C minor, via F minor, and lead to a tonic version of the "second theme group" as found in Part A. The move­ ment ends with a six-measure coda, based on measures 52 to 57, found in

Part B and shown in Example 175.

Tonal scheme: Third movement (Theme and variations)

i s 1 •» n it n ; A b ft 1 I— i— i— i— i— ■— |

c Eb f « c

Andante con variazione.- The last movement consists of a theme and four variations. The theme is in a simple three-part song form,

ABA*, with each part divided into two four-measure phrases. In Part

A, the first phrase is in C minor; the second is in the relative major key of E-flat. Each phrase ends with a full cadence. Both phrases are related rhythmically, and the rhythm of the first measure with its articulation,* vr m • • * , is used in the initial measure of each sub- sequent phrase. The first two measures of the second phrase are freely sequential, but this relationship is continued only in the first vari­ a tio n . 209

E x. 176. Sonata Op. posth., No. 2, 1 1 1 , Theme, m. 1-8.

AnAftftfe «'•* Van’*«.{•«»

The first phrase of Fart B is In the subdominant key of F minor. The second phrase returns to the tonic key and cadences with the piquant harmonic progression, VI - 1V$6 - V, containing the augmented sixth chord. The third part, A', instead of returning to the expected tonic minor key, is marked Malore, and the change of mode to C major occurs.

Only the first phrase of Fart A returns. The second phrase of Part A' is rhythmically similar to the first and acts as a consequent phrase.

The variations are of the tune-embellishment type, and the basso contlnuo line, simple and unfigured, occurs only once, with the theme.

Each variation Is a miniature study in which several aspects of violin technique are displayed to good advantage.

Variation 1 adheres closely to the melodic contour of the theme.

The melody is embellished by thirty-second and sixteenth notes. Four sixteenth-notes, on the same pitch, played with an up-bow staccato appear in several measures of both parts A and A', and grace notes, two before the main note, are introduced in part B. There is a mordent sign (

1 . A * * / V * * ., ,— 1 1 1 f fJ f c f .+ * m I..'-E-* , d m . m

In V ariation 2, the o u tlin e o£ the melody becomes less obvious.

The variation is written in sixteenth-note triplets and the passage work includes broken triadic figures and one- and two-octave arpeggios.

In measures 1, 2, 3, and 5 the violin begins on the second note of the

triplet after a rest. This feature occurs several times in part B.

Ex. 178. Sonata Op. posth., No. 2, III, Var. 2, m. 1-8.

An interesting aspect of this variation is the variety of bowing pat­ terns applied to the triplet figuration. In addition to those seen in the musical example above, the following patterns, mm-mm ■ • » ^ i * u u s , occur in the second half of the variation. The variation remains within the first four positions except in measure 16 where-the 3 two-octave G major arpeggio reaches a g in the sixth position.

Variation 3, a foil for the following, rapid and energetic varia­ tion, is a study in double-stops. A variety of double-stops is*! used, although some parallelism, in thirds and sixths, does occur. Except for a few, small changes in articulation, the melody appears In Its original form as the upper voice throughout the entire variation.

Ex. 179. Sonata Op. posth., No. 2, III, Var. 3, m. 1-4.

In Variation 4, a legato study in thirty-second notes, the melody is completely obscured. The thlrty-second-note figuration, employed throughout most of the variation, consists mainly of broken chord figures and scale passages. The notes are slurred in twos, or the slurs enclose a half or whole measure. The writing requires the 3 use of seven positions. A high a-flat is reached three measures from the end.

Ex. 180. Sonata Op. posth., No. 2, III, Var. 4, m. 1-3. 212

Sonata Op. Posth., No. 3

2 Allegro moderato E-flat major % Sonata form

Andante con variazione E-flat major \ Variation form 2 Andante con variazione E-flat major 4 Variation form

Tonal scheme: First movement

it 17 3t fo tf if 71 7fc ti I I I I I J- J—I------Hk- H--- .------n ---- 1-- *- w Ek -*Bb Bk f c f Ek Ek

Allegro moderato.- The first movement is in sonata form with

a long development and an abbreviated recapitulation.

The f i r s t theme group c o n sists of a succession of loosely r e ­

lated ideas of considerable rhythmic variety, which are not marked off

by strong cadences. The first idea, a four-measure phrase, ends with

a full cadence but overlapping occurs, and the bass of the final chord

of the cadence becomes a two-measure tonic pedal p o in t. The melodic

elaboration in the violin (both measures are identical) is related in

part to the rhythmic motive found on the first beat of measure 2. The

pedal point ends on the first beat of measure 7, and a descending

thlrty-second.-note figure in the violin moves on to a new idea. Also

in measures 10 and 11, in the strong, cadential progression, 116 - V 6 of V, the fin a l harmony is extended for two measures w ith melodic deco ration in the violin part -- an elaborate figure based on ascending, broken thirds in thirty-second notes capped by a flourish in sixty-

fourths. At the end of this pedal point, a resting place is also avoided by the melodic continuity in both the violin and bass line. Ex. 181. Sonata Op. posth., No. 3, I, m. 1-13.

Allf

m l 1 ^ ~ "l I liXj Iff j.J

*

Two freely sequential measures are followed by two in which the violin and continuo lines ascend in tenths. The violin has trills, the con- tinuo, repeated eighth notes. The next four measures are based on another dominant pedal. The f i r s t two measures consists of a "drum" pedal, in quarter-notes, embellished by arpeggiated figuration in thirty-second notes. In the last two measures, a new thirty-second- note motive, treated sequentially, ascends over a sustained pedal. Two, additional measures of dominant harmony lead to a full cadence at mea­ sure 23. There is emphasis on dominant harmony to affirm the tonic 214

tonality, but even this cadence, which ends the first theme group, lacks

any feeling of conclusiveness.

The transition, only three measures long, leads to a half ca­

dence in B-flat major, the dominant key, and flows without interruption

into a short second theme group. Like the first theme group, the sec­

ond lacks obvious phraseology as overlapping also occurs. The second

theme group opens with a new idea based on a one-measure motive compris­

ing a short trill followed by an arpeggiated figure. The motive is re­

peated a step higher and the music proceeds to a three-measure passage, n slightly chromatic and written in sixteenth-note triplets, which leads

to a full cadence.

Ex. 182. Sonata Op . posth., No. 3, I, m. 27-32. * * *

f .ft;f ff f L ?- i • 4Wi------f ------~r------r~------J------J------J—— — j ------J------4------' f t [ ...... d 1 1 * 4

1—1 i n -i 1 y * u r t o L d g i m t t f f f j usv—i

Iw.i, i -H3= , T - - n : .. = f = 1 I'n* ____ 1 ' I ' V =*=

The final note of the cadence is overlapped and the preceding three measures are repeated. A two-measure, cadential elaboration, based

on dominant and tonic arpeggiated figuration in thirty-second noteB,

Is inserted before the final tonic chord. 215

The development opens with the first nine measures of the first

theme group in the dominant key, with only a few minor changes. The

next three measures are new and lead to an embellished full cadence.

While the violin comes to a full stop at the cadence, the bass line

leads without pause into a modulatory section. Most of this is devoted

to passage-work in sixteenth-note triplets. The first five measures

are in F minor. A stop at the cadence is avoided by the melodic

continuity in both the violin and continuo lines-. A ten-measure passage

in C minor follows and is also concluded with a full cadence. -The mov­

ing bass line under the final chord of the cadence (measure 64) modu­

lates and leads to two sequential measures of which the first is in F minor and the second returns to the tonic key of E-flat major. A high­

ly embellished, half-cadence (116 -V), with the dominant harmony ex­

tended for three measures, concludes the development.

Ex. 183. Sonata Op. posth., No. 3, I, m. 64-70. 216

In the recapitulation, only the first four measures of the first

theme group plus the cadential chord of resolution are utilized. As in the exposition, overlapping occurs, and two new measures initiate the transition and lead to the three measures of the original transition.

The concluding measures of the movement are a restatem en t, w ith very few changes, of the second theme group as presented In the exposition.

A novel approach is taken to the fin a l two movements as both consist of theme and variations. The melodies are different but the basso continuo line is the same in both themes. As a result, the form, which is binary, and the over-all tonal plan are the same for both themes and all the variations.

Tonal scheme: Second and th ird movements

• J 1 is it

I------1------#------1-----^ BV t t ->Efc i

The first phrase is in the tonic, the second, in the dominant key. In the second half, the first phrase opens in the dominant but. concludes with a full cadence in the tonic. The concluding phrase, colored by a secondary dominant in measure 13 affirms the tonic key. Except for the first half of Variation 3 of the second movement, none of the variations follow very closely the melodic outline of their theme. Thus, the theme of the third movement, labeled Seconds Thema, could easily be considered just another variation. 217

Andante con V arlazione.- The second movement has a theme and six

variations. The melody is simple with a range of a minor tenth. The

two, final cadential measures of each half are the same, but this sim­

ilarity of endings is followed only in Variations 1, 3 and 5. The basso

continuo line, consisting principally of repeated eighth notes, is print­

ed only once and is unfigured.

Ex. 184. Sonata Op. posth., No. 3, II, Theme, m. 1-8.

cam Var|«W»C

The variations, of the tune-embellishment type, require a gen­

eral fluency both in the left-hand and in the bow technique.

Variation 1 is written mainly in sixteenth-notes, slurred in

fours, and the melodic outline of theme is not closely followed. The

trills, found in measures 1 , 2 and 5 are not used anywhere else in the v a ria tio n .

Ex. 183. Sonata Op. posth., No. 3, II, Var. 1, m. 1-8. 218

The first four measures of the second half are based on an accompaniment-

like passage alternating the D and A strings and similar to Alberti bass

patterns. More disjunct motion appears in the final four measures.

Variation 2 moves farther away from the original melody. It

consists of passage work in sixteenth-note triplets with much disjunct

motion and employs the f i r s t five positions.

Ex. 186. Sonata Op. posth., No. 3, II, Var. 2, m. 1-8.

The two phrases of the first half are similar, based on the opening

motive (measure 1) with broken chord figuration. The first phrase of

the second half uses a variant of the opening motive and, throughout

the phrase, the triplets are slurred in threes. The concluding phrase

is melodically more disjunct and recalls the broken chord figuration

of the first half. Throughout the variation, the bowing is a mixture

of d&tache and legato, but at measure A, the cadence is emphasized by

the singular use of staccato bowing.

The first half of Variation 3 follows closely the melodic con­

tours of the theme. The most striking aspect of this variation is that

the violin part begins very high on the & string, in seventh position on 3 3 A an e-flat , shifts to eighth position for B-flat , and reaches a c in ninth position in measure 6. 219

Ex. 187. Sonata Op. posth., No. 3, II, Var. 3, m. 1-8.

In the second hal^ of the variation, the original melody is completely obscured. A new rhythmic figure combined with a t r i l l , f f l n , occupies tr every beat of the first phrase. Two and a half measures of sixteenth- notes, basically arpeggiated figuration, follow and lead to the cadence.

Variation 4 features a descending sextuplet in sixty-fourth notes. Preceded by an eighth note, sometimes embellished with a trill, the sextuplet is marked with staccato bowing and, in most instances, is an arpeggio.

Ex * 188. Sonata, Op. p o sth ., No. 3, I I , Var. A, m. 1 — A.

m

A single, ascending version of the sextuplet, also an arpeggio, occurs

In measure 14. In the second half, the sextuplet becomes even more conspicuous as it appears in each measure.

Variation S is written almost entirely in thirty-second notes and demands great fluency of the left hand. Except in measure 4, the

/ 220

thirty-second notes are slurred eight to a bow. An ascending, trill­

like motive, using an upper neighboring tone, dominates the first half

of the variation.

Ex. 189. Sonata Op. posth., No. 3, II, Var. 5, m. 1-4.

The second half opens with a new motive related to a turn and concludes with figuration based on scales and arpeggios. In measures 1, 2, 5 and

11, the ascending figuration is marked to be played on specific strings.

The f if th position is needed on both the G and D s trin g s, and thus,

the same tone quality or string color is maintained throughout a mea­

sure.

Chromaticism is the important feature of Variation 6. The f i r s t

three measures of each phrase of the first half consist of a series of

rising four-note, chromatic-scale fragments in sixteenth-notes.

Ex. 190. Sonata Op. posth., No. 3, II, Var. 6 , m. 1-8. 221

In the second half, the last phrase Is treated in a similar manner, but in the first phrase, a new four-note chromatic figure, in which the second and third notes involve the skip of a minor seventh, is intro­ duced. For rhythmic contrast, the "Scotch snap" figure is found at each cadential point except at the end of the first half,

Seconda Thema, Andante.- The last movement of this sonata is a theme and ten variations. Except for the trills on the penultimate note of each h alf, the melody is devoid of ornamentation, and has a

1 2 range of a perfect twelfth (e-flat - b-flat ). The variations are * printed on four pages, and as a result, the basso continuo line appears both under the melody of the theme and under the seventh v ariatio n .

The second appearance has no changes but is only a convenience for the continuo player. In both instances, the basso continuo is unfigured.

Ex. 191. Sonata Op. p o sth ., No. 3, I I I , Theme, m. 1-8.

In none of the variations is the melodic contour of the theme apparent. Each variation is a miniature study based on a characteristic figure and a particular technical device.

Variation 1 is a legato study in thirty-second notes, slurred in fours. A break in the flow of the music occurs at the end of each four-measure phrase. The opening, eight-note motive, consisting of an 222

octave leap to an ascending triad followed by a descending four-note

scale fragment, characterizes most of this variation. Several variants

of the motive occur, such as in measure 2 , and in the first phrase of

the second half, the descending four-note figure is an arpeggio.

Ex. 192. Sonata Op. posth., No. 3, III, Var. 1, m. 1-4.

Variation 2 is an intricate study in sixteenth-note triplets

based entirely on arpeggiated figuration. In the first half, the first

two measures of each phrase are based on three-octave arpeggios with

the descent shortened as seen in measure 1. In the second half three

octave arpeggios are also used in measures 13 and 16.

Ex. 193. Sonata Op. posth., No. 3, III, Var. 2, m. 1-4.

TiilPiifTnyrtrii.ii

In measure 5, the three-octave arpeggio ascends to a high c . In the

second half, measures 9 to 12, based on only an ascending, six-note

arpeggiated figure, are also marked with a specific bowing pattern --

.b o • Most of Variation 3 highlights a forceful, two-note motive which

skips up a third and of which the first note is embellished with a trill. 1

223

Ex. 194. Sonata Op. posth., No. 3, III, Var. 3, m. 1-4.

o : tTN 1 «

The first phrase of the second half, marked sostenuto and pianissimo, introduces an unexpected element of contrast. These four measures are based on slowly, moving double-stops on the D and G strin g s.

Ex. 195. Sonata Op. posth., No. 3, III, Var. 3, m. 9-13.

Sotted wfo TP Ii S i £ *r r -f f w

Without a pause between phrases, the trill figure is suddenly reintro- duced to conclude the variation.

Variation 4, reverting to thirty-second notes, is based on a four-note motive, an octave skip, a lower neighboring tone and a re­ turn to the main note. The character of this motive is also dependent upon the designated bowing which p e rsists throughout the v ariatio n : p r - r a r m . 224

Ex. 196. Sonata Op. posth., No. 3, III, Var. 4, m. 1-4.

Variation 5 Introduces more rhythmic variety than any of the previous four variations. The initial, descending motive which ap­ pears also at the beginning of the second phrase of both halves, acts as a unifying factor.

Ex. 197. Sonata Op. posth., No. 3, III, Var. 5, m. 1-4.

The pitch direction and rhythmic pattern of measure 1 also appear

In the first three measures of the second half. The large, inter vallic skips, particularly from the G to the E string, found in measures 2 and 4, are unique to this variation.

V ariation 6 is in double-stops, and the writing resembles two-part counterpoint. A limited use of imitation occurs in mea­ sures 2 and 3 and measures 6 and 7. 225

Ex. 198. Sonata Op. posth., No. 3, III, Var. 6 , m. 1-8.

Each phrase begins with the same rhythmic figure, r m , in the

lower voice. In the first phrase of the second half, the melody is

in the lower voice while the upper voice has a sustained f' until

the cadence. The frequent use of the accented appoggiatura results

in several occurrences of the dissonant intervals of the second and seventh, Illustrated in the above example.

Variation 7 is characterized by syncopation. Disjunct motion, mainly in arpeggio form, is highlighted. The syncopation occurs in two patterns: m j t 3 and J7TT1 . The f i r s t p a ttern p re ­ dominates in the first half. In the second half, the first four mea­ sures are based on the second pattern, while the concluding four mea­ sures are based on the f i r s t .

Ex. 199. Sonata Op. posth., No. 3, III, Var. 7, m. 1-4.

V ariatio n 8 , written in sixteenth-note triplets, also stresses disjunct motion. The passage-work evolves out of the opening six- note motive. While intervallic changes may occur on the first half 226 of the beat, the second half of every beat has a descending triad.

The melodic contour of the motive always remains the same. Only at cadences are adjustments made.

Ex. 200. Sonata Op. posth, No. 3, III, Var. 8 , m. 1-4.

i 1 ‘-"n

Variation 9 is based on passage-work in thirty-second notes with various bowing a rtic u la tio n s . Ascending two-octave arpeggios are a prominent feature, particularly the tonic arpeggio figure opening the variation and found also in measures 5 and 13. The trills in measure 2 are used again only in measure 14, a meIodically related measure.

Ex. 201. Sonata Op. posth., No. 3, III, Var, 9, m. 1-4.

Variation 10 is also written in thirty-second notes but pre­ sents broken chord figuration crossing over three strings. The string corssing plus the repeated slurring of the figuration in twos gives this variation a lilting quality which is halted only at the cadences 227

in measures 8 and 16. There seems to be no reason why the last two groups of thirty-second notes in measure 2 are slurred in fours.

This is probably a printer's error.

Ex. 202. Sonata Op . posth., No. 3, I I I , Var. 10, m. 1-4.

P i j T r*V f ? flPiA XI H Tr>■f-LL r f "f f 1 * * . U-J m &m i 1if ^ 17 228

Sunmary

The Opus posthumous of Gavinlls d iffe rs from the two previous

sets of sonatas, Opus 1 and Opus 3y as it contains three instead of

six sonatas. Each sonata s t i l l consists of three movements, however,

the tempo sequences of movements are different. In Sonata No. 1,

the tempo sequence is slow-fast-fast, in Sonata No. 2, slow-fast- moderate, in Sonata No. 3, fast-moderate-moderate. The fast movements are all some kind of Allegro. In Sonatas Nos. 1 and 3, they are in sonata form. In Sonata No. 2, the fast movement is in a three-part

form - ABC. The opening slow movements, Adagios, of Sonatas Nos. 1 and 2 are in a free form, and the moderate tempo movements of Sonatas

Nos. 2 and 3 are in v ariatio n form with the theme marked Andante.

No tonal co n trasts occur between movements as a l l three move­ ments of each sonata are set in the tonic key. The keys and formB of the movements of th is opus are lis te d c o lle c tiv e ly in the follow ­

ing ta b le .

TABLE I I I

SONATA MOVEMENT KEY FORM

No. 1 Adagio F minor Free form Allegro ma Affetuoso F minor Sonata form Allegro con Fuogo . . . Presto F minor Sonata form

No. 2 Adagio ma non troppo C minor Free form Allegro con espressivo C minor Three-part form - ABC Andante con variazione C minor Theme and variations

No. 3 Allegro moderato E-flat major Sonata form Andante con variazione E-flat major Theme and v ariatio n s Andante con variazione E-flat major Theme and variations

v In each of the three sonata-form movements, the structure of

the first theme group is quite different. In the second movement of Sonata No. 1, the first theme group, sixteen measures long, con­ sists of a string of eight, two-measure units with a digression to

B-flat minor and A-flat major in the fifth and sixth units. In the third movement of Sonata No. 1, the first theme group, also sixteen measures long, comprises four, four-measure phrases in which the fourth phrase is a varied repetition of the third. The first theme group of the first movement of Sonata No. 3 contains twenty-three measures which are divided into phrases of varying lengths. The continuous flow of the melodic line and the overlapping of phrases, however, obviate strong cadences. The cadences are marked by the unexpected extension of final notes decorated by elaborate violin figurations.

This figuration in thirty-second notes contributes to the rhapsodical character of the f i r s t theme group.

The treatment of the second theme groups also exhibits variety.

In the second movement of Sonata No. 1, the second theme group is set in the dominant minor key. While different melodic and rhythmic elements are introduced in the second theme group, the character of the thematic material is little different from that of the first theme group. In the third movement of Sonata No. 1, the second theme group, a lengthy passage of forty-three measures, is set in the re­ lative major key. It begins with an eight-measure, sostenuto theme which is in direct contrast to the first theme group both in character and s ty le . The thematic m aterial that follows is marked in units of four or more measures and consists mainly of passage-work in sixteenth- note triplets and thirty-second notes, differing greatly from the 230

material found in the first theme group. In the first movement of

Sonata No. 3, the second theme group, set in the expected dominant

key, is limited in scope and may be considered only a new tonal

plateau with the thematic material extended by repetition.

In each case, the handling of the development section is also

different. In the second movement of Sonata No. 1, the development

is set entirely in the key of the relative major (the dominant minor

having been used for the second theme group). Except for a slight

reference to the transition, the development is mainly episodic -

based on a succession of short melodic elements some of which are

repeated and others are treated sequentially. The development of the

third movement of Sonata No. 1 begins with a partial statement of the

opening theme both in the relative major key and the tonic. The music

continues in the dominant minor with new material interwoven with

direct quotes from the transition and the second theme group. The development of the first movement of Sonata No. 3 consists of a partial statement of the opening theme in the dominant plus new material which uses both repetition and sequence.

The recapitulations are treated in the following manner:

Second movement, Sonata No. 1 - based on a shortened and altered statement of the f i r s t theme group, an extended transition followed by a restatement of the second theme group extended in part by repetition.

Third movement, Sonata No. 1 - based on the tra n sitio n and an abbreviated second theme group.

F irs t movement, Sonata No. 3 - begins with an abbreviated first theme group followed by a slightly extended transi­ tion arid a restatement of the second theme group. 231

The remaining Allegro, the second movement of Sonata Mo. 2, Is

constructed in a three-part form, ABC, and is unusual due to the inter­

relationship of thematic material in the three sections of the form.

Part A resembles a sonata-form exposition and contains what may be

considered a f i r s t theme and a second theme group. Part B comprises

several ideas from Part A plus new thematic material. Part C incor­

porates new material with ideas which are common to both Parts A and

B or are found exclusively in either part.

The two slow movements in this opus, both Adagios. though in

free form, are marked off by cadences into phrases of various lengths.

(In Opus 1 and Opus 3, the form of the slow movements is either binary or ternary.) In the first Adagio, opening Sonata No. 1, the violin part is written exclusively in double-stopB with the eighth note as

the shortest note value. The second Adagio, the opening movement of

Sonata No. 2, is in direct contrast as the violin has a single line, and prominence is given to sixteenth-note figures. Thirty-second notes appear occasionally. Both movements are much more modulatory than any of the slow movements found in either Opus 1 or Opus 3.

The remaining movements are those in variation form. The third movement of Sonata No. 2 consists of a theme and four variations.

This is the .only v a ria tio n movement in which the theme is in ternary form. (In all other cases, including the two other variation move­ ments of this opus, the theme is always found in binary form). The third part of this theme is a modified, major version of the first part. Only the fourth variation does not follow the outline of the theme. The second and third movements of Sonata No. 3 are a theme 232

with six and nine variations, respectively. An unusual aspect of

these two movements is the fact that, while the melody in the violin

part is different, the continuo line is the same for both themes.

Since a number of the variations, in either movement, do not closely

follow the outline of the theme, as discussed earlier in the analysis,

the theme of the th ird movement could conceivably be considered ju s t

another variation. In comparison, the three sets of variations of

this opus are much more brilliant than those found in Opus 1 or Opus

3 and demand greater virtuosity in their performance.

As In Opus 1 and Opus 3, the familiar galant melodic charac­

teristics are still prevalent in this opus, but their cliche-like use

throughout a movement, particularly in an Allegro, is not common.

For example, the short trill (the old symbol, +, now replaced by the abbreviation,*^) appears often only in the second movement of Sonata

No. 1. Lower and upper appoggiaturas, though found in the first movement of Sonata No. 1 and the f i r s t movement of Sonata No. 2 , are

less important in this opus as much of the writing is based on triadic and broken-chord figures. Although dotted rhythms are common in this opus, the popular "Scotch snap" rhythm, used extensively in both Opus

1 and Opus 3, is found infrequently. The only prominent use of pedal p oints occurs in the opening theme of the f i r s t movement of Sonata

No. 3 (see ex. 181).

The basso continuo part is entirely unfigured; however, the intended harmony may be easily perceived. As in Opus 1 and Opus 3, the harmonic vocabulary is primarily diatonic with seventh chords, particularly secondary dominants, used frequently. In some instances, these secondary dominants are diminished sevenths or incomplete dominant 233 ninths (see ex. 157). A complete dominant ninth is Implied in measures

17 and 19 of the third movement of Sonata No. 1 (see ex. 164).

There are no extended chromatic passages, but chromatic in­ flexions in the violin line are common (see exx. 172, 182). Several short passages involving the continuo are noteworthy (see exx. 159,

161), and V ariation 6 of the second movement of Sonata No. 3 is based on fragments of a chromatic scale (see ex. 190). An augmented sixth chord is found in measure 21 of the third movement of Sonata No. 1

(see ex. 164) and at the closing cadence of the second part of the theme, third movement of Sonata No. 2. (See the following example).

Ex. 203. Sonata Op. posth., No. 2, III, Theme, m. 15-16.

^ L u P iL f j : i r r ‘ iTi

• •

Neapolitan harmony is used more often. It occurs three times in the first movement of Sonata No. 2 - in measures 31, 43 and 52. (The first and th ird occurrences are illu stra te d in Examples 157 and 158.) I t is also found in measure 47 of the second movement of Sonata No. 1 (see ex. 162) and measure 20 of the first movement of Sonata No. 2 (not illustrated). Full and half cadences predominate as only one plagal cadence (see ex. 165) and two deceptive cadences - Sonata No. 1, first movement, measure 48 (ex. 158) and Sonata No. 1, third movement, mea­ sure 103 (not illustrated) - are utilized. The cadential formula, 234

II§ - 1$ - V - I t found o ften on both Opus 1 and Opus 3, is no longer a common feature as various cadential progressions, such as IV - V - X and V7 of V - V - I. are used frequently. 235

Violin Technique

The bulk of the w riting for the v io lin in the Opus posthumous

lies within the first four positions, with a greater utilization of

the second and fourth positions - an emphasis not found in either Opus

1 or Opus 3. Also, the writing is more difficult for the performer

simply because all the movements are written in the flat keys which

limits the use of the open strings.

Specific fingerings are indicated on a limited scale. In some

cases, the fingering is inserted to keep a passage on a specific string,

e .g ., the opening themes of the second movement of Sonata No. 1 and the

second movement of Sonata No. 2 (exx. 159, 171). In most other in­

stances, the Inserted fingering is an aid indicating the proper posi­

tion to facilitate the playing of a passage (exx. 161,200, 201). There are a few places, as in Example 164, where the fingering maintains the

uniformity of the string crossings. The terms, 4e Corde (see ex. 165),

3me or 4me Corde (see ex. 189), are used to obtain a d is tin c t strin g color, but their use also results in a specific fingering. These are

the only examples, Opus 1 and Opus 3 included, where these terms are

found.

Most of the difficult passage-work, based mainly on arpeggiated

fig u ratio n , occurs in the v ariatio n movements. The best examples are

Variation 4, the third movement of Sonata No. 2 (ex. 180), Variation

2, the second movement of Sonata No. 3 (ex. 186), and Variations 1,

2 and 9, the th ird movement of Sonata No. 3 (exx. 192, 193, 201). Most of the writing above the fourth position is also found in the variation movements. The exception to this is the first movement of Sonata No. 3 vhich demands the use o£ fifth position. Variations 2 and 4 of the 3 th ird movement of Sonata No. 2 extend to g , in six th p o sitio n , and 3 a-flat , in the seventh position, respectively. Variations 2 and 5 of the second movement of Sonata No. 3 reach fifth position, and Var­ ia tio n 3 of the same movement, se t mainly high on the E s tr in g , reaches 4 4 a c in ninth position. Variation 2 also ascends to a c , and Varia­ tions S and 9 extend to sixth and fifth positions, respectively.

A variety of articulations, mainly combinations of legato and d£tach£, is still the norm. Staccato bowing, playable in places as flying staccato, is found in Variations 1 and 2 of the third movement of Sonata No. 2 (see exx. 177, 178) and the brilliant Variation 4 of the second movement of Sonata No. 3 (see ex. 188). CHAPTER VII

SIX SONATAS FOR TWO VIOLINS, OP. 5

An edition of Gavini4s' six sonatas for two violins, Op. 5, published by the author, is preserved in the Bibliotheque de 1*Arsenal

1 2 in Paris. La Laurencie dates this edition sometime after 1764. The 3 Sieber reprint (see Plate XI for a reproduction of the title-page) appeared sometime after August 1771, the earliest date that Sieber 4 lived at the address found on the title-page. The collection was not listed in a Sieber Catalogue until 1774 or 1775.^ The edition consists of separate violin parts in which each sonata is individually

labeled a "duetto.” In the Appendix of this study, the sonatas are presented in score-form.

L. de La Laurencie and A. Gastoue, Catalogue des livres de musique (manuscrits et imprimis) de la Bibliotheque de l'Arsenal 3 Paris (Paris: Librarie E. Droz, 1936), pp. 169-70. 2 , Lionel de La Laurencie, L Ecole francaise de violon de Lully a Viottl (3 vols.; Paris: Librairie Delagrave, 1922-24), III, 239. 3 A copy of this edition is in the Hirsch Library. See the Catalogue of Printed Music in the British Museum; Accessions, Part 53 - Music in the Hirsch Library (London: The Trustees of the British Museum, 1951), p. 31. 4 Cari Johansson, French Music Publishers' Catalogues of the Second Half of the Eighteenth Century (2 vols.; Stockholm: Publica­ tions of the Royal Swedish Academy of Music II, 1955), 1, 134.

5 Ibid., II, facs. 105.

237 PLATE XI

n./hs- SIX S O N A T E S * A

. £ > * * % «*/ C/omjioJeos

G A l l N l l l S . OKUVRK V? fin* .*))'*% I^ w i ' Pm 7 'i‘4 ‘‘ a A JWUJ.S

Clive "(I ^ f iylr(?/f

Title-page, Gavinies Sonatas, Op. 5, (ca. 1771)

238

\ Sonata Op. 5, No. 1

A lleg re tto F major ^ Sonata form

Adagio F minor 4 Three-part form - AA'B 2 Allegro assal F major £ Sonata form

Tonal scheme: F i r s t movement

I t 17 a* 1)7 1U I 1 la lb Hb i a a I------I----1 1 * ■ * 1 • Mfc— I h i 1 H H - r c c a to* (c) f

A lle g re tto .- The f i r s t movement is in sonata form and is d i­ vided into two sections containing fifty-six and seventy-two measures, respectively.

The opening eight-measure theme, presented forte by the first violin( is delayed one beat as the second violin opens the movement with a running accompaniment in sixteenth notes, marked piano. The first four measures of the accompanying voice are based on a descend­ ing scale fragment with the sixteenths slurred in sixes. In the clos­ ing measures, the sixteenths are slurred in twos. The phrase ends on a half cadence.

Ex. 204. Sonata Op. 5, No. 1, I, m. 1-8. AUcjwlto 240

With an exchange of voices, the theme and accompaniment are repeated, but in the dominant key* Since the dominant key has been reached, the second theme group follows directly without the use of any transitional m aterial.

The second theme group is a lengthy section of forty measures.

The first twelve measures, labeled Ila in the above tonal scheme, con­ sist of a six-measure phrase and its repetition. A new idea is stated in the leading voice while the descending scale fragment, found in the opening phrase of the second violin part, is reintroduced in the first two measures of the accompanying voice. This phrase, which is omitted in the recapitulation, leads without pause into the remaining section of the second theme group.

Ex. 205. Sonata Op. 5, No. 1, 1, m. 17-22.

The remainder of the second theme group, labeled lib, is divided into four-measure phrases, forming an ABBACC design plus a four-measure cadential extension. The repetition of each of the phrases- finds the roles of the two violins reversed. Phrase A, a two-measure pattern repeated, and phrase B, freely sequential, both retain passage-work in sixteenth notes in the accompanying voice. Phrase C is significant, as i t is based on the descending scale fragment found in the accompany­ ing voice of the opening theme. The four-measure cadential extension concludes the exposition. 241

Ex. 206. Sonata Op. 5 , No. 1, I , m. 45-48, phrase C.

The second half, of the movement begins with a dominant statement of the opening theme. The next eight-measure phraBe in D minor gives prominence to passage-work in sixteenth notes slurred in twos. The same phrasing pattern dominates the following eight-measures which pass from D minor to A minor while touching C major. Phrase C (ex.

206) is reintroduced in A minor and repeated with an exchange of voices. It is followed by a modulation, via C major, to F major. In the final nine measures of the development, the second violin continues with passage-work in sixteenth notes, slurred in twos and based mainly on broken chord figuration. The first violin gains importance only at the cadence, which is to the dominant.

The recapitulation, in the tonic, consists of the repetition, with the violin parts exchanged, of the concluding twenty-eight mea­ sures of the exposition, section lib of the second theme group. 242 Tonal scheme: Second movement

* ^ it n 11 n A A' * I------1— |— i— .— i— i— | f c f

Adagio.- The second movement is in a three-part form with an

AA'B design. Section A consists of a period in which the antecedent phrase, begun by the first violin alone, ends with a full cadence; the consequent phrase, with a half cadence. The first measure of each phrase is utilized later in Section B.

Ex. 207. Sonata Op. 5, No. 1, II, m. 1-8.

Section A' is also a period and begins with the antecedent phrase of the opening theme in the second violin. The complementing phrase, which treats the first measure of the preceding consequent phrase sequentially for two measures and continues the inverted dotted rhythm for another measure, is in C minor and concludes with a full cadence.

i» . Ex. 208. Sonata Op. 5, No. 1, II, m. 13-16.

Section B, also falling into four-measure phrases, returns to

the tonic key of F minor. In the first phrase, the first violin part consists of the sequential treatment of a two-measure unit of which

the first measure, introducing a written-out turn, is related to the opening measure of the movement. The second v io lin is treated freely .

Ex. 209. Sonata Op. 5, No. 1, II, m. 17-20.

The next phrase, related to the consequent phrase (measures 13-16) of

Section A', ends on a deceptive cadence and, with an exchange of voices, is repeated with the cadence altered to end on the tonic. The concluding four measures are merely a cadential extension.' 244

Tonal scheme: Third movement

• 9 H If 31 1< I f n ( | 67 73 11 1 3 f t la I Ha Hb I lb J L H J 1 1—•- $— I-*—■—K r 1-----L- -♦C & CF

Allegro a s s a l.- The th ird movement, In sonata form with mono- thematic characteristics, contains two sections of approximately equal length — the first, forty-eight measures, the second, fifty measures.

The f i r s t theme group is based on an eight-measure theme, a balanced period. The antecedent phrase, of which the first two mea­ sures are identical, leads to a full cadence; the consequent phrase, in which the first two measures are treated sequentially, ends on a half cadence. The initial four-note motive, embellished with a trill,

Is a distinctive feature which is also conspicuous in the second theme group and acts as a unifying factor.

Ex. 210. Sonata Op. 5, No. 1, III, m. 1-8.

AlWf't Attti if f r-r i § § §m i PH f\ ■ Z J - T m • • t

With the melody in the second violin, the antecedent phrase is. repeated intact, but the consequent phrase, is altered to permit a modulation at the cadence to the dominant key of C major. 245

Ex. 211. Sonata Op. 5, No. lf III, m. 13-16.

S j P g p

Since the dominant key is reached through the alteration of

the previous phrase, no transitional material is necessary. The second theme group follows directly. The second theme group consists of two p a rts . The f i r s t p a rt is an eight-m easure theme and its repetition, in which the opening four-note motive is recalled. The phrase ends on a full cadence ornamented with an appoggiatura "sigh."

Ex. 212. Sonata Op. 5, No. 1, III, m. 17-24.

The phrase is repeated with only one change. At the cadence, instead of the upper appoggiatura, the lower appoggiatura, a B natural, is substituted. The second part is another eight-measure phrase which is colored by a short, chromatic passage and is repeated to conclude the exposition. 246

Ex. 213. Sonata Op 5, No. 1, III, m. 33-40. IfSS

. 4T> : J $ 4 -1 .T.igd-y-i. p f e i- L I i- l iP e tut. / 1---- —---- 3— "1---- 1--- -J-—* * ---- -pm— 1 T « trti. “ • * (•

The second half begins with a slightly altered version of the opening theme in the dominant. The development continues with six­ teen measures in D minor, the relative minor of the tonic key. A four-measure, antecedent phrase, in which the opening four-note motive is prominent, is followed by a six-measure, consequent phrase which closes with a half cadence and is repeated with the cadential formula a lte re d to end on the tonic. Three re p e titio n s , two in G major and one in C major, of a two-measure pattern containing the opening four- note motive and reminiscent of measures 17 and 18 (the beginning of the second theme group), lead to the four concluding measures of the development back in the tonic key. This section ends with a half cadence.

The recapitulation is abbreviated and consists of only a re­ statement, with minor changes, of the second part of the second theme group, the chromatically colored eight-measure phrase plus its repe­ tit i o n . 247

Sonata Op. 5 , No. 2

Allegro coroodo E minor 2 Sonata £orm

Andante un poco adagio E major § Binary form - AA'

2 Allegro assai E minor ^ Sonata form

Tonal scheme: F irst movement

I I) V i f »l i t Hi (I r? ( 1 «o I H V t— l i i l "|(t? - * ...... _L_ I*-1 '

;e - * e

A llegro comodo.- The f i r s t movement is in sonata form but is monothematic. The two repeated halves contain forty-two and thirty- eight measures each.

The first theme group consists of a twelve-measure phrase in which the "Scotch snap" rhythm is a prominent feature. The first violin begins the theme alone with the second violin entering in the second measure. The length of the phrase is due partly to the repeti­ tion of two-measure, melodic patterns in the arrangement aabccd. 248 Ex. 214. Sonata Op. 5, No. 2, I, m. 1-12.

Allege ^ i U q p i S t PP mm m .1.4. >»U

I U w a j Ij j n i i l

r . r« n ra. .'i.i Oui. mm S i

^ l ) ‘ ■ w ? f £

The first four measures of the transition are based on the sequential treatment of a two-measure pattern, in A minor and G minor, giving prominence again to the "Scotch snap" rhythm. The remaining eight measures begin somewhat ambiguously in E minor but quickly modulate and lead to an extended half cadence in B minor, the dominant minor.

The second theme group begins with the first ten measures of the opening theme stated by the second violin In the dominant minor.

Four new cadencing measures round off this essentially complete state­ ment of the opening theme. These are repeated, with an exchange of voices, to conclude the first half.

The second half opens with a four-measure phrase based on a new idea in the unexpected key of A minor. Only the up-beat serves as a connecting link between the new tonality and the dominant minor key which closed the first half. 249 Ex. 215. Sonata Op. 5, No. 2, I t m. 43-46.

< Z m i m m i 3 J 2 Mr. f

The phrase is repeated a step lower In G major, the relative major

of the tonic key. A one-measure motive, beginning in the middle of

the measure, is. treated both sequentially and imitatively in the

succeeding six-measure.phrase which is still in G major. The use of

the short, lower appoggiatura on the strong beats of the measure adds

a piquant quality to the passage.

Ex. 216. Sonata Op. 5, No. 2, I, m. 51-56.

rffTi i frti n f r r f r i f f ' w e f t f m a C r t * . / //" ----U- r_.y ; # = j" i f I f ir J f c g P LLLy.!a=yd «*«» ff i i / t /(U ii)

The second violin continues in G major with the first four measures of

the opening theme over which the first violin enters, a measure later, in what appears to be another passage of imitation. The imitative

treatment, however, is short-lived as the second violin proceeds to a freely sequential passage of eighth-note figures consisting of a melody note alternating with a repeated note and supported by half notes in the first violin. The final two measures of this section modulate to a half cadence in the tonic key of E minor.

\ The recapitulation is brief and consists of a restatement, in

the tonic key, of only the concluding twelve measures of the first half. Since the opening theme appears in the second theme group, the first four measures of the recapitulation are the same as measures 7

to 1 0 of the first theme group.

Tonal scheme: Second movement

II 11 u » lift I I— I i — H I E

Andante un poco adagio.- The second movement, in the tonic major key of E, falls into a two-part form with an AA' design in which Part A* is a varied and compressed version of Part A.

Part A begins with an eight-measure theme which is a regular period. The antecedent phrase, ending on a full cadence, highlights a written-out turn. The consequent phrase contains several dotted rhythms and concludes with a half cadence.

Ex. 217. Sonata Op. 5, No. 2, II, m. 1-8 • • • . « * 251

With the melody in the second violin, the theme is repeated but placed

in the key of the dominant, B major. The next four measures, based on a two-measure pattern repeated, develop the melodic motive found

in the opening two measures but avoid a cadence.

Ex. 218. Sonata Op. 5, No. 2, IX, m. 17-20.

The concluding four measures of Part A refer to the descending, dotted figure found in the consequent phrase of the opening theme and lead to full cadence. Without pause, an ascending 3 cale fragment in the second violin leads to Part A' which returns to the tonic key.

Part A' begins with a modified version of the opening theme.

The half cadence at the end of the consequent phrase is replaced with two measures in which the two violins move in thirds and emphasize the inverted dotted rhythm.

. Ex. 219. Sonata Op. 5, No. 2, II, m. 25-32.

The following four measures are related to the closing phrase of Part A,

* and the movement is rounded off with a four-measure cadential extension. 252 Tonal scheme: Third movement

.1 i •• •» » • «r i hi «i hi fi rr t% n n 74 n gc i* I I I |---- frji-u,— frij* ------1 u # ------1------H—H------1------H e 1A& t 6e b a EK E e

Allegro assal.- The third movement is in sonata form with

two distinct themes. The first half contains forty-two measures,

the second half, fifty-three measures.

The first theme group consists of a single idea, a six-measure phrase which is characterized by many dynamic changes and concludes with a full cadence.

Ex. 220. Sonata Op. 5, No'. 2, III, m 1-6.

irwiwnI f T f P y / 2oir.

I f f ft * I j n . : / . t.

This theme is followed immediately by a loosely organized transition.

The first three measures are sequential as a one-measure motive passes from B major,.by the circle of fifths, to G major, the relative major of the tonic. 253

Ex. 221. Sonata Op. 5, No. 2, III, m. 7-9.

The following three-measure phrase, which begins with the dynamically

contrasted incipit, remains in G major and concludes with a full

cadence. The writing in the remaining ten measures of the transition

becomes more chromatic. This section opens in G major with a short

sequential passage which modulates to a half cadence in E major. The

next two measures are also marked off by a half cadence in E major

and are repeated with an exchange of voices.

Ex. 222. Sonata Op. 5, No. 2, III, m. 13-17.

Without pause, the music proceeds to a freely sequential passage in

G major. The w riting is awkward, and the to n ality is not firm ly established due to the appearance of a G-sharp and a C-sharp. A sudden modulation to the tonic key of E minor occurs at the cadence.

The second theme group follows, but the C natural in the second v io lin (measure 2 3 , which could be a misprint, delays the establish­ ment of the dominant minor key, fi minor, u n til the second complete 254

measure of Che theme. A two-measure tonic pedalf supporting a new and

also dynamically contrasted motive, reinforces the dominant minor

to n a lity .

Ex. 223. Sonata Op. 5, No. 2, III, m. 23-27.

i §

The "Scotch snap" rhythm, prominent at the beginning of the theme,

regains its importance, and the music leads to a full cadence. The

final cadence overlaps the beginning of a repetition of the preceding

eight measures with the roles of the two violins reversed (measure

25). The exposition ends with a one-measure elaboration of the final

chord.

The second half opens with a modified statement of the opening

theme in the distant key of A minor. Most of the following twenty-

seven measures are based or expand on thematic material found in the

transition. The initial three measures of the transition (measures

7-9) are transposed to pass from E. major, through D major, to C major.

Like in the transition, the subsequent three-measure phrase continues

in the new key. The next two measures are similar to measures 13 and

14 but are developed further to become part of a seven-measure phrase which ends with a full cadence. Another seven-measure phrase, begin- * ning sequentially and giving prominence to dotted rhythms, is based on new thematic material, but remains in C major and also closes with a 255 full cadence. Two transitlon-llke measures modulate to a half cadence in E major similar to that found in the transition (measure 15). As in the transition, the four chromatic measures in E major follow this cadence (see ex. 222) and conclude the development. The common domi­ nant chord permits an easy return to the tonic key of E minor for the recapitulation.

The re c a p itu la tio n co n sists of only the second theme group and is a restatement of the same material found in the exposition.

\ 256

Sonata Op. 5, No. 3

Allegro moderato e cantablle A major 4 Sonata form

Andante ma un poco adagio E major Binary form - AA *

Allegretto e grazzioso A major % Sonata form

Tonal scheme: F irs t movement

l n it »*» si T I I H I 1 . 1 > 1 ,*||* | i-i. 1 * ■ i, H - l 1 | 1 i. ■HI E A c l J> A

Allegro moderato e cantabile.- The first movement, with two repeated sections of fifty and seventy-three measures, is in sonata form with monothematlc characteristics.

The first theme group consists of four, four-measure phrases with an abcc design. Phrases a and b are made up of repeated two- measure units in which the cadences are weakened by the undulating, eighth-note accompaniment. Phrase c, in both cases, ends with a strong ful cadence as the eighth-note accompaniment is carried on for only two measures. 257

Ex. 224, Sonata. Op* 5, No* 3, I, m. 1*12* AU«|r» t Caw+Ailt rlnfc f i S H l

V m v ilu m m

m n w

The transition (measures 17-26) has two parts. The first four measures are based on the repetition of a two-measure unit in which the upper appoggiatura is a salient feature. The undulating, eighth-note ac­ companiment is s t i l l prominent.

Ex. 225. Sonata Op. 5, No. 3, I, m. 17-20.

The second part, six measures long, flows directly into the second theme group as overlapping occurs at the cadence (a full cadence in the dominant key of E major). This passage contains a sequential treatment of a two-measure pattern in sixteenth notes. 258 Ex. 226. Sonata Op. 5, No. 3, I, m. 21-26. m

The Becond theme group consists of five, four-measure phrases, with an abbcc design, plus a four-measure cadential elaboration.

Phrase a Is an exact transposition of the opening phrase of the first

theme group in the dominant key. Phrase b introduces syncopation and continues the undulating accompaniment of the first phrase. The repetition has an exchange of the violin parts.

Ex. 227. Sonata Op. 5, No. 3, I, m. 31-34, phrase b.

“P ri'if. « nnf.

- p T t n U l rm i >

Phrase c, primarily cadential, is interesting for the syncopated lift created by the specified bowing found in both parts. The phrase is repeated also with an exchange of voices. 259

Ex. 228. Sonata Op. 5, No. 3, I, tn. 39-42, phrase c.

The concluding four-measure cadential elaboration is baaed on a two-

measure unit plus its varied repeat.

The second half of the movement opens with a complete statement

of the opening theme but with only the initial phrase in the dominant

key and the remaining three phrases back in the tonic. A new dotted

figure begins a seven-measure phrase which modulates and leads to a

feminine half cadence in C-sharp minor. The first phrase of the

opening theme follows in the new key and is complemented by a four-

measure phrase in which the descending triad, embellished by the upper

appoggiatura found in measures 17 and 19 of the transition, is promi­

nent.

Ex. 229. Sonata Op. 5, No. 3, I, m. 78-81.

The phrase is repeated with the violin parts reversed and the cadence slightly varied. The next phrase, in B minor, is related to measures

9-12. 260 Ex. 230. Sonata_ Op. 5 | No. 3, 1^ in* 86*89

With the melody in the second violin, the phrase is transposed to A

major, the tonic. The second part of the transition, now set in the

tonic key, follows and leads to a restatement of the complete second

theme group, including the opening phrase of the f i r s t theme group.

Tonal scheme: Second movement

• n n n M if )i A A* I------H — I— 1------1—HI E -> 1 E

Andante ma un poco adagio.- The second movement is in a two-

part form with an AA' design. Although both parts are the same length,

Part A' is a shorter, modified version of Fart A (some of the thematic material is rearranged) plus a cadential extension.

The movement opens with a ten-measure phrase begun by the violins in thirds. In the middle portion of the phrase, the melody,

in the first violin, is fragmented into short figures by sixteenth rests and treated sequentially. At the cadence, both violins are again equally prominent. Ex. 231. Sonata. Op. 5, No* 3 1 I I , in. 1*6.

| |><«> ftd»aio

At the beginning of the next phrase, the anacrusis in the second violin overlaps the final note of the previous phrase in the first violin. This six-measure phrase, giving prominence to the inverted dotted rhythm, modulates to the key of the dominant, B major, and concludes Part A. A novel feature is the syncopated effect created by the after-beat figure in measure 13.

Ex. 232. Sonata Op. 5, No. 3, II, m. 10-16.

1 /

Part A' returns immediately to the tonic key, but the first measures differ from the opening of Part A. The first two measures are treated sequentially and are based on the melodic motive intro­ duced in measure 4 . (Compare example 233 w ith example 231.) 262

Ex. 233. Sonata Op. 5, No. 3, II, m. 17-20.

“ •— # >• * ‘ ‘ * • *

Measure 21 and the first half of measure 22 are based on material

from measures 3 and 4. The next four and a half measures are a trans­

position in the tonic key of the B major section (measures 13-16)*

concluding Part A. The final four-measure phrase is begun with a

reference to the first violin motive found in measures 4 to 6 , but

in this case, played in thirds by the two violins. The two-measure,

cadential extension, concluding the movement, is as elaborated repe­

tition of the previous cadential formula.

Tonal scheme: Third movement

• f» %• &f If I f Cl CT I f i f II H It* ter m IU i I i x ) I i i , I ■ • ■------M ------‘ill-1- 1-*- ■ I : A E It £ E a

Allegretto e grazzioso.- The final movement is in sonata form and contains two halves of sixty-two and seventy measures, each.

The movement opens with a twelve-measure theme: an antecedent phrase of four measures and a consequent phrase of eight. In both phrases, the melodic interest is shared by the two violins. The first

four measures of the consequent phrase are based on the repetition

of a two-measure pattern. A modulation to G major, the dominant,

occurs in the second half of the consequent phrase.

Ex. 234. Sonata Op. 5, No. 3, III, m. 1-12. ftUtgrftto^e

With the violin parts reversed, the theme is repeated in the dominant key and altered to return to the tonic key in the fourth measure of the consequent phrase.

The transition begins with a sequential treatment of a two- measure, descending melodic motive — three trasnpositiohs, beginning with the first violin, are alternated between the two violins. A three-measure, hocket-like passage modulates to E major and leads to a half cadence in the latter key.

In the second theme group, there is little sense of thematic contrast. A two-measure pattern in eighth notes decorates a dominant pedal and is repeated. A new motive, embellished with a trill, is 264

introduced In the following, four-measure phrase which is repeated with

an exchange of voices.

Ex. 235. Sonata Op. 5, No. 3, III, m. 35-42.

I j t f .!T fi i f i i i t , ^ i n f i iTj jftrfr iTrttf ilff zz ^ • 1 . T

f t # | | - r...... | | | • 3§lL. i._ —1-14.------‘4 1 - j J-i::...- -4...... U . .. :1 I . ^I 1 IJ-^ -.rrl-l—l±. i 1- . 1 + 2 1

The four measures with the dominant pedal return and lead to an eight- measure phrase, emphasizing dominant-tonic harmony, plus a four- measure cadential extension.

The second half opens with the antecedent phrase of the open­

ing theme in the dominant key. The first eight measures of the open­

ing theme follow in the tonic key. The succeeding four measures,

instead of modulating to E major like in the exposition, are modified

to lead to a half cadence (II - V of V - I 4 - V) in C-sharp minor. In

this new key, the next twelve-measure phrase is the most forceful and energetic passage of the movement. The la s t nine measures of the phrase, a five-measure unit repeated but shortened the first time due

to overlapping, are punctuated by forte markings in both violin parts. 265

Ex. 236. Sonata On. 5. No. 3. ITT. m. 79-90. i M i * \, ------^T-irhVi-rr-T ffr i • r i

------> v p j ^ > ,■» rr ------9 ------■■ yfftf f f. r'^ * * f * ' 1—^ —=»H - t - -f-ff- f!*■--J-7- r J | b - J y y / y / • »r

JW f ' X f - r.-'-m •; — -- ■■ — ■ - ...^ — ; J _ l —If— ± - - 334: - ......

W ..... fW fTTfrM Tf-Tr^~ 1 r- ~ S H t # l r y ? = : ------fr :______r

One statement of the descending melodic motive used in the transition

Introduces a new sequential passage which changes mode, to Osharp major, and continues through B major to A major, the tonic key. The passage leads to a full cadence and, without pause, is followed by five measures which are similar to the closing measures (measures

30-35).'of the original transition.

The remainder of the movement, in the tonic key, is a restate­ ment o f'th e complete second theme group. 266

Sonata Op. 5, Ho. 4

Allegro assal B-flat major 2 Sonata form

Andante un poco adagio 3 e cantablle G minor 4 Three-part - ABA 1 2 Allegro molto B-flat major 4 Sonata form

Tonal scheme: First movement

I I » » r ‘t-* ------*-H— I— 1— 1 ‘ :l Bb -*F Bb F Bb ) CBV Eb -*8b

Allegro assai.- The first movement is in sonata form and con­

tains two sections of approximately equal length - forty-seven and

forty-six measures,'.each. There is a contrasting second theme group,

but the organization of key relationships is not conventional.

The f i r s t theme group has two p a rts . The f i r s t p a rt is an eleven-measure phrase which has considerable rhythmic variety and concludes with a full cadence. The second violin, entering a measure

later, imitates the first violin a fourth lower for three measures.

Measures 8 to 10 are a repetition, with the voices exchanged, of measures 5 to 7. The cadence is to the tonic. Ex. 237. Sonata Op. 5 , No. 4 , I , m. 1-11.

The second part (measures 12-20) consists of three short phrases of which the last two are the same but the roles of the two violins are reversed. As in the first part, the delayed entrance of one violin, also in imitation, is evident here.

Ex. 238. Sonata Op. 5, No. 4, 1, m. 12-17.

The beginning of the transition overlaps the final chord of the pre­ vious section, and a two-measure unit, utilizing a lower appogglatura and a "Scotch snap" f ig u r e , tf* £f* * *a alternated by the violins and leads to a full cadence in F major (measures 24-25). The caden- tlal formula is repeated, and an anacrusis In the second violin (mea­ sure 27) leads to the second theme group. 268

The second theme group begins with a new, four-measure idea,

presented by the first violin over an undulating, eighth-note accom­

paniment in the second violin. The first measure is based on an F- major chord, but the appearance of an E-flat in the melody of the

first violin (measure 28) and the use of a B-flat major chord in the

next measure obliterates the dominant tonality and places this phrase

in the tonic key. This same harmonic progression is found in the

third and fourth measures of this phrase.

Ex. 239. Sonata Op. 5, No, 4, I, m. 28-31

m

The idea is repeated with an exchange of voices, but the phrase is extended one measure to permit a modulation to a half cadence in F major. The music proceeds with an emphasis on the primary triads in the dominant key. The opening thematic material is based on an os­ cillating, eighth-note, triadic figuration played in thirds by the two violins. Before the cadence, there is a reference to the dotted fig­ ures found in measure S.

Ex. 240. Sonata Op. 5, No. 4, 1, m. 37-41. 269

Measures 40 Co 43, with Che violin pares reversed and Che cadence

slighely a leered, are repeaeed Co conclude Che flrsc half.

The second half opens In Che Conic key and noe in Che usual

dominanC. A new, two-measure Idea has Che violins playing a third

apare wich a dominanC pedal added in Che f ir s e .v io lin . The phrase

is repeaeed with the parts reversed.

Ex. 241. Sonata Op 5, No. 4, I , m. 48-49.

J * c.*■«.*. /

Two phrases, based on new thematic m aterial, follow in G minor, Che

relative minor key. In the first five-measure phrase, Che violins

begin in imitation, but this device is not carried very far. The second phrase, which overlaps the first, has much more rhythmic variety and is the most interesting passage of the movement 270

Ex. 242. S onata Op. 5* No. 4 , I , m. 56-63.

i ' . t .

1 iM tf. J eras.

“Tfc. ■

2 . « r . c r « | . y

t

The i n i t i a l six -b e a t motive of the opening theme is used in im itatio n to begin a four-measure phrase which modulates and leads to a full cadence in C minor. The following six-measure phrase introduces a new two-measure idea, in B-flat major, which is repeated and altered slightly to lead to a half cadence. The abbreviated recapitulation is a transposition, with only minimal changes, of the entire second theme group. The key relationship of a fourth is also retained as the first part of the second theme group is in E-flat major with the closing section in the key of the tonic, B-flat major. 271 Tonal scheme: Second movement

: ■ i n it u 11 m A 3 A* I 1--- 1------^---- V-M ------II 9 « B j

Andante un poco adagio e cantabile.- The second movement has

an ABA* design in which the opening motive, featuring a turn, begins

each new phrase and ac ts as a motto throughout the movement.

The opening phrase of Part A consists of a two-measure unit which is repeated and extended two measures to lead to a full cadence

in B-flat major, the dominant. The turn is prominent throughout this

first phrase.

Ex. 243. Sonata Op. 5, No. 4, II, m. 1-7.

The final chord of the cadence overlaps the beginning of a four-measure

* phrase in the dominant. The turn appears in the first two, identical measures, and a "Scotch snap" figure leads to a half cadence. The closing section of Fart A is a ten-measure phrase which remains in 272 the dominant and closes with a full cadence. The phrase begins with a two-measure unit followed by its varied repetition which has a measure of syncopation. Additional rhythmic variety is found in the next two measures: the first introduces thirty-second notes and the second, sixteenth-note triplets. Ex. 244. Sonata Op. 5, Mo. 4, 11, m, 11-16. rife: ^ iif* . 11— rrrf£fg>r t~:: .-7 i i b u y -'

# r& f ± 4 r£ F -S ==rr£ = ^ :- f c = :E:it— ^ E ft J--I

j------i f —j4 -j.___ ------j_ - kj-----— ------•----’— T-r-r.------

W ' tftrfTTr f i t i V ifrA trit ------1 , The first phrase of Fart B, further developing th e opening motive, begins in B-flat major, quickly modulates to C minor and leads to a full cadence. The next three measures are sequential and, via B-flat major, lead to a full cadence in G minor. The final ca- dential chord is also the beginning of Fart A'.

Fart A', a reduced version of Fart A, begins with the original motto, but the second half of the first measure is altered to lead immediately to a half cadence in the following measure. The remain­ ing ten measures, with the up-beat,.are a transposition, in the tonic key, of the same material concluding Part A. Although the violin parts are reversed, there are only a few minor changes. 273

Tonal scheme: Third movement

* 1 * n iff it « r» 5t it ii ff ft it w ••• I X X ’ |— '— i— '----- 1 ' — 1—H ----1 i 1 • i— t—II it m » -»f u c » *

* '"**--**« ♦ . • * *

Allegro motto.- The last movement, divided by repeat signs

into two sections of forty-nine and sixty-one measures, respectively,

is in sonata form.

The first theme group, in two parts, begins with an eight- measure theme in which both violins are of equal importance. There is an imitative opening with the second violin entering one measure after

the first. The cadence is to the dominant.

Ex. 245. Sonata Op. 5, No. 4, III, m. 1-8.

AtUfr* **!+•

, f \ I rj1 ■ Tn u r t J : H J ; «f

The second part consists of a transposition of the preceding thematic material a fourth lower. The dominant tonal area is stressed, particu­ larly with the appearance of the E natural, but due to the brevity of the passage and the adjustment of the final two measures to lead to a full cadence in the tonic, the passage is analyzed as remaining in the tonic key.

A lengthy transition, twenty measures long, continues in the tonic key until the concluding half cadence which shifts to the 274

dominant key of F major. In the first eight measures, the two violins

alternate a descending arpeggio which is characterized by the "Scotch

snap" rhythm on the f i r s t h alf of the f i r s t beat and staccato bowing,

grouped in twos, on the remaining beat and a h a lf. Only tonic and

subdominant harmony are used.

Ex. 246. Sonata Op. 5, No. 4, 111, m. 17-20.

t i

>

Syncopation occurs in the remaining twelve measures, which are based on two-measure melodic motives accompanied by oscillating, two-note chordal figures in sixteenth notes.

Ex. 247. Sonata Op. 5, No. 4, III, m. 25-28.

The second theme group, only fourteen measures long, consists of a nine-measure phrase plus a.six-measure, overlapping cadential elabora­ tion. The overlapping occurs in measure 45. Throughout this passage the roles of both violins are equally important. In the first phrase, the f i r s t v io lin p art is enhanced by the up-bow staccato in measures

37 and 39. 275

Ex. 248. Sonata Op. 5f No, 4, III, m. 37-40.

In the cadential elaboration, the two-measure sealewise passage of sixteenth-note triplets adds a new dimension to the rhythmic element of the movement, and particularly the second measure, marked fortis­ simo, emphasises the dominant tonality.

Ex. 249. Sonata Op. 5, No. 4, III, m. 45-50. i

The second half opens, in the tonic and not the expected dominant key, with a new four-measure phrase which also beginB imita­ tiv e ly.

Ex. 250. Sonata Op. 5, No. 4, III, m. 51-54.

I » T> i

f g j j g

' I V V In the next eight measures, a four-measure unit repeated, a two-note motive in eighth notes, skipping up a third and found on the first beat of each measure, is supported by an A lberti bass accompaniment in sixteenth notes. Six transition-like measures lead to a full ca­ dence in G minor. Overlapping occurs, and a slightly varied statement of the opening theme is presented in the new key.

A shortened version of the transition, opening in C minor for four measures before returning to the tonic, leads to the second theme group. The latter, with no significant changes, is a restate­ ment of the same material found in the first half. 277

Sonata Op. 5 , No. 5

Allegro F minor C Sonata form

Andante un poco adagio C minor £ Three-part form - ABB'

A llegretto ma grazzioso F minor ^ Rondo form

Tonal scheme: First movement

} 1 *1 If Si ft Si (0 ™ f* t»7 IH I— I— I------1— I— I— $ — L-J------1------'— 1— 1— II :f -*c { RV * * * * *♦'

Allegro.- The first movement is in sonata form and is divided by repeat signs into two sections containing fifty-two and sixty-two measures, respectively.

The first theme group consists of a single eight-measure phrase which concludes with a decorated half cadence (Vlly of V - - V).

The imitative opening, used in both Allegros of the previous duo, is also found here. The second violin imitates the first violin one measure later and an octave lower for four measures. The principal melody, in the first violin, gains its length through the repetition of short melodic units -- measures 3 and 4 are the same as measures l'and 2 , and measures 5 and 6 are identical. 278

Ex. 251. Sonata Op. 5 , No. 5, I , m. 1-8.

An eight-measure transition, also imitative in part, modulates to a half cadence in C minor, the dominant minor key.

The second theme group has two parts. The first part is a twelve-measure phrase which consists of the repetition of a two-measure and four-measure unit (2 +2 +4 +4). The two-measure unit is related to the opening motive of the first theme group, and a short, dominant pedal, the open G string, appears in both violin parts. The four- measure unit is sequential in structure and introduces syncopation*

In the repetition, the roles of the two violins are reversed. 279 Ex. 252. Sonata Op. 5 , No. 5, I . m. 17-24.

Wrlxt. H * £ w V m >n,'U11 ggiU TT r;»4. T ^ \ y yr.«f- ^—'

ffl.frj J I'Wi'Tr' Jlj’f t l &#■!!# •p 7 «„+. J r;wf.

^ 0 * 1 /

The second part consists of an eight-measure phrase and Its repeat

In which the violin parts are interchanged. In the first half of the phrase a tonic pedal occurs as the upper voice of the double-stops played the first time by the second violin. In the first violin part, the first four measures have the same rhythm which is identical to that found in measure 17, the first measure of the second theme group, and also closely related to the opening motive. 280 Ex. 253. Sonata Op. 5, No. 5, I, m. 29-36.

P m ilili

P m

A four-measure phrase, repeated with an exchange of parts, reinforces

the dominant minor tonality and acts as a codetta.

The second half opens in the tonic and not the usual dominant key. The second violin begins with a new idea but quickly reverts to material from the first theme group. The first violin, beginning two beats later, appears to have an accompanying role, but its thematic material is even more closely related to the first theme group. The passage modulates to A-flat major. 281

Ex* 254. Sonata Op. 5t No. 5, I, m. 53-61.

The music continues in the new key and reaches an affirmative full cadence three measures later. New two- and three- measure units, both repeated with an exchange of voices, continue in A-flat major. The latter is extended four measures to lead to a half cadence in the tonic key of F minor.

The recapitulation consists of a restatement, in the tonic * key, of the entire second theme group, plus the "codetta," with only a few slig h t changes. 282

Tonal scheme: Second movement

I 1 « M II ut

- A 3 3* I 1------1— ■------H c c

Andante un poco adagio.- The second movement, In C minor, is

In a three-part form with an ABB* design. The opening melodic idea

(measure 1) acts as a unifying facto r throughout the movement. Part '

B and Part B'f based closely on the melodic elements of Part A, are

developmental in character.

Part A begins with an eight-measure theme comprising two con­

trasting phrases which overlap at the beginning of measure 5. The

first phrase has a 2 + 2 structure as the opening motive is repeated

in measure 3. The phrase leads to a full cadence, but in measure 3,

the cadence is avoided as the opening motive is repeated over sub­ dominant instead of tonic harmony.

Ex. 255. Sonata Op. 5, No. 5, II, m* 1-8. pot* 283

With the second phrase modified, the theme is repeated but transposed

to the relative major key of E-flat major.

Part B, continuing in E-flat major, is based on a twelve- measure theme consisting of a four-measure antecedent phrase and an eight-measure consequent phrase. The antecedent phrase, a two-measure unit repeated, is related directly to the first phrase of Fart A.

The consequent phrase, a four-measure unit repeated, continues to deve­

lop the opening motive. In the second part of the phrase, the thematic material is dropped an octave, and the parts are interchanged.

Ex. 256. Sonata Op. 5, No. 5, II, m. 17-24.

A four-measure transition, returning to the tonic key, leads to Part

B1 which is a transposition, with a few alterations, of Part B into the tonic key. The roles of the two violins are reversed, and the second half of the consequent phrase is not dropped an octave. The final cadence is also modified to permit a two-measure cadential extension. 284

Tonal scheme: Third movement

IT * 1 IT •if (1 71 B ft c JL. H- 4 » f

Allegretto ma grazzloso.- The third movement is the only fast movement of this opus that is not in sonata form. This is a rondo with an A ||: BACA:H design.

Part A, in F minor, consists of a period and its repetition.

The first violin, beginning alone, has the theme, while the role of the second violin is subordinate. The antecedent phrase has a 2 + 2 structure and concludes with a full cadence. The consequent phrase makes use of the "Scotch snap" and concludes with a half cadence.

Ex. 257. Sonata Op. 5, No. 5, III, m. 1-8.

1)»t. T>»l- *i*f.

j . ' ir o . n*f. X • 1

In the repetition, with the violin roles reversed, the penultimate measure is modified, double-stops are added to the accompanying voice, and the phrase ends with a full cadence. 285

Ex. 258. Sonata Op. 5, No. 5, III, m. 15-16.

IT

Part B consists of a twelve-measure theme in C minor, the dominant minor key. A four-measure antecedent phrase, ending on a half cadence, is followed by an eight-measure consequent phrase in which the first four measures are based on a two-measure unit repeated,

The consequent phrase concludes with a full cadence.

Ex. 259. Sonata Op. 5, No. 5, III, m. 17-28.

I _ _

m m

i j i

. Sett. *

Part A returns with the roles of the violins interchanged, and in the antecedent phrase, the subordinate part i s slightly varied. 286

Ex. 260. Sonata Op. 5 , No. 5 , I I I , m. 29-32.

fcj * I3=_.------J—* i * {:i~ -J—- , I.—■f-fl- L ^ L L - L •f i

JJ s- V1 f i j .....m \ 1 y j l . ‘ Lf—fitJd ... . ^ s r« h*

Fart C, eighteen measures long, is In A-flat major, the relative major, and consists of four phrases. The third phrase has six mea­ sures, the others, four. Since the thematic material does not differ drastically from the previous sections, there is little sense of con­ tr a s t.

Ex. 261. Sonata Op. 5, No. 5, III, m. 45-48.

X*n*r.

In the final appearance of Part A, the melody of the antecedent phrase is slightly embellished and sustained double-stops are added in the subordinate part.

Ex. 262. Sonata Op. 5, No. 5, III, m. 63-66.

Sm*.

TP m m 287

Sonata Op. 5 , No. 6

Allegro cantabile C major £ Sonata form 2 Andante un poco Adagio C minor 4 Ternary form - ABA

Prestissimo C major C Sonata form

Tonal scheme: First movement

IS if M 17 MS in 1 * 1 ’ I u JL a * a ■ ■ > un— ■— 1- C - » 6 G> &

A llegro c a n ta b ile ." The f i r s t movement, marked o ff by repeat signs into two sections of forty-four and sixty-eight measures, is in sonata form.

The first theme group consists of a twelve-measure theme made up of two six-m easure phrases. The f i r s t phrase, concluding w ith a plagal cadence, has a 2 +2 +2 structure. The first two measures are identical, and the last two, which act as an extension, are a varied repetition of measures 3 and 4. The second violin plays an eighth-note, "drum" accompaniment in thirds with the lower note of the double-stops, a repeated tonic, acting as a pedal. In the second phrase, the first two measures of the theme are fragmented by eighth rests while the remaining measures are characterized by sudden dynamic changes and a touch of chromaticism — the use of the raised super­ tonic and raised subdominant. The "drum" accompaniment continues for only three measures. Ex. 263. S onata Op. 5 , No. 6, I, m. 1-12.

±

ranJiifln \M }$m k

0 r f t ri ■f*- m m r‘.* f • 7 ri* f . * 7 / ? y

^• . .^ • •v • •«> • »w • w • * — *» o v' # 1 r r i

With an exchange of voices, the theme is repeated, but transposed down a fourth. The tonality could be G major, but, since an F-sharp does not occur until the second half of the theme, in this analysis, the transposition is considered to be s till in C major. The dominant key, though anticipated in the second half of the theme, is not con­ firmed until the cadence. This cadence is adjusted slightly to flow directly into the transition. The transition, a two-measure unit repeated, introduces sixteenth-note figuration and leads without pause to the second theme group.

Ex. 264. Sonata Op. 5, No. 6 , I , m. 25-28. 289

The second theme group begins with an eight-measure phrase which acquires its length through repetition. Measures 31 and 32 and measures 34 and 35 are a lik e . The "drum" accompaniment found in the first theme group is also used here in the first four measures.

Ex. 265. Sonata Op. 5, No. 6 , I, m. 29-36.

With the violin parts reversed, the phrase is repeated, but shortened by one measure and varied slightly at the cadence. The concluding section, overlapping the final chord of the previous phrase, is a ten-measure bravura passage which features.scale passages in sixteenth notes. Dynamically, the climax of the first half is reached in mea­ sure 46, in which both violins are marked fortissimo. 290 Ex. 266. Sonata Op. 5, No. 6, I, m, 43-47.

* * I

B i

A two-measure cadential elaboration, baaed on dominant-tonic harmony, concludes the exposition.

The development begins with a complete statement of the opening theme in the dominant• A new theme, a balanced period in A minor, fo llo w s.

Ex. 267. Sonata Op. 5, No. 6 , I, m. 67-74. ir?r 1 rtf Iff r(jfr iff i ir> tj V | <| j=gg=§#

rl*f. yp

The succeeding twelve measures, passing from A minor, via G major, to

C major, the tonic, give prominence to the sixteenth-note figuration found in the transition. Measures 83 and 84 refer to the dynamically contrasted figure found in measure 10, The full cadence at the end of this section is overlapped, and the recapitulation begins with an 291

abbreviated version of the first theme group (the first six measures

only). A similar, four-measure transition, transposed to the tonic

key, leads to the second theme group. The latter, with only a few

adjustments, is a restatement of the same material presented in the

exposition.

Tonal scheme: Second movement

IT B A1 I c 3 c

Andante un poco Adagio. - The second movement is in a three-

part form with an ABA* design. Tonally, the movement is very conser­ vative as it remains entirely in C minor except for a single four- measure phrase.

Fart A opens with an eight-measure theme, a balanced period.

A sustained, lyrical line moves against a legato accompaniment of sixteenth notes varied in places by the inverted dotted rhythm. 292

Ex. 268. Sonata Op. 5 , No. 6 , II, m. 1-8.

The thetne la repeated with an exchange of voices, and the consequent phrase, with the last two measures altered, is transposed to the key of G minor, the dominant minor.

Fart B returns to the tonic key and is only eight measures long, a four-measure phrase repeated. In the repetition, the roles of the violins are reversed, and the last measure is varied slightly.

Ex. 269. Sonata Op. 5 , No. 6 , I I , m. 17-20.

Part A* begins with only the antecedent phrase of the opening theme. A new four-measure phrase, which is repeated, follows to complement the preceding phrase. 293

Ex. 270. Sonata Op. 5, No. 6 , I I , tn. 29-32,

m m f m i my m r t*4 J ►Jwf. Z » * r . pi PP^PiTOPRiFPm~i|

A four measure cadential elaboration concludes the movement,

Tonal scheme: Third movement

■ ' - • . . * *

* >f « •*> « 4» 1711 u M 101 Itl |jy til ISH II I II I l 1------1 h H------H H — H — 1------1------*------H || C 6 Gr d a C C

Prestissimo.- The third movement is in sonata form and con­ tains two repeated sections of sixty-two and ninety-two measures, respectively.

The first theme group consists of a fourteen-measure theme which is treated canonically -- the second violin follows the first two measures later and an octave lower. The theme as presented by the first violin, gains its length through repetition (measures 1 0 to 13 a r e r e la te d to m easures 6 to 9). The imitation by the second violin is exact except that a fragmented dominant pedal is added in measures 7 to 9 and not played by the first violin until measure 9.

The canonic writing lasts until measure 12. The closing cadential figure is played by the first violin alone. 294

Ex. 271. S onata Op. 5 , No. 6 , I I I , m. 1-14.

faifillin i * T f

• I • *

0 I f 7 > - i ■ -»<*"r-

m ■ H f The first part of the transition is based on a one-measure motive, featuring a turn, which is treated sequentially and in alternation by the two violins.

Ex. 272. Sonata Op. 5 , No. 6 , I I I , m. 15-16.

m m

The last four measures introduce a new motive, QJ , and the ca­ dence is to the dominant.

The second theme group has two parts. The first part consists of a sixteen-measure theme in which the structure falls mainly into two-measure units. In the opening unit and its repetition, the two violins move in thirds with a tonic pedal added in the second violin 295, part. The melody continues in the first violin together with a type

6 f Alberti bass accompaniment eighth-notes slurred in twos, in the second violin. In measures 35 to 38, a dominant pedal is added as the upper note of the double-stops played by the first violin.

Ex. 273. Sonata Op. 5 , No. 6 , I I I , m. 27-36.

The second part is based on an eight-measure phrase which has a new melody in the second violin. The Alberti bass accompaniment is em­ ployed for the first four measures but has a new articulation, rm. Ex. 274. Sonata Op. 5, No. 6, III, m. 43-50.

t

The phrase is repeated with both parts dropped an octave. The accom­ paniment line, now in the second violin, is adjusted to keep the music above the low G of the violin range and the articulation of the first four measures reverts to legato bowing in twos. The last four measures are a cadential extension reinforcing the dominant tonality.

The second half opens with a complete statement of the opening theme, with its canonic treatment, in the dominant key. A four-measure phrase, based on a new idea begun by the first violin alone, is pre­ sented in D minor, and with the violin roles reversed, in A minor, the relative minor key. Ex. 275. Sonata Op. 5 , No. 6 , I I I , tn. 77-80.

1 $ ' 1 , l ! $ I efttA '

The following ten-measure phrase, beginning sequentially, IntroduceB

additional material in A minor and is characterized by an undulating

eight-note accompaniment.

Ex. 276. Sonata Op. 5, No. 6 , I I I , m. 85-90.

Four transition-like measures inC major lead to an unobtrusive entry and reduced statement (from fourteen to eight measures) of the first theme group. In measure 99, the second violin begins the theme under a melodic line which is a continuation of the preceding four measures.

The canonic treatment is no longer obvious, although measures 102 to

105 are similar to measures 6 to 9. The closing cadei.tial figure is given to the second violin. 298

Ex. 277. Sonata Op. 5 , No. 6, I I I , in. 95-106.

A• m ^ a “ fflifffey tiifei r i f f r f ifafafeft P7 l~, r mi. 1

f f r f n i p - l7 j ^ T r J W g f e p t7 t T tT « 7 : Except for the exchange of parts, the original transition is used here to lead to the second theme group. The final chord of this transi­ tion, considered the tonic of the second theme group in the exposition, is now treated as the dominant in the recapitulation. The entire se­ cond theme group returns in the tonic key with only minor changes in rhythm and articulation. 299

SUMMARY

All six sonatas for two violins of Op. 5 consist of three move­

ments and follow the fasc-slow-fast tempo scheme. The fast movements

are in sonata form except the third movement of Sonata Mo. 5 which is

a rondo. The slow movements are either binary or a three-part form.

In each sonata a change of mode or key takes place in the slow move­ ments. A collective listing of the sonatas of Op. 5 is shown in the

following table.

TABLE IV

SONATA MOVEMENT KEY FORM

Mo. 1 A lle g re tto F m ajor S onata form Adagio F m inor Three-part - AAB* Allegro assai F major Sonata form

Mo. 2 Andante comodo ' E m inor Sonata form Andante un poco adagio E major Binary form - AA* Allegro assai E minor Sonata form

Mo.: 3 Allegro moderate e cantabile A major Sonata form Andante ma un poco adagio E major Binary form - AA' Allegretto e grazzioso A m ajor Sonata form

Mo. 4 Allegre assai B-flat major Sonata form Andante un poco adagio e cantabile G m inor Three-part - ABA' Allegro molto B-flat major Sonata form

Mo. 5 A lle g ro F minor Sonata form Andante un poco adagio C m inor Three-part - ABA' Allegretto ma grazzioso F m inor Rondo form

Mo. 6 Allegro cantabile C major Sonata form Andante un poco Adagio C m inor Three-part - ABA' Prestissimo C m ajor Sonata form

Three of the sonata form movements are monothematic or evidence monothematic characteristics -- the third movement of Sonata No. 1, the

first movement of Sonata Mo. 2 and the first movement of Sonata No. 3. 300

In the sonata form movements, the first theme groups are varied in length and structure. Their make-up is as follows:

First movement, Sonata No. 1 - an eight-measure phrase, repeated in the dominant key; the second statement leads directly to the second theme group.

Third movement, Sonata No. 1 - a period (4 +4), rep eated with the consequent phrase transposed to modulate to the dominant key and lead directly to the second theme group.

First movement, Sonata No. 2 - a twelve-measure phrase, its continuity not broken by internal cadences.

Third movement, Sonata No. 2 - a six-measure phrase.

F irst movement, Sonata No. 3 - four, four-measure phrases with an abcc design.

Third movement, Sonata No. 3 - two statements of a twelve- measure phrase, the first modulates to the dominant key, the second, beginning In the dominant, is altered to modulate back to the tonic.

First movement, Sonata No. 4 - two phrases, eleven and six measures long.

Third movement, Sonata No. 4 - two statem ents of an eig h t- measure phrase, the second statement, flirting with dominant tonality, is transposed, but remains in the tonic key.

First movement, Sonata No. 5 - two six-measure phrases, both are repeated and transposed to the dominant; due to the nature of the theme, the tonality is ambiguous and the dominant tonality is not confirmed until the final cadence.

T hird movement, Sonata No. 6 - fourteen-measure theme treated canonically.

In most of the sonata form movements, the second theme group exhibits a definite degree of contrast to the first theme group, both in character and structure. When the tonic key is major, the second theme group is set in the dominant key. The only exception to this 301 is found in the first movement of Sonata No. 4 in which the first phrase of the second theme group* plus its repetition, begin in the tonic key before the second phrase settles in the dominant. When the tonic key is minor, the second theme group is found in the dominant minor and never the relative major. The structure and nature of the second theme group are as follows:

First movement, Sonata No. 1 - forty measures comprising a six-measure phrase repeated, three, four-measure phrases repeated with an abbacc design plus a four- measure cadential elaboration; the thematic material is different except for two appearances of an accom­ paniment figure from the first theme group.

Third movement, Sonata No. 1 - monothematic; two, eight- measure phrases repeated (the second, a balanced per­ iod); the initial four-note motive, prominent through­ out the first theme group, also opens and characterizes the second theme group.

First movement, Sonata No. 2 - monothematic; consists of the first ten measures of the first theme group plus a four-measure cadential extension repeated.

Third movement, Sonata No. 2 - twenty measures, eight of which are repeated; based on new melodic and rhythmic elements; cadences are weakened by overlapping.

First movement, Sonata No. 3 - monothematic; consists of six, four-measure phrases of which the first phrase is a transposition of the opening phrase of the first theme group; two internal phrases are repeated.

Third movement, Sonata No. 3 - twenty-eight measures, the first sixteen measures fall into four-measure phrases with an abba design, the concluding twelve measures consists of two phrases ( 8 +4); little sense of melodic contrast from the first theme group.

First movement, Sonata No. 4 - twenty measures, begins with a contrasting idea, marked dolce. but harmonic progressions emphasize tonic tonality; only the last twelve measures affirm the dominant tonality. 302

Third movement, Sonata No. 4 - only fourteen measures, a nine-measure phrase plus an overlapping, six-measure cadential elaboration; based on distinctive material, th e re fo re not j u s t a new to n a l a re a .

First movement, Sonata No. 5 - thirty-six measures consisting of a series of ideas unfolding in a twelve-measure phrase divided into four-measure units with an abb design, an eight-measure phrase repeated plus a closing four-measure phrase also re p e a te d .

F i r s t movement, Sonata No. 6 - twenty-six measures, begins with a dolce melody (an eight-measure phrase repeated but reduced to seven measures) not so dif­ ferent in character from the first theme group; the closing twelve-measure phrase, which overlaps the pre­ ceding phrase, is a contrasting phrase of bravura.

Third movement, Sonata No. 6 - thirty-six measures based on several different ideas; begins with a sixteen- measure phrase, marked FF, followed by an eight-measure phrase, repeated an octave lower, plus a four-measure closing phrase.

A complete or partial statement, sometimes modified, of the * opening theme of a movement begins the development section of the following sonata form movements: first and third movements of Sonata

No. 1, third movement of Sonata No. 2, first and third movements of

Sonata No. 3, first movement of Sonata No. 5, first and third move­ ments of Sonata No. 6 . In the three remaining movements in sonata form, the first movement of Sonata No. 2, the first and third move­ ments of Sonata No. 4, the developments while primarily based on new material, each contain a single reference to its opening motive which is treated im itatively. While all the developments contain new material, several also utilize additional references to material found in the exposition. The movements in which this occurs and the sources used are as follows: 303

First movement, Sonata No. 1 - a transposition of of one phrase and its repetition from the second theme group.

Third movement, Sonata No. 1 - melodic figures from both the first and second theme groups.

Third movement, Sonata No. 2 - extensive use of the transition.

First movement, Sonata No. 3 - both the first theme group and the transition.

Third movement, Sonata No. 3 - parts of the transition.

When the home key is major, the development sections begin in the dominant key except in the first and third movements of Sonata No. 4 where the tonic key is unexpectedly reinserted. When the home key is minor, the subdominant minor is used to open the development section of both the first and third movements of Sonata No. 2, and the tonic minor appears in the first movement of Sonata No. 5.

In all instances, the recapitulations are merely transpositions, with slight changes, of material found in the exposition. Their make­ up is as follows:

First movement, Sonata No. 1 - reduced second theme group.

Third movement, Sonata No. 1 - reduced second theme group.

First movement, Sonata No, 2 - reduced second theme group.

Third movement, Sonata No. 2 - entire second theme group.

First movement, Sonata No. 3 - entire second theme group.

Third movement, Sonata No. 3 - original transition plus entire second theme group.

First movement, Sonata No. 4 - entire second theme group (reflects two keys found in exposition).

Third movement, Sonata No. 4 - ahortened transition plus entire second theme group. 304

First movement, Sonata No. 5 - entire second theme group.

First movement, Sonata No. 6 - abbreviated first theme group, transition plus entire second theme group.

Third movement, Sonata No. 6 - abbreviated first theme group, transition plus entire second theme group.

The third movement of Sonata No. 5, the only fast movement not

in sonata form, is a rondo with an A [|:B A C A :fl design. Part A

consists of a period plus its repetition. Each subsequent appear­

ance of Part A is slightly varied. The thematic material of Part B,

twelve measures long (4 + 8 ), and Part C, eighteen measures long

(4+4 4-6+4), are set in related keys but are not so different in

substance from Part A.

In the two slow movements in binary form, AA', Part A', in

both cases, is a modified and reduced version of Part A with new ma­

terial added. In the four slow movements in a three-part form labeled,

AA'B, ABA1, ABB* and ABA', Part A' is either a reduced version of Part

A or is only partially based on Part A with new material interspersed.

The one section labeled Part B* is a slightly modified restatement of

Part B - the former in the dominant minor key, the latter in the tonic minor. None of the slow movements are sectlonalized by repeat marks.

Throughout the six duetti, both violins are treated equally; however, neither the thematic material nor the passage-work presented by one violin is always repeated immediately by the other. Sometimes, when one violin has the leading voice in the first theme group, the role is reversed in the second theme group. Also, when similar material returns in a later passage, e.g., in a recapitualtion, the roles of the two violins are always reversed. The bulk of the writing consists of a melody, In one violin,

supported by a simple accompaniment, in the other. This accompani- ment may outline the harmony, which is mainly diatonic, or may be even more rudimentary - repeated pitches in quarter or eighth notes,

or a single note per measure. Oscillating chordal figures in eighth- notes are used in the first movement of Sonata Mo. 3 and the second

theme group of the first movement of Sonata Mo. 4 (see exx. 224, 239).

Parallel motion in thirds and sixths, prominent particularly in the slow movements of Sonatas Nos. 3, 4 and 5, is also common (see exx.

231, 232, 243, 256). Contrapuntal writing appears sporadically but is in evidence in the first movement of Sonata No. 1, the third move­ ment of Sonata No. 3 and the second movement of Sonata No. 6 (see exx. 204, 234, 268). Imitation occurs rarely but is utilized in the f i r s t movement of Sonata No. 2 , the f i r s t movement o f Sonata No. 4 , the third movement of Sonata No. 4 and the first movement of Sonata

No. 5 (see exx. 216, 237, 238, 245, 251). Canonic writing is found only in the third movement of Sonata No. 6 - the first theme group

(ex. 271) and the repetition of this opening theme at the beginning of the second half.

The fast movements are relatively free of ornamentation except for the occasional use of the trill, indicated by the abbreviation tr.

In the third movement of Sonata No. 1, the short trill is a salient feature of the opening motive which is prominent throughout the move­ ment (ex. 210). Ornamentation appears more frequently in the slow movements. Grace notes are found in the second movement of Sonatas

Nos. 1, 5 and 6 , (exx. 207, .255, 268), and the turn, written out, is a conspicuous feature of the slow movement of Sonatas Nos. 1, 2, 4 306

and 5 (exx. 209, 217, 243, 255). The upper appogglatura, or coule,

appears as an ornament In the slow movement of Sonatas Nos. 2 and 5

(exx. 217, 255). The lower appogglatura, or port de volx, appears

less often (ex. 231).

In general, double-stops are used sparingly within a movement.

To reinforce the sonority double-stops appear at the final cadences

o f some ex p o sitio n s and re c a p itu la tio n s (th e f i r s t movement o f Sonata

No. 1, the first movement of Sonata No. 6 ), at the final cadences of

movements (the slow movements of Sonatas Nos. 1 and 6 ) and at the end

of Part A of the rondo (third) movement of Sonata No. 5. Similar re­

inforcing of the sonority by double-stops or three-note chords occurs

in the third movement of Sonata No. 1 (exx. 210, 212). Additional

examples of the use of double-stops are found in the first and se­

cond movements of Sonata No. 5 (exx. 252, 255, 256), the third move­

ment of Sonata No. 5 (ex. 262) and the third movement of Sonata No. ' * i 6 (ex. 271). Extended passages of three-voiced texture are created

by the use of double-stops in both the first and second theme groups

o f th e f i r s t movement of Sonata No. 6 (exx. 263, 265). Reinforcing of

the sonority is also supplied by pedal points. These are found in

the third movement of Sonata No. 2 (ex. 223), the second movement of

Sonata No. 3 (ex. 233), the first movement of Sonata No. 4 (ex. 241),

the first movement of Sonata No. 5 (exx. 252, 253) and the third move­

ment of Sonata No. 6 (ex. 273).

The music throughout the six duetti is primarily diatonic.

Several isolated chromatic passages may be found in the third movement

of Sonata No. 1 (ex. 213) and the third movement of Sonata No. 2 (exx.

‘216, 222). Additional chromatic coloring is added to the melodic 307 lines by the use of lower appoggiaturas and neighboring tones Inflected to be a minor second away from the principal note (exx. 205, 2 1 0 ). Violin Technique

The writing for the two violins In Opus 5t while very idio- 3 matlc, Is limited to the first three positions (g-d ). The music does not contain the difficulties encountered in the three sets of violin sonatas with basso continuo, including Opus 3 in which a large percentage of the writing remains in first position. Passages of bravura, limited both in scope and difficulty, are found only in the third movement of Sonata No. 4 (ex. 249) and the first movement of

Sonata No. 6 (ex. 266). Double-stops, used sporadically, present no problems. Except for what appear to be printing oversights, the bowings have been marked with great attention to detail. There are no problematic passages with string crossings. Fingerings appear infrequently. Their Insertion assures the use of a particular posi­ tion o ra string color in passages that involve string crossings. CHAPTER V III

CONCLUSION

The fifteen sonatas for violin and basso continuo by Pierre

Gavinils are a genre often used by French violinist-composers in the second half of the eighteenth century. These sonatas were no doubt used by Gavini£s in both public and private concerts, particularly when the playing of a concerto was im p ra c tic a l. Though using basso continuo accompaniment, a practice characteristic of Baroque style, these works, like many sonatas of the Rococo period, consist of con­ trasting melodic elements set forth in phrases of varying lengths.

These sonatas typically contain three movements in which the tempo scheme fast-slow-faBt predominates. The outer movements are always in the same key w hile the middle slow movements are u sually in a related key. In several sonatas, including three in which the alow movement coroeB f i r s t , a l l movements a re in the same key.

Many of the fast movements show traits of Classical sonatar allegro forms. In the exposition, the thematic material of the second theme group, set in a closely related key, is usually different from that of the first theme group. After the repeat sign, the second half, which sometimes begins with a statement of the opening theme In the dominant key, continues with a modulatory section which gradually leads

309 310

back Co Che Conic key and a recapitulation. The recapitulation is

always more or less abbreviated. Most often it consists of only a

restatement of the second theme group, with or without the transition.

The slow movements in these sonatas provide contrast in mood

and construction. In Opus 1 and Opus 3, they are short, lyrical and

highly expressive pieces, with few embellishments, set in two- or

three-part forms. In the Opus posthumous, they are much longer and

treated more freely. These slow movements, when played by Gavinies,

would have displayed the beauty of tone for which he was famous.

The fast movements, not in sonata form, are either in variation

form or in larger, multi-sectional forms such as rondo or three-part

form with the design ABA 1 or ABC.

In Opus 1 and Opus 3 , th e w ritin g re q u ire s the use m ainly o f

the first three positions while the Opus posthumous sonatas use se­

cond and fourth positions more often. In all three collections, the

higher positions are demanded frequently only in the variation move­ ments in which the individual variations are miniature studies based

on various facets of a violinist's technique. When compared to the

sonatas of Leclair, the most renowned of Gavinies' predecessors,

Gavinies' sonatas do not contain any innovations in technique. How­

ever, the writing for the violin is idiomatic, and for this reason,

the sonatas have great pedagogic value. They are excellent specimens of the pre-classical sonata and illuminate many facets of the stylistic

transition from the sonatas of the late Baroque to those of the high

Classical period. Knowledge of these sonatas and their inclusion in

the body of string literature seems highly desirable. 311

The six sonatas for two violins unaccompanied, Op. 5, are

notable examples of another genre which was popular in France during

the second half of the eighteenth century. Similar in form to the

sonatas for violin and basso continuo, the duetti. as they are called

in the separate violin parts, give equal treatment to both violins.

The writing remains within the first three positions and is Idiomatic.

Although the sonatas have been out of print indefinitely, they would

be an important contribution to the string literature for two violins and for teaching purposes.

v APPENDIX

SIX SONATAS FOR TWO VIOLINS; OP. 5

by

PIERRE GAVINI&

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