Documente Academic
Documente Profesional
Documente Cultură
THESIS
MASTER OF MUSIC
By
December, 1986
Chang, Sangtae, The Sonatas of Domenico Gabrielli (1651-1690)
different keys, the thematic relation between tutti and solo, and
.
CHAPTER
.
II. THE TRUMPET SONATAS: GENERAL CHARACTERISTICS. . . . . 11
.
BIBLIOGRAPHY................ . ........ ......... . . . . 38
.
Sonata Con Tromba (G.I: 3)
Sonata Con Tromba e Instromenti (G.I: 4)
Sonata a 6 Con Tromba (G.I: 5)
Sonata a 6 Con Tromba (G.I: 6)
Sonata a Due Trombe (G.I: 7)
Sonata a sei con Tromba (G.I: 8)
Sonata Con Tromba (G.I: 8)
Sonata a 4.5. Con Tromba (G.I: 9)
iii
LIST OF FIGURES
Figure Page
1. Manuscript parts . . . . . g- - 13
iv
LIST OF EXAMPLES
Examp?le Page
.
.
2. The Alternation of closed and open periods. . . . . . * 21
.
.
3. Sonata Con Tromba e Instromenti (G.I: 4), the
first Allegro, mm. 4-5 . . . ... . .. . . .0 . 22
4. Sonata Con Tromba (G.I: 3), the last Presto, mm. 12-19 * 22
.
6. Sonata a 6 Con Tromba (G.I: 5), the first
Allegro, m. 14......a...*..... . . . . . . . . 23
.
.
7. The Corelli clash. . . ......... . . .. . . . * 24
.
8. Sonata Con Tromba (G.I: 3), the first
Allegro, mm. 3-4 . . . . . . . ........ . . . . 25
.
9. Sonata a 6 Con Tromba (G.I: 6), the first
Allegro, mm. 1-2, Vn. I & II.... ..... 32
V
1
CHAPTER I
Die Musik in Geschichte und Gegenwart and The New Grove Dictionary of
2. Ibid., 72.
3. Franz Giegling, "Gabrielli, Domenico," Die Musik in Geschichte und
Gegenwart, 16 vols., ed. Friedrich Blume (Kassel: Bdrenreiter,
1949-79), IV, 1211-12; John G. Suess, "Gabrielli, Domenico," The New
Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie
(London: Macmillan, 1980), VII, 67.
4. Corrado Ricci, I testri di Bologna nei secoli XVII e XVIII (Bologna:
Successori Monti, 1888); Francesco Vatieli, Arte e vita musicale a
Bologna (Bologna: Zanichelli, 1927).
2
5
was born sometime in 1659, John G. Suess dates his birth more precisely
and served as a cellist in the basilica San Petronio from ca. 1680 until
his death in 1690. Most of his works, especially all his operas and
oratorios, were published during the last decade of his life. Pro-
bably his seven trumpet sonatas, subject of this study, belong to the
with one or more trumpets, among the principal contributors of which are
of trumpet works for San Petronio, which coincided with the dis-
the need of music for numerous solemn religious occasions and the pre-
who moved to Rome and founded one of the most influential academies
between Bologna and Rome. Further, this chapter will examine the
the
State, for the Papacy had already begun to decline in spite of
has never
other periods or regions, the seventeenth-century Papal State
papal financial policy and the role of Bologna in it, however, we may
Since the Renaissance period the Papal State had been primarily
as the sale of venal offices and papal bonds; probably due to its
major recipients of papal funds, appears to have been exempt from the
15. Ibid.
6
artists was felt more strongly in Rome than in Bologna. Annibale Caracci
and the young Bolognese artists who followed him to Rome subsequently
established the Caracci school, the fame of which may be seen in the
Further taken up by Poussin, this view was finally codified and theorized
of Bologna, dated from 1088, was distinguished for the study of the
21
liberal arts, including music. Numerous Bolognese academies, whether
20. Ibid., 266; Anthony Blunt, Art and Architecture in France 1500-1700
(Baltimore: Penguin Books, 1953), 227-8.
fact that most of the discussions on the academy rely primarily on its
influence on music.
23. Marta Cavazza, "Bologna and the Royal Society in the Seventeenth
Century," Notes and Records of the Royal Society of London XXXV
(1980), 105-24.
direct control over the musical taste of its members and the musical
community of Bologna:
pretation of the role of the weekly exercises, the power of the president
and censors, and the constitutions. Taking into account these elements,
of good instrumental music as well, 2 8 the academy was more than likely
28. Schnoebelen, The Concerted Mass, 29. Chapter VII of the constitutions
was cited to show the attitude of the academy toward instrumental
music.
10
arose between Cazzati and Giulio Cesare Arresti in 1661, wherein the
29
traditional view Arresti strongly advocated predominated. Another
CHAPTER II
Numerous ambiguous terms found on the parts, which may denote either
those works. Since the members of the orchestra had customarily supplied
to serve the church. Besides, considering the fact that all of his
published works appeared after 1680, the last decade of his life
virtuoso and composer.4 It may well be that the seven trumpet sonatas
different terms for the same instrument, for instance, "alto viola" or
"alto violetta" in Sonata a 6 Con Tromba (Figure 1: G.I: 6).6 This may
be the case even with the separte parts for "basso" and "violoncello"
SIrH I I Ii iI I I Ir' i M
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14
That the two terms were written by different scribes may imply the
and Sonata a 4.5.Con Tromba (G.I: 9)--begin with an Allegro, the rule
for longer note values distinguish the openings of both sonatas (Example
of this section need not concern us because a rather short slow intro-
duction, for instance, the one measure Largo of Sonata a sei con Tromba
Allegro
Trumpet
Violin I
Violin II
Alto Viola
Violoncello
Basso
Theorbo
6 6 $ 6
b. Sonata a 4.5. Con Tromba (G.I: 9), 1st movement, mm. 1-3.
Allegro
Trumpet
Violin I
ni 711
Violin II
fJ.h.
F-
al~e..
Alto Viola
Tenor Viola
--
Violoncello
Trombone
Basso Continuo
Organ
6 7 6
16
sonatas are confined to limited pitches that the Baroque trumpet can
L,, .- flat, c , 1
e,
l, f-sharpI, , a , b-flat , b c210 D major
predominates all the fast movements with trumpet and some slow movements
17
with or without trumpet, whereas the dominant or, more often, the sub-
(Figure 2): A major in the second Grave of Sonata Con Tromba e Instro-
menti (G.I: 4); b minor in the first Largo of Sonata Con Tromba (G.I:
3) and the second slow movement of Sonata a 6 Con Tromba (G.I: 6), and
A4
C C
C
18
CHAPTER III
the constant alternation of slow and fast movements and strong preference
contributes to producing tutti and solo. This chapter will examine the
way in which the alternation of tutti and solo is carried out in the
terms of "ritornello."
was not until the emergence of Venetian opera that the instrumental
key areas and manipulating common materials in both tutti and solo
sections.2
hypothesis:
3. Ibid., 86.
plan and thematic relation between tutti and solo: the appearance of
tutti in the tonic or related keys outlines the tonal plan of concerto;
trumpet concerto.
a closed period that begins and concludes in the same key and a modulatory
rare in early Baroque music in which the two kinds of periods are in-
7. Schering, op. cit., 72; Michael Talbot, "The Concerto Allegro in the
Early Eighteenth Century," Music & Letters LII (1971), 12-3; Arthur
Hutchings, "Ritornello," The New Grove Dictionary of Music and
Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980),
XVI, 58; Claude V. Palisca, Baroque Music, 2nd ed. (Englewood Cliffs,
New Jersey: Prentice-Hall, 1981), 104.
vi
The coordination of the closed and open periods with tutti and
solo texture and the tonal scheme, which constitute the core of the ideal
between tutti and solo sections prevails at the subphrase level, creating
Tr.
Vn. I
independently to establish a firm key area, nor provide room for thematic
Tromba (G.I: 5) and Sonata a Due Trombe (G.I: 7)--exploit solely the
Example 4. Sonata Con Tromba (G.I: 3), the last Presto, mm. 12-19.
Tr.
AIALB
B.C
As Talbot admits,
12 however, frequent deviation of musical periods
sections that avail to secure a key area and exhibit thematic relations,
Example 5. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 10-11.
4 3
Example 6. Sonata a 6 Con Tromba (G.I: 5), the first Allegro, m. 14.
6$
24
a. Sonata Con Tromba (G.I: 3), the first Allegro, mm. 38-39.
b. Sonata a Due Trombe (G.I: 7), the first Allegro, mm. 18-19.
Sonata Con Tromba (G.I: 3), Sonata a 6 Con Tromba (G.I: 6), and
relations between tutti and solo, and presentation of a clear tonal plan
confirmed by tutti.
continuo (Example 8: b) recur in the second (mm. 12-17) and the fifth
in the first violin appears in imitation between the first and the second
simultaneously used in the first and the second violin doubled a third
Example 8. Sonata Con Tromba (G.I: 3), the first Allegro, mm. 3-4.
a,
the first and the second violin in the opening tutti is also discernible
Tromba (G.I: 6) recurs in the second (mm. 11-16) and the last (mm. 22-
31) tutti with alteration. Apart from the polyphonic treatment of the
26
U) 0
N H
N
toI
94
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(02
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4-J
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0
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-
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H
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Ce
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c0
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27
h- ---. 7#
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aaA l --
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a : m. 24, Vn. I
a 3: m. 28, Tr.
4
a : m. 30, Vn. II
N
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31
x
a2 & x2 mm. 4-5, Tr.
2
3
a : m. 5, Vn. I
I F -
.
7-9, Tr. a5mm. 91 i a
mm. -
a : m. 16, Vn. I
a6:m. 6, n.
Example 10. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 4-5.
I I
33
Example 11. Sonata a sei con Tromba (G.I: 8), the first Presto,
mm. 16-21.
Vn. I
AA& Ak dft AL
A AIL97 CA AIL
. -:
:Vn
1/,& A.I.
a 40 a 19L 4e 1 .1 AIL
This combination of the trumpet and the strings, from which the
second (mm. 11-12) and the fourth (mm. 27-28) tutti, serving as a
literal refrain.
close relation to the opening tutti. The opening material of the first
violin (Example 12) expands in the first solo (mm. 7-9); thereafter
the means of expansion is consistently applied to the rest of the soli.
Example 12. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 2-3.
The overall shape of the first solo (Example 13), similar to that of
the soli.
Example 13. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 7-9.
The relation between tutti and solo is less complex in the first
(mm. 4-11; mm. 18-22) based on Fortspinnung stem from the imitative
Example 14. Sonata a 6 Con Tromba (G.I: 6), the first Allegro, the
imitative subject.
1
Vn. II
25
Vn. I
28
IKL I I m Pr
Tr. 0414 4 ki- 1 1
1149 - - -IbQ
35
be categorized largely into two types. The first solo (mm. 7-13) begins
with the basso continuo figuration b of the opening tutti (see Example
the first violin) in the opening tutti, which relates the first half
phrase of the first violin to the rest, is also utilized in the second
solo (mm. 17-22). The intervalic cell x (Example 15) that begins the
second solo links at m. 19 the first half phrase to the rest, both of
which outlines the stepwise descent a (see Example 8); the motive x
becomes auxiliary at m. 20. Later the second solo, the last half of
which reappears at mm. 27-29, is much elaborated in the last solo (mm.
31-36).
Example 15. Sonata Con Tromba (G.I: 3), the first Allegro, mm. 17-22,
the intervallic cell.
I rW& If FS 0'F-
The alternation of tutti and solo that forms a scaffold for the
14. The result confirms Berger's notion of balanced form of the instru-
mental music at San Petronio. See Berger, op. cit., 355.
36
dominant keys establish the outer frame, the submediant key, albeit
(cf. Sonata a sei con Tromba, G.I: 8, the first Presto, mm. 11-27)
establish individual key areas, tutti and solo sections of the movements
is nourished.
different keys, the thematic relation between tutti and solo, and the
pulation of tutti, and a more complex tonal plan awaited the emergence
BIBLIOGRAPHY
Jensen, Niels M. "Solo Sonata, Duo Sonata, Trio Sonata: Some Problems
of Terminology, Texture, and Genre in 17th-Century Italian
Instrumental Music," Report of the Eleventh Congress Copenhagen
1972, ed. Henrik Glahn, Soren Sorensen, and Peter Ryom. Copenhagen:
Wilhwlm Hansen, 1972, II, 478-82.
Newman, William S. The Sonata in the Baroque Era, 4th ed. New York:
W. W. Norton, 1983.
Smithers, Don L. The Music and History of the Baroque Trumpet before
1721. Syracuse, New York: Syracuse University Press, 1973.
Suess, John G. Giovanni Battista Vitali and the Sonata da Chiesa. Ph.D.
dissertation, Yale University, 1963.
Van Nuys, Robert C. The History and the Nature of the Trumpet as Applied
to the Sonatas of Giuseppe Torelli. Ph.D. dissertation, The
University of Illinois, 1968.
CRITICAL NOTES
devised by the present archivist Oscar Mischiati and the old system
to avoid
devised by the former archivist Sergio Paganelli are compared
any confusion.
Mischiati Paganelli
Sonata Con Tromba G.I: 3 D.XI.6
Sonata Con Tromba e
Instromenti G.I: 4 D.XI.4
Sonata a 6 Con Tromba G.I: 5 D.XI.7
Sonata a 6 Con Tromba G.I: 6 D.XI.8
Sonata a Due Trombe G.I: 7 D.XI.9
Sonata a sei con Tromba G.I: 8 D.XI.3
Sonata Con Tromba G.I: 8 D.XI.3
Sonata a 4.5. Con Tromba G.I: 9 D.XI.5
6 Con Tromba (G.I: 6) and Sonata a 4.5. Con Tromba (G.I: 9)--lacking
the organ title page; the other parts usually bear the full title at
identical, the inclusion of tenor viola only in Sonata Con Tromba may
con
suggest that this sonata was composed earlier than Sonata a sei
Tromba; the lack of the original manuscript number L.1.G on the organ
44
title page of the latter sonata may further support this assumption.
basis for the chronology of the sonatas, for the textural dis-
Modern Editions
edition of G.I: 4
figured bass realized
edition of G.I: 5
figured bass realized
edition of G.I: 6
figured bass realized
edition of G.I: 9
figured bass realized
Editorial Policy
notated separately.
or 02 (another organ).
Manuscript Parts
Trumpet 1
Violin 1 2
Violin II 2
Alto Viola 1
Tenor Viola 1
Violoncello 5
Trombone I
46
Basso Continuo I
Organ I
30 Tenor Viola: the first beat and the first half of the second
Manuscript Parts
Trumpet 1
Violin I 1
Violin II 2
Alto Violetta 2
Contralto Viola I
Violonzino 1
Basso 1
Contrabasso 1
Organ 2
31 Alto Violetta and Contralto Viola: the first half of the last
8 Violin II: the last half of the last beat is read a in the MS.
the MS.
11 Organ b: the first half of the first beat is read G in the MS.
ViolinII: the last half of the second beat is read . in the MS.
18 Violin II: the last half of the second beat is read g in the MS.
23 Violin II: the last half of the last beat is read g in the MS.
Manuscript Parts
Trumpet 1
Violin I 2
Violin II 2
Alto Viola 1
Alto Violetta I
Tenor Violetta 1
Basso Viola 1
Basso 2
[Theorbo] 1
Organ I
15 Tenor Viola: the third and fourth beats are read 'f
in the MS.
48
Manuscript Parts
Trumpet I
Violin I 1
Violin II 2
Alto Viola I
Tenor Viola 1
Violoncello 2
Contrabasso 2
Theorbo 1
Organ 2
2 Tenor Viola: the first half of the first beat is read f-sharp
in the MS.
Manuscript Parts
Trumpet 1 1
Trumpet II 1
Violin I I
Tenor Viola 2
Violoncello I
Contrabasso 2
Organ 1
11 Tenor Viola: the last note of the second beat and the first
Manuscript Parts
Trumpet 1
Violin 1 2
Violin II 2
Alto Viola 1
Violoncello I
Violone I
Contrabasso 2
Organ 1
Manuscript Parts
Trumpet 1
Violin I 1
Violin II 1
Alto Viola 1
Tenor Viola 1
Violoncello 1
Theorbo 1
Organ I
36 Theorbo & Organ: the final note is read as a half note in the
MS.
50
MS.
Manuscript Parts
Trumpet 1
Violin I 1
Violin II 1
Alto Viola 2
Violoncello 3
Basso 1
Theorbo 1
43 Violin I & II: the measure is read a half note and a quarter
in the MS.
13 Figured Bass: the first beat and the first half of the second
1
In
Allegro
Trumpet
Violin I --
Violin II
Alto Viola
Tenor Viola
Violoncello
Trombone
I p
Violoncello
Basso Continuo
Organ
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