Scribd Logo
Upload

Welcome to Scribd!

  • Thesis - Style of Boccherini PDF

    Uploaded by

    Francesco Iannitti Piromallo
    25 views104 pages

    Original Title

    Thesis_Style of Boccherini.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    25 views104 pages

    Thesis - Style of Boccherini PDF

    Uploaded by

    Francesco Iannitti Piromallo

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 104
    na anna THE STYLE GF BUCCHERINI IN HIS VIOLONCELLO SONATAS Presented by Robert William House To fulfill the dissertation requirement for the degree of Taster of Music Department of Theory Hastnan Sel:ool of Music of the University of Rochester May, 1942 yorarcimantengsiessutnosepmnattienbiaitnnss iit Mh. Ch be, t/a, Acknowledgment ‘The author wishes to express his sincere appreciation to ir. Allen Moiiose and tir. Burrill Phillips for their suggestions and assistence, and to Mr. Lut Silva for his invaluable guidance, constructive oritician, and inspiration. ian ama Preface Boccherini's 'oello sonatas end concerti have been for many years en inerersing source of interest in the concert repetoire., lowever, this interest generslly hes extended only to the A major sonsta (number six of Piatti) and the Bb najor concerto, arranged by Grutzmacher. The importance of Bocoherini's style was impressed upon the author by the increase in the popularity of his music, end through the author's study of one of the lesser- known sonatas. Further, the result of this work has been greatly enhenced through access to a copy of the manuscript of the unpublished Eb major sonate. ‘This menuscript, with solo part ané unfigured bass, was copied by Luigi Silva fron the Library of the Zoyal Conservatory in Florence, Italy. Thus, impetus and value was given to the study. The solution and performance of the Eb sonata 1s conceived to be @ result of thoronv! analysis of the style in the other nine sonatas available. It is hoped that the enelysis and nistori- eal background given will aid in further appreciation of Boocherini's style. eciieaa Yadle of Contents Pare PROTA see ee ee ee ee eee eee ee ee PART I, Introduction... + e+e eee secre es DL PART II, Melodic Styles see eee ee eee ee ee BO PART III, Formal Structure... ee eee ee ee ee 46 PART IV. Realization of the Given Bass and its Relation to the Solo Part... ...++ 62 PART V. Conolusion + ss ee eee eee ee ee eee APPENDIX A Sonate in 3b major, revision and piano accompaniment by the authors... + + APPENDIX B Recorded presentation of the Zb sonata and the sonata in C major, revised by Luigi Silva . Bibliography ree | | | THE STYLE GF BOCCHERINI IN HIS VIOLONCELLG SONATAS PART I Introduction In considering the works of Luigi Boccherini, and more particularly his ‘oello sonatas, it is first advisable to have a knowledge of the ‘cello and its technic es it was developed to his time. It is also proper that one should be acquainted with the more important and revealing facts about his life, his travels, and his works. Thus, some perspective may be formed from which to evaluate his style and influence; wherein it 1s traditional or revolutionary, original or copied, provoking or passive No attempt will be made to present a complete and exhaustive outline of such biographical and historical material, for this work 1s to be mainly concerned with « small but revealing part of Boccherini'’s meny compositions-- his ‘cello sonatas. Only that will be presented which is necessary and conpatible to the full understanding of these works, 80 that one may see why and how he wrote as he did and why his style hes any bearing on ‘cello music today. The immediate preoursor of the violoncello was the viola da gamba, Strangely enough, the origins of the two types, violin and viol, were hardly a century apart. Ven der Straeten places the appearance of the perfected viol form a scenes “towards the end of the fifteenth century", and traces its evolution back through the reige, guiter-fiddle, lute, rebec, crwth, and kithara. He shows, however, that there was a great confusion of names for the various stringed instrunents, end that only those instruments with the three essential perts of a violin, "belly and back joined by seperate ribs", may be regarded a6 direct ancestors of the viol and violin (thus exoluding the pear-shaped, flat-soundboerd types).” Riemann plac the origin of the viol type much later, early in the sixteenth century, but this is apparently incorrect; we have the names of viol makers of the fifteenth century and pictures of their instruments, However, it may be said that the viols did not become "standard" and well-entrenohed until the sixteenth and seventeenth centuries, Even during this time they only succeeded in supplanting the lute in time to begin @ losing fight with the violin. The viols were shaped much like a violin, but had a longer fretted neok, flatter belly, sloping shoulders, flat back, and six and sometimes seven strings, tuned in fourths. The most populer viol was the bess viol, commonly called the inamund S. J. Ven der Strasten, History of the Violoncello, (London: ‘Wiliiem Reeves, 1918), Te8er ot Prpid., Ps 5y Hugo Riemann, Dictionary of Musto, Trans. by J. S. Shedlook (Philedelphie! “Theofore Presser, 1699), >. 88. MS viola da gamba.} Due to its very beautiful tone and great range, combined with « fair degree of strengt!: and carrying power, it became © colo instrument par excellence, far sur~ passing the other viols in its ability to withstend the advent of the violin family. ‘The violoncello, indeed, was kept back from its place in the orchestra and us e solo instrument until nesrly the middle of the eighteenth century, slmost « hundred years behind the violin. The technic of playing the violada gamba was meinly that of improvisetion. Because of the flat fingerboard, double stops end chords were essy and effective, and much use was mode of a skipping bow technic. Furthermore, its great range and sweet, silvery tone mede the instrument ea great favorite for solo work, chamber ensembles, and for accompanying the voice. The viole de gamba was first supplanted by the violon- cello in Italy, where 1t was dropped from the orchestre about 1730 and lost its place as a solo instrument much earlier.” In the rest of Europe ite reign was longer, especially in Englend and France, giving way to the ‘cello during the last half of the eighteenti: century, This is exactly where the importence of great ‘cellists like boccherini, Duport, end ithe term was originally applied to all instruments played in a sitting position, as contrasted to viole da bracoia~-viol held with the arm. 2van der Stracten, Op. oit., p- 155. Romberg becomes evident, demons‘reting the technical nd expressive qualities of the violoncello in contrast to the gamba. Sven 80, the cenba wes not entirely given up until the nineteenth century, for it had establisied e great populer- ity, especially with the nobilit:, «nd meny great comosers had written music for it. The last «nd most femous ganbe pleyer, also « student of J. S. Bach,} was Carl Friedrich Abel, born at Coethen, in 1725.* Bach wrote three sonatas for viola da gamba and cembalo, and also wrote perts for the gembe in his Seint vatthew and Saint John passions, various cantatas, eto.5 He also wrote for the ‘cello, but at that time the latter instrument wes still unwieldy in the hands of the con- temporary orchestral players, making hin prefer the gembe.* As we have stated before, the violoncello was compar- atively slow in overcoming the lead which the canba had essuned in the sixteenth century. When the first violin types were evolved, about the middle of the sixteenth century,5 label and Bech's youngest son, Johann Christien, became close friends and gave joint concerts over a period of twenty years, Strangely, neither wrote any mueio for the gemba; perhaps they sew that the instrument was fast becoming obsolete. ®van der Straeten, Op. oit., pp. 85-89. Srpid., 2. 90. 4zendel also wrote for gamba and Heydn wrote one hundred and sixty-three works for the barytone (a type of gamba with sympathetic strings), which was played by Prince Esterhazy. Sven der Straeten, Up. olt., pp. 126-27. 5 the violin and ever the viola were scon seen to ve the superior of the smaller viols, but not so in the case of the ‘cello. ‘The gamba was trerendously popular and "asserted, at least in England end France, its supremacy, even over the violin, throughout the seventeenth century." It is no wonder, then, that the growth of the ‘oello teohmic was reterded and held subordinate, even though by the end of the seventeenth century sone of the finest instruxents hed already been made by men like Am-ti, Stradivari, and Auggeri. The truth 1s thet during the first century of its existence the ‘cello was used only as 4 bass instrunent, accompanying voices, violin sonatas, ote. Towards the end of the seventeenth century composi- tions for solo ‘cello began to appear at the hands of Donenico Gabrieli, Ariosti, and Lononcini. (Both the latter were engaged in the femous opera competition with Handel in London.) ‘Their works, in general, show distinctly the influence of the viola de gamba, with the added disedventage of the conpara- tively limited range of the ‘cello. Indeed, the construction of Gabrieli's ricercari ems to prove that they were written for the five-stringed "cello, which wes used by some musioiens at that time.” Chords like the: lyan der Straeten, Op. cit., De 150. 23, 8. Bach's sixth suite for violoncello (written around 1720) 18 for the five-stringed ‘cello tuned in fifths-- Cc, G, D, A, and EB 2 SCR and passages in thirds, like the following: a | 4 = tt are common in these works.1 On the five-stringed instrument, tuned thus: they would be simple, but on a four-strinced ‘cello they ere awkward, to say the least. About the beginning of the eighteenth century the ‘cello threw aside its archaic garb and the history of real toello musio ond ‘cellists began. The impact of the violin music and violin technic of mon 11ke Corelli and Viveldi was finally felt throughout the tecllistic world. At thet tine, this "world" included only Itely, but soon the Italiens travel- ed to France, Germany, and England, spreading the new technic throughout Europe. One of the best ‘cellists of the time was Francischello, whose enazing technic end beauty of tone so demonstrated the possibilities of the ‘cello that he is eredited with causing the early disappearance of the ganba in Italy.” To him alsc has been attributed the invention of the lvan der Straeten, Op. oit., p. 134. ®Ibid., pp. 154-56. thunb-position, one of the greatest contributions to ‘cello technie. Throughout Itely the ert of ‘cello pleying advanced repidly, and many finc ‘cellists contributed to the technic. This technic was built, little by little, until the riddle of the eighteenth century. ‘'Cellists like 2oocherini, Duport, and Komberg were then to take thie technic end transform it Anto musio and 2 style which made the "cello @ solo instrument second only to the violin, Great composers at last were to be able to write effectively for the instrument. Boecherini was the firet of these great virtuosi. Their dates are cs follows: Doccherini, 1741-1605; Jean Louis Duport, 1749-1619; Bernhard Romberg, 1767-1641. Boccherini was less famous then either of these other two masters, for he left his home in Italy and fene in Paris for the compera- tive obscurity of Spain, ven so, his music has outlived that of the others end is growing in populerity, instead of felling greduelly into disuse. Boccherini's contributions essentially worked toward orystalizing « solo and chamber music style; whereas the music of Duport end Komberg 16 studied today mainly for its pedagogicel value. By the time of Boccherini the ‘cello as an instrument, and its technic, had almost arrived. Experiments were still being made along all lines of technio and instrument-meking, yet, by and large, the whole art of pleying the ‘cello was reaching its modern state, The old short-necked models, in general, hed diseppeared by this tine es well as the lerger, presStradivari size soundbo::.+ It cannot definitely be sald wheth r the bow was yet curved outwards; certsinly « state of treneition is indicated vy existing portraits of eighteenth century ‘cellists, Some pictures show the bow-stick entirely straight.® There elo wns « wite variety of opinion on how to hold the bow, Cone still held the bow ginva-Zashion, 1e., with the palm of the hand under the bow; others placed the hend on top of the ctiot, but still several inches tow-rds the middle of the bow. ‘two final improvements in the ‘cello were made in the nineteont!: century, after Bocoherini's time. ne was the lowering of the fingerboard under the "0" string, which, due to its larre vibrations, hed beex vont to rattle against the fingerboard. The other improvement was the addi- tion of the tail pin to support the 'cello.* There wae little standercizetion in regard to bowing end fingering. For a long time "cello technic had been Jnugo Riemann, Op. git., p. 89. a pioture of Vendini, who was closely associated with Tertini in Neples, shows that he used a straight bow (es did Tartini). Frencois Tourte, 1747-1835, is credited with perfecting the bow, working under Viotti's guidance and suggestions. 3it 4s certein that Boccherini and those before hin who played only the ‘cello placed their hand over the bow--those who Played both gamba end ‘cello, or who hed learned on the gamba, generelly placed their hand under or at the end of the bow (like some modern double bess players). 4teuseman, 1852-1909 (‘cellist in the famous Joachin quertet), was the last to play without the teil pin. feshioned after gerbe tecinic, and whet perhaps was worse, ‘cellists then began to use e fingering sinilar to thet of the violin, due to the violinistie poriticn of the left hand. Corrett, who wrote methods for several instruments, gives the following fingering for the ehroxatie secle ir his Methods, a7ai:+ Ai, interesting comparison is an English publication of that period. It is by Henry ielett and printed in 1745.° His fingerings for the diatonic ond chromatic scsles are as follows: oo Hs £th Te sean Se -E pet van der Strasten, Op. oit., p. 269. ®the fingering of second to fourth, even for half steps, was used because the hand wes so twisted (ir violinistic position) that neither the third nor the fourth fingers could be used separetely. Svan der Strasten, Op. cit., p. 364. 10 hTERT EY eG Veriations of these sane fingerings ere found in in-List teello ethods down to the nineteenth century, but it is certain that the modern fingerines were known in Italy by the tine of Rocoherini. Berteau, teecher of Duport, end co-founder of the French school, used the nodern systen of fingering, and his pupils sprerd its use throughout France. Boocherini is oreditee with stencrrdizing the use of the clefs,® introducing the rule that the treble clef, wher following the bass olef, hed to be reed an octave lower than its actual compass. ‘hen followins the tenor clef it resumed ite usual position. But Soccherinits ren) contribution was in freeing the pessage work fron its erchaic eusterity and employing the full covvass of the violoncello. Ae Van dor Streeten says, "Bocoherini was the first to lead the technic of the violoncello into more modern chennels by the frequent use of harmonics, arpeggios, and thumb passeges up to the highest registers, Long staccato runs and whole passeges in double stopping are of frequent ocourrence, as well as passages ven der Straeten, Op. oit., p. 263. Bi, Je De Wasielevski, The Violoncello and Its History, Trans. by a (London” and New York: Novello, 1894), p. 114. fwer & Co., 1 which run reroes severel strings in each one of the higher thurd positions, #1 Ko ne err reeé the etory cf Acecherini's life without geinins » fecling of pity, and respect, for thie heré-worlin,: artist whe did so much for rusie in cenorel. ifter leev: Itely cs pronis'ng young ortist end raking £ successf.1 end triunphicnt debut in Peris, he chore to go to Padrié at che instctence of the Spanish anbessador. Fror: then on bis life is @ story of herd work, little eprrecietion, uné < rtrugele for bare existence. Born in Lucen, near the vest const of Italy, 1: 1743," ne took his firet lessons from his fether. Yowever, since his father wer princrily + double base pleyer, it ves rot long tefore the youn; boy war studying violoncello with the ebbe Venucel, cholimester to the retbisho>, Hovever, in a short tine Boecherint learned oll thie new teacher could provide and it war then decided he should be sent to ome to study violoncello end composition. Bven at this eerly age it wes epperent thet Boecherini was to ve e rester of the violon- cello até his corpositions already shove’ the melodic instinct and harmonic and formel ingenuity which wes to mark ivan der Strasten, Up. cit., p. 378. 2arnaldo Bonaventura, Boccherini, (Milan and Xome: Treves, Treccent, and Tuninelit Teel} 5. 9. ae his mature works. So youns doceherini went to Kome end etudied seven yeers, returning home at the are of twenty-one to astound ell the townsfolk wit his onezin« toello virtu- osity. sfter a time of playing in the local theatre orchestra and town bend he left on a concert tour with youns Manfredi, violinist-pupil of Nardini in Florence. They concertized, with great success, throughout Lombardie, Piedmont, end southern France, and finally ended up in Paris in 1767.) Here they were received with the greatest of enthusiasm. The editor, La Chevardiere, presented then to the fenous baron de Bagge end the two young artists becane well eccuainted with all the distinguished musiciens in “ris. Bocoherini's music wee well received end he gave his first string quertets to Venter and his first string trios to La Chevardiere to be published.® Venfer also published, in 1769, six sonatas for the clevicembelo col forte ¢ pieno® and the violin, which the author dedicated tc the femous Madame Brillon de Jouy.* lioneventura, Op. olt., p. 16. ®ghe quartets were composed in Lucca ct the time when Boccheri- ni wos pleying in © quartet composed of Nerdini, Menfredi, Cambini, and hinself. This wes one of the firet orgenized string quartets. %, harpsichord with loud end soft pedels. ‘These were among the first sonetes for such a piano~like instrument, being even @ few years before the works of Clementi. 41. Ploquot, Notice sur le Vie et les Cuvrages de luigi Bosoherint, (Pariser “Philp, SBI} pe Tee 13 However, Bocoherini's earl: suceess was to prove his vndoing. Instead of steying im the musically healthy rtnos- shere of Paris he went to Madrid at the insistence of the Spanish anbassedor. Here he did not find conditions cs they hed been so slowingly described by the ambessedor. The chicf musiolan ct court was Cactenc Brunetti, who was so afraid thet Boocherini would usurp his place thet through flattery he sought to secure himself with the king, Cherles III, and his son, the Prince of the Asturies (1leter Charles IV). Thus, soccherini was forced to accept a relatively minor place in the court, nis real friend being the Infante Don Luis, brother of Cherles III and uncle of tle Prince of the Asturics.2 However, in a few years, the king and Don Luis died and the new king ascended to the throne, but Boooherini was not at all in favor with him. Ar emusing and classic anecdote is told ebout Boocherini end Charles IV which will not be fully related here, but the gist of it is that the king when still Prince of the Asturies refused to play a long trill passege that Bocoherini had written in his first viclin part, end almost threw the slicht-of-build musicien out of the window for insisting it wes good music.2 Thus, although still retained at court because of traditionel royal patronage, Boccherini might es well have IBonaventura, Op. olt., p. 23. E>tequot, Gp. oit., p. 14, lived in Russi» for oll the attention Cherles IV and his court paid hin. Just at tis tine, however, ~ plece of sood luck ceme his way--russia’ King Fredrick ‘illian II becene his patron. This came about througi. the influence of of Boocherini's friend, the elder Duport, who was teacher and keppelmeister to the Prussien kinz,! and elec through a com- position which Boocherini had dedicated to hiv. iredrick William sent hi: a her ome present for this work and e comission es chanber-conposer exolusif to the Prussian court. This position tided hi: through ten years, although Bocoherini's incove wis still very smell; co smell, in feot, that he never could serepe up enouch to leave liaérid for pleasenter climes. But tragedy stalked him indeed, for in 1797 his seconé wife dicd of apoplexy end, soon efter, he received news of the death of Fredrick \illicr. ‘The patronage of the marquis de Benavente and a periodic pittance from hie editors in Paris, where his works were very populer, ensbled hin to live. His publishers were in the habit of telling hin exactly whet he should write, as to medium, form, content, length, difficulty, and tempi--ell so the nusie would sell. There is a letter from Becoherini to the editor Pleyel, quoted by the biographer Bonaventura, in whioh Bocoherini says he will write everything as Pleyel requests if only he is allowed to write a few things in his ABonaventura, Up. clt., 79. 27-26. 14 15 own nenner--ior the sace of his reputation ond his artistic integrity.2 The period irudiately arter the death of the Prussian king wes a low point in Soecherini's life, Iic health «nd undoubtedly his norele were low, ané he gave up vlaying the ‘cello temporarily, Hut in 1799 Lucien Bonap: rte, brother of Napoleon, was nezed wrench ambassador to Madrid.” Bonaparte was a sincere putron of the arts, and knew Boocherini's music and talent, Accordingly, he commissioned several works from Boceherini and paid hin well. Among the larger works thet oecherini wrote for Lucien Bonaparte were six pieno quin- tettes and twelve string quintettes for two violins, two violas, and violoncello, wore important, Boocherini's health and spirit was revived so that he again took up the "cello end started work on his last mejor work, « Stabat Kater for three voices, violins, viola, ‘oello, and bass. In 1801 this work was coupleted end he agreed to sell it to Seider, a Peri publisher, for a small sum. Soon efterwards, he was privately offered many tines this emount for the work, but evidently Boocherini's word was his bond, and the Stabat Ester went to Seiber at the agreed price.” Lueien Bonaparte was recalled tc Paris in 1802 and Bonaventura, Op. olt., pp. 29-31. 2ypid., pp. 32-33. SIpid., pp. 5-35. 16 Bocoherini, again commissicnless, wes left with nothing better than to errange sone of his mueic for the guitar-playing Kerquis de benevente.+ bout 1803 or 1804 vadane Sophie Gail arrived in Madrid end tried to persuade Boecherini to vo back to Paris and enjoy his last days surrountea *y his frien‘ end edmirere.® But his health wes very dai an’? he was un ble to gos He died, shortly after, on May 20th, 1605. Nuch confusion has existed in regard to the number end authenticity of Boccherini's compositions, despite the feet that he wrote his own catelogue.® However, renerkably detailed and complete catalozues are siven by Piequot (1851) end Bonaventura (1951). Inoluded are works for violin and eno (clavicenbalo), violin duet, string trio (two violins and ‘cello, or violin, viola, «nd ‘eello), string quartet, string quintet, piano quintet, string sextet and octet, ‘cello sonatas and concerti, and much music for various combinations of strings with flute or oboe, as well ar quentities of vocal music (inoluding the Stebat Meter) and several synnhorics. Altogether there are about sixty published opere besides many unpublished end recently recovered works, with or without opus Bonaventure, Op. git., pe 36. 2, J. Fetis, Blographie Universelle des Musiciens et Biblio- rophie Genefate de ta Buble (eat of. 5 Santer Tibretnis tee AEE BESTS, =Didot et Cie., 11 2 ce 4545 Sthis oatelogue of Bocoherini's has a seperate list of opus numbers for each type of work and was consequently revised by others and confused. 17 number, which make u> the approximately four hundred composi- tions of ell types end mediums attributed to Soecherini. Hie influence among contemporaries wes felt in the field of the srcll chamber enserble, es well es in the realm of violoncello music. He wrote at lees’ nincty-one string quartets and one hundred :nd forty-five quintetr. It is unfortunate thet cnly about two dozen of thcse quintete are for the modern covbinetions--that is, the pieno quintett (strinz quartet end piano) end the strinc quintet scored for two violas. st of Toccherinits quintetc wers written for the court of Nedri¢, where a reguler string quartet wos probably in exietene: when he came. Thus, {t wae only naturel that he should use thie combination, plus himself playin a "cello obligato. erfornance by such a croup would undoubted- ly have nuch appeel to a virtuoso-ninded audience, and was possibly the best solutior. Boocherini could have provided with the resources at his comand. Boccherinits quertets are overshedowed by those of his contemporaries, Haydn and Mozart. This 1s true not because his music ie any less becutiful, but because it is more informal 28 to structure. Boccherini's music is at once strict and abandoned. He know the technic and idiom cf his dey perfectly, and never soes his mueic sound cut of style, yet 1t remained en improvisatory art to hin. Boocherini's forte was in meking much out of little-seach note end detail must be studied for its subtle effect, Just ss he conceived 18 it. It is a delicate end feminine style completely contrary to the contemporary Gernen regard for strong herrionie and dynemlo contrast. Actually, Boocherini's music is the result of Italicn vocal style wedded to the instruxental forms, producing richness of imazination, variety of phrase, tonal and rhythmic color, ané cbove all a fantasie of mood and form Gur attempt will be 4: the enalysis to show how suoh results wore obteined. Uost of Boccherini's violoncello works were not re-published until comparatively recently, end undoubtedly sone have deen lost. For the rost pert, they were probebly written in his eerly virtuoso days, ond only the bess wes written for the accompanist. Nevertheless, there ere perhaps twelve ‘cello sonatns end six ‘cello concerti in existence which ere known tc have been writter by Boccherini. ‘er. of these sonates ere available to us for purzoses of anclycis, one of which, recently discovered (whict is in nanuscript at the library of the Royel Conservatory ir Flcrence), ve huve attempted to provide with a stylistically correct solution for the given bres, (Cur recorced prerentaticn of this sone~ te end one in C mejor, piano acocupeninent end revision by Luigi Silva, ere appended.) Solving the given bers to these sonetas is a problem, for no figuration: are below the bass, end quite a facility 1s required in orser to gain the effect in chord structure and ecty clarity which Boccherini hur implied. (The subject of writing such en ecoonpanixent is 13 taken up later in this work.) Several of thet sonetas end concerti are in every concert ‘ocellist's repetcire, However, there is 2 creat deal of difference in published editions of these works. Those of Piatti, tor exemple, ere very close to the ctvle, but those “reviced" by Grutznccher are pertiouler!y poor. Grutz-acher’s harmonizations are thick and overladen, and, in some ceses, the entire output is so originel as to form a sct of varie~ tions by Grutzmacher on « theme by Loceherini. Grutzmacher is also adroit at taling the best movements fror. severcl works and forming « new sonata cr concertc. All thet cen be seid ie thet the revivel of Uoccherini's nusic is not aided ere ccnetently by such machinations, but by those articte ¥ revising and performing his music in recogiition ond awareness of hie genius. PART II Melodic Style Because Hoceherini was the firrt ‘cello virtuosc with a redern technic whe also wrote exte:sively for the instru- nent, 1t 1s dmportent to understrnd his nelodic style. Such an understanding is necessarily difficult to separate from the factors of hermon~ end rhythm. Particularly the enelysis of non-hermonie tones fe linked vith underlying harmontc and rhythmic values, although such fectors are so commonly under- stood that it is generally safe to focus attention on the actual figures thenselves. That is, it becomes only necessery to explain Boccherini's use of non-harnonic materiel, and not to define its various forms. ‘The genius of Hoccherini is most evident in his melodic style. He worked in a period of musical history when monodie and homophonic line was peramount, and his music nekes use of all the technic then available. It goes without saying that a good melodic style cannot be built on harvionic tones alone; neither can it be continuously dissonant. Distinctive intervels cnd themes must appear, and the nediuy and form must be taken into account. But {t is not our purpose to synthesize; rather, the problem must be appro:chec on the basis of ensiysis end denonstration. In Soecheriri's music there 1s the normal phrase ond harmonic rest, yet interest is kept alive by con- 20 a1 stent veriety, embellishment, and unusuel ficures. Constant use 1s made of the passing tone, neighboring tone, eppoggia~ tura, entioipation, suspension, end verious greces--trills, turns, mordents, ete. Furthernor:, the use of these non-harmonic tones, and the harmonic minor scale, sonetines gives rice to unusual intervals in the nelocy, such as the augmented second end fcurth; and the diminished second, fourth, and seventh, These, in combination with the skilful use of sequence, chromatics, soale-line passages, arpecgios, and double stops--all inextricably bound to the ‘cello technic-=form the style in Boooherini's melodies. Below are given the opening bars of each of the ten sonatas under our consideration. No attempt will be mede to give detailed findings on the melodic style within each sonata; rather, an effort will be made to give clear end revealing examples of the various devices incorporated within the melodic line. with such e weelth of meteriel it is Ampossible to give more than e broad and general impression of Boecherini's idior. However, in another section of this work the problem is approsched more specifically with the author's solution to the given bass of the Zb major sonata. i Alle Ne eee * -¢, —T-¢ 4 by = ig = Fey © major Gilva, Zane EP aa jer (House) o All? mods oy - ceetd, IGN A major (Piatt) ist © ajer (Piatt) ~ tad 2B Ebmajer (Pi Adagio &, et A major (Piatt) -6th + © major (Toni) The Passing Tone The passing tone is the most frecuently used non-her- nonic device and 1s most apparent in Boocherini's frequent scale-line passages. However, it is also used to connect longer rote values and can be found in short melodic frarments. Oftentimes, when accented, the passing tone 1s written: meee Diatonic scale-line passages are very frequent, so much so that they can almost be said to form the backbone of the style. ‘They are usually varied, rhythmically and otherwise, so es not to become tiresome. Following is an example from the ait Ay 28F ber| [ye eet Jvnen we refer to sonatas by number it “111 mern se numbered by Patti. Ctherwise we will give the nene of the revisor. Eb major sonata (House): Here one should also note the effective use of sequence and variation, inoluding the subtle substitution in the last stave of the upper neizhboring tone for the passing tone. This highly offective change neatly sets up the cadence. Also, chromatic scale passages are cefinitely part of the style. In the majorit: of oases they descend, and are of short duration. Following are some typical examples: Sad “Alle, Neighboring Tones Second only in 1 portence to the passinz tone cs a device is the neighboring tone. oth upper and lower neigh~ boring tonse were used in prorusion by Boecherini; usually in connection with the passing tone but often mixed in with skips, other non-harmonic tones, etc. Yollowins are two exemples in which upper end lower neighbore are found in a "pure" state: 25 second movenent of the second sonata sre to ve found at least three passages which clearly show Soccherinits use of the passing tone and the neighboring tone together: “—~2% one of his most effective uses of the neighboring tone oan be found in the grace-ncte figure: (a= Following is a typical exemple, from the C major sonata revised by Silva: eae Kae Finally, two examples are quoted in connection with double stops. The first is taken from the Xondo of the above~ mentioned C major sonata. The figure is used ageinet « pedal 26 ‘The other example is texen fron. the second “ovement of the rst of the six ecited 'y iatti. It is an major sonate, upper neighboring tone ficure, tekes In double etops in thirds: Ket The Appoggieature There are several different viewpoints extent in America on what constitutes an appoggiatura. Cne definition 418 proposed by Goetschius snd various other theorists, and 1 based on the premise of leaping into the diseonance. Aeoording to this school of thought the appoggiatura is an unprepared neighboring tone. However, there is a lons~ standing definition, based on Itelian usage, which stens fron the premise thet en eppogsiature ie on auxiliary note used before a main note, which delays the appearance of the lat- i ter. Also, the grece notes co written heve been divided into two categories: the long appogeiatura and the short 1 appoggiatura, elthough the Italien tern ecolacatura has been Brecsed into use to explain the latter tern. There hes always been a divergence of opinion end Prectice on the performance of these grcce-note appovgiaturas end acolecaturas: whether they are to be long or short, on the beat or before, accented or unaccented. The common rule 27 is that if there is @ line through the ste of the grece note it is to be perfcrmed quickly, although this is not slways a safe indication es eny rusiciean knows. In feot, before 1800 @ line was not written through the note ster, nd it is cer- tain thet Boceberini indicated none, fny such device found in his music is written by the editore end is entirely their opinion. Thus, it may be seen thet interpretatior of grace 4 notes in Boccherini's music must depend upon such factors es hermony, rhythm, end melodic interpretation. In order to show the possibilities in the interpreta~ tion two passages are quoted from the C nufor sonate, which hee been revised by both Silve and Zanon. The original is oa aus Ve apo: Het * Wee yey Zenon's version: a | Gas art While Silva writes it thus: ap tee : ee a! It is all a natter of interpretation, for each is correct. ometii es the appoggiature and the acciaccatura are used together, the eccisccatura of course preceding the accented appogcirture. But when thie is the ease, care must be teken to interpret the eo-poser's meaning. ‘the appoteia- tura, even though written out, must renain accented and the short acciaccatura should be a very short grace note, Other= wise the appoggiatura would be just an unaccented passing tone ond the entire significance of the figure would be lost. Mowever, when only the one appoggiatura is indicated it mey be played short or long, aceordinz to the rhythmic structure. We will show en exemple of what is meant in this passage from the ellegro of the sixth esonsta: Piiteends Sx Tetcod i The first two grace notes may be pleyed either long or short, for they are followed by a hermonic tone (in fact, Piatti wrote them out the second tire, indicatine that the first time they should be played short for contrast). But the other grece note in the above must be performed os an acciacoatura, for the followinz eighth note is definitely non-harmonic end must resolve to the gj. Such a rendition as this: ar : ee would destroy the whole effect, the d_ becoming only a passing tone between two harnonic tones, lyor the eppoggiature hes its effect on the harmony beneath and the acciaccature is only e melodic embellishment. asBare fron the Larzo peep Peed rey ee re= For snother example we take « 2 seen sopeta: PT if Interpretation of such figures is always a uetter of ovinion, : but our rendition would be: In spite of the confusion in nonenclature, whet the author wishes te emphasize is, first, thet Bocoherini used extensively both the appoggiatura anc the ecciaccatura in regular note values end ss grace notes; second, when the appoggiatura is further preceded by an accinccatura the implication should be understood und followed. Cther S.bellishnents ‘The discussion of the intricacies i volved in inter= preting the grace note must not lead to the belief that Boccherini is extremely prolific in the use of erbellistuents. To the contrery, not only he but other early ‘cellists are noticeably less -iver to heavy embellishment then the genbists end gambe~'cellists of the period just precedin. The mordent and turn are rether infrequent in Boceherini's music, while the trill is not over-used. Gther brends of embellishment are nil. There is one good exemple of the turn at the beginning of the sixth sonate: ©, ° end @ couple of examples of the nordent in the C mejor sonata: iti attt eSanian Notice also the nornel use of the trill at the cadence in the above exemple: end it is here that they cre found most often, thoush occherini occasicnelly indicates the trill at other points: j pai ats ite dent. Indeed, in Bocoherini's tine the sic: for the nordent enc trill were herdly distinulshable, +h © veins te play as many notes as possible in e giver tempo. The Ssceped Tone AB would be expected, the esceped tone is not e part of Boccherinits style. There sre sone rare ezemples of ite use in these sonatas, but in each case it is our opinion that it is the revisor and not Beccherini who is responsible. The Anticipation The anticipation occurs quite frecuently. Neturally, it Is most often used at the cadences, but 2lso may sppear in the course of « phrase. Following are three typical exemples, The first {s from our arrangerent of the %b sonata: the others are from the Bb soneta, revised by Toni: 3 @ ‘The Suspension Suspensions forn an importent pert of the melodic and hernonic style in Boocherinits sonates. Sonetines they are plain; many tines they are ornenente’. ‘The following ere all teken from the .b sonata: ay etree WeNEALoE It will be noted in the first example that the resolution of the syncopated figure is sonetines delayed by inserting a downvard skip of e seventh. In the last example a portanent« figure occurs at each resolution. Below ere examples of the type of suspension known ae the reterdation, This resolution of a suspension upwards is not et «11 uncorron in Boocherini's music. ‘The subject of melodic skips in Boccherini's music 1s an importent one. He uses all the normal skips in the meloay-- najor and minor thirds end sixths; perfect fourths, fifths, end octaves; and minor sevenths upwerd. Also, of course, he uses compound ekips of nore than an octave--tenths, twelfths, eto. Seldom does he make more then one skip i: the sane direction unless they are chordal, or unless the lest xote forms an appoggietura. Po! ibly the most used and characteris- tic skip Boocherini uses ie that of the third, Both of the following passages in scquentiel thirds, from the first sonate in A major, are typicel: hee 34 And from the C major sonste we quote « ver’ characteristic skipping passage. 1 Aes! Unusual Skips But Bocoherini, using ell normel sxips in profusion, was not loath to try sone which were considered daring by his contemporaries, These are brought ebout by the use of the ciminished seventh chord, the eugmented sixth chord, the harmonic minor scele, and non-harmonic tones. tost frequent of these more or less abnormal skips ere the euguented second and the diminished third. ‘There are also exemples of the augmented fourth, diminished fourth, diminished seventh, end at leest one exemple of e diminished octave. As in nost styles, any large ski: of en unusuel neture will be upwards. Given below are examples of the skip of an augmented second as used by Boocherini., ‘The first four are from the © major sonata, revised by Silva, the next is from our arrangement of the Eb sonata, end thy lest exemple is from the fifth sonata in F major (Piatti): ht = A belie eee S= pat PECIL Eyt tits — che Plea == WATE oi ig CA Pest Concerning Boocherini's use of the interval of a diminished third, two exemples are quoted from the Bb sonetea end one from the Eb sonata. The first example s:.ows the skip as part of the augmented sixth chord, the second is pert of a changing note figure, and the lest one forns en eppoggictura: pe Cleat thew bt 36 Examples of the ski an vusented fourth ere given below. The first two are fro: the first sorete in * mejor; the third is from the C mejor sonata, revised *y Toni. Notice also, in the last example the s!:ip of an eu-nented second: LT uses a fe feria ye eu The dixinished fourth is rather rare, but following are two exemples, from the C major (Silva) and the Eb major * e..2 sonates: 5 ma G-ES There are a few oxemples of the skip of a diminished seventh, one of which (from the fifth sonata in F major) is given below. Needless to say, both notes ere part of the diminished seventh chord: 37 Only one example has bee: found of the skip of a diminished ootave. This ie found in the Minuetto of the Bb sonata as revised by Alceo Toni, The ton note of the skip, being e grice-note appoggictura, inmediately resolves down- ward a step to @ note of the diminished seventti chord, Thus, the skip is reclly just thet of a diminished seventh, with 6 short eppoggietura: Sree Ea Sait ‘The Arpeggio (and Broken Chord) The matter of melodic skips is further related to the use of arpeggios, The arpeggio is treated in ell the various ways: Ait may be melodic or harmonic, just before the cadence or within the phrese, bowed or slurred; and it may or mey not be identified with pedel point. Below are several examples from the various sonatas showing how Boocherini nede use of the erpeggio--notice the rather difficult feat he performed in naking a really good melodic passage out of an earpegeio, as is the case ir the last exemple: 38 Pedal Point Pedal point is one of the keystones of the style. Sometines it is indicated in the accompaniment, but more often it 1s incorporated into the ‘cello part as inverted pedal point. It is often used in double stops, meny times being identified with thumb position. One of its most effective uses in this manner occurs when the double stone are broken up, and the pedel roint tone is alternated with the melodic tones: emajer Gilva) 7a Bb major fon 9 Boccherini rlso makes use of the so-celled rhythmic edal. An exemple is shown from the Bb sonata: Double Stops There rre many examples of pedal point in double stops. Indeed, in the majority of cases where Hoccherini uses double stops one of the parts is sustained on an open string or with the thumb, It 1s the simplest manner of performing double stops, for only one part has to be fingered. Yueh of the time Boocherini elso writes double stops in thirds, sixths, eto., but these are nearly all of short duretion and feirly eesy to manage due to a fixed thumd position, interventio. of en open string, etc. Long passages of double stove in cotaves, eixths, etc., are not found in Boccherini's music; they remain to be exploited by Duport, iomberg, end leter virtuosi. Following are several examples of double stops used in connection with pedal point: ean i aa ae i = AN sheu = Also, several examples may be found of the use of double stops in thirds and sixths, sometires interspersed with chords an@ pedal point: iat eee Sequence Secuence patterns were much used by Boecherini. However, in the examples already quoted msy be found so many sequential ideas that it seems unnecessary to quote further. Melodic Rest There is one device that Boccherini ueed which is . very characteristic with him, No other composer of his tine : nor before so consciously stopped the flow of the melody for pure harmonic feeling. There is elso in this device a sense of complete rhythmic rest--it is gratifying to contemplate how Boccherini's little trick must have startled sore of the bY audience when he started out furiousi; acein after the quiet break. hen this device is used it is left to the accompani- ment to carr: or the interest, but not to change the mood. Following are sone examples: Lind ve b —— — — = SF Rhythmic Usege A strikin: rhythmie texture is cne of the strongest points in Boocherini's melodic style. Although he was o classicist he wes 2180 well acquainted with the Italian vocal style. Consequently, he incorporated into hie music « freedon of rhythmic moveront thet gave Jt interest end probably helped save it from te fate of being buried end forgotten with the great mase of music written in his dny, He as no slave to the ber line; he fully realized the importance of secondery rhythn and quentitative accent, as well es the nerked ond regular rhythn o eryhasized by his contemporeries. Thus he was eble to write in either fesnion and to mix the two styles. When the ocoasicn dencnds, the rhythm swincs along r.gulerly and with epirit; but in slower, vocal-like passages he more often is exceedingly free. Notice the difference between these passages fror. the Largo of the third sonate in G nejor end the opening bars of the second mover:nt, Allegro alle ilitare. Also observe the chenging note values and irregu- lerity of line in the first instance, and the rhythmic pulse in the second: A further contrast of the sane type is found in the ovening bars of the “dagio ané the /llegro of the sixth sonctea. This esample cf contrerted rhythmic usage rives away the whole style: Throughout all of Boccherini's music there is e con- stent veriety in rhythmic figures which produces a chenge in the underlying rhythmic accent, even though the metre end tempo remain the sane. Yor instence, the 4/4 ellegro fron : the sonata in C major rust be taken ct a tempo of about sixty beats per minute per quarter note; nevertheless, it sounds like an allegro because much of the time the var is really divided into eight, due to the rhythmic pulse. i 48 e further example, the scecré movevent of the sere sonete, merked tor-c nesei, is given « tine cimeture or ¢ ; but upon exeninine ond playins the muele it is found that the rhythm while very svooth snd flowing ie definitely four to « var. Consequently, the piece is ployed in ~ slow four despite the tive signature.) Boocherini makes use of 11 types and kinds of rhythmic figures, Perhaps his most characteristic devices are syncopation end the constant change from duple to triple, ‘These seemed to Boccherini the most logical we 8 of seouring smooth variety and strength in his melodic writing. Figures utke: IY ana: SJ ere used when novenent and pulse are needed, but more flowing figures are substituted whe: the tusicel idea mekes then necessary. Thus, it 1s safe to say that Boocherini seldon uses rhythm for its own sake; it is always subservient to his absorption in melodic concept. In fact, anything wis right end proper if it helped seoure the grace and beauty which he 80 evidently desired and happily achieved. His genius for melody was not to be denied, whether or not the result was in accord with the conventions of his time. Indeed, the sure rise of his populerity with musicians today is proof enough of the ential soundness end besuty of his musical thought. perhaps from an ancient use of the sign, ¢ , for slower novenent. PART III Formal Structure The problem of form in Boocherini's sonates is diffi- cult, both from the stendpoint of analysis and explanation. Although in many cases the forn is very clear, it occastorally becomes so free that analysis is almost impossible. This does not mean that Bocoherini had no formal sen To the contrary, the structure of some of the sonatas proves that he i wes well acquainted with all the most advanced ideas on forn. In the remaining sonatas anclyzed the music never seems to suffer from its comparative freedom, but on the contrary soars to heights of fantesy which would be impossible to achieve within a box-like structure. Bocoherini, es most other good composers, tended to follow contemporary practice, relapsed often to older methods, end on occasion glimpsed into the future, But all of his music is stamped wit: the melodic freedom which strives continually to break the bonds of convention that to some extent are always necessary. Speaking in terms of formal structure, Bocoherini's most striking futuristic tendencies are his attempts at eyelic form and his use of the third relationship. Of course, ‘these examples are rere and sonewhat primitive, for such things were uncormon in his dey, to sey the least, vut they do show his independence and originslity of thought. 46 47 In general, however, the structure of the sonrtes Le somewhat similer to thet of the Haycn or sozert sonetes. This does not meen that he ot the idees fror then--probably he did not. If he had hesra much of their music hic might have been nore siniler, but he wes alresdy in Nedrid ir 1769, which was some time before their rusie becaxe well-known.) In the musicelly-sterved atmosphere of Medrid Poccherini had little chance to be anything but a musical introvert. Hie background in formal structure is thus to be found in the music of the Italians (Allegri, Tartini, the Soarlattis, etc.) and indirectly in the music of the lennheim Scheol. But we see that Boccherini, with somewhat the same exemples before him as were before Haydn and Mozert, took a different direction in the development of his ideas. His sonata form did not stem from any one of his predecessors; neither hes anyone bothered to imitate it, as they have Haydn's end Mozart's, mainly because it is more diffioult to dissect and synthesize. ‘The plan, in the najority of caces, 1s as follows: The exposition contains the main theme, secondary theme, and closing theme all in the usual keys, but the development section is postroned or made so short as to be a transition. After the first few bars of iboccherini knew of Haydn, however, and admired him. There is a letter from Bocoherini to Haydn, sent to en editor who published music for both men, in which Boccherini sent his regerds end hoped Haydn would write hin. Haydn answered the publisher, saying thet he also knew of Bocoherini and would write him. DL — 46 the reeapituletion the real development section begins, and is followed by the second theme «nd perhaps nore free uateriel. Finally the closinz thene reenters, generally strict end transposed to the tonic. f course, sich en analysiy can.ot be entirely accu- rate, tor there are meny variations, but e form:i analysis ct each sonata will be given in sone detail. In one or two cases the structure is so unusual that it becomes sheer opinion as to whether it is sonata, three-part, two-part, rondo, or variation form. This makes 1t doubly hard to point out the transitions, extensions, eto. Gf the ten sonatas, each with three movements, well over two-thirds of the movements are in sonate form. The ninuet-with-trio, and the three-part, two-part, variation, end rondo forns are rather few in mumber. About half of the tine the order of the noverents is Allegro, Adagio, Allegro, with the remainder Largo, Allegro, and !\inuet-with-Trio. (There are also variations of these plans.) The firct and i last movements ere alweys in the tonic end the middle nove- nent ney be in the tonic, the dominant, sub-dominant, or the ime formal structure of Boochsrini's sonatas cannot be analyzed to their true adventegs if they are thought of in comperison with the Haydn and Mozart sonata. Although they Bometines appear to be based on such a plen, Boccherini really received his ideas fron the Italians. The early Italien sonata, as exemplified by Domenico Sorrlatti's =usic, is | really a suite, with a key~plen instesd of a thenatic plan. | That is why most of Boccherini's sonetar have the recepitu- lation in the dominant, the development section misplaced, ete. 49 parallel minor. 411 the sonatas «re in mi jor keys, for Soooherini's music is, for the most pert, very elegant ond sprightly. However, te slow movements, and perts of the faster movements, ere sometimes ver’ deep and soul-inepirins, in whieh cese the diminished triad end the hermonie minor Scale ere slways employed. In connection with his genercl style, an interesting Statement is to be found in Cobbett's Survey of Chamber [usic, for, although it 1s written in terns of ‘he chamber ensenble, it shows better then se cen the true meening of Boccherini's nelodic style and formal structure: Boccherini is the first great perfector in modern music. Bverything for which his predecessors worked, singly end laboriously, was carnered and absorbed by hin, “Senmertinits becinning, Stemitz's radicalism, Pugneni's tentetive efforts, end Beck's inspiretions-- all these hed their experinental value for Boccherini, end the achievements of all these hot-bloods of the new ert are at last justified and brought to fulfill- nent in his music. In his hands, the new style yields up its moet secret possibilities No longer is the structure filled with coarse substen- ces end dynemic contracts. A technique of the utnost flexibility and virtuosity now inforzs the material, and it is in this connexion that Doccherini may be considered to have definitely fixed the style of modern chamber music. His native Italian lyricion obliterates the herd boundery lines which are apt to obtrude themselves when thematic periods are divided into precise sections, By dint of continuous singing, he bridges over the whole, combining his motifs Intuitive- Ty, eft Feeulte thet: axe To no ng wise inferior to the nore fo: working’ of the olessios, while they eacape the offect of deliberation lwalter ‘illson Cobbett, Cyclopedic Survey of Chamber Lusic, (London: Oxfor: Univers4’ reas, Hum hrey ilford, 1929), I, 156, (italics Inserted) The C major concta, revised by both Silve an Zenon, is the most perfectly constructed of the con tes :né conteins elenents of insight e-¢ orl inality whieh wk. Ito tral ereet piece of music. Ths first -ovunent is ‘llesro, end in sonata form: Ail Exe. Reear. eye Ss. ¢ nt 8 sty en # leet Me It will be noticed that there is a true development section, with modulation to the parallel minor. Then the surprise Oceurs-=the recapituletion comes in Bb. This key is the related major to C minor, but nevertheless, the elenent of third relationship to the tonic 1s present. Ten there is a long transition, mede nececsary because moduletio: must occur to C major, which is not closely related to ub major. ‘the second thene end closing theme are reported practically ntect, but transposed to the tonic. The second movement, merked Largo Assai, presents a much more diffioult problen of analysis, The firet there is in C minor, while the second 4s in &b mejor (as was the recapitulation of the first movement). Following this is a closing there, the only one restated in the entire movenent. After several other melodies are introduced, the closing thene reappears, transposed to C minor, with an extension ending on the dominant so as to lead into the finel moverent. ‘The nearest explanation es to the forr of this slow novenent 61 1s incipient three-part form, In reality, the Lerso forse e prelude for the lest movenent: a i: poe omy a ele eb 3h AY The finele is a true rondo. However, each contresting Secticn is subdivided, the first having three thenes and the second containing a cnell ABA section, plur thenatle material previously stated. it will be clearer if diegranmed: Ronda fa pA yas G Aout. a € ec acy st cea ‘The interestin: part of this novement is the ‘BA material in the second contractive section, where there is 6 heavy thene in C minor, followed by a Light thene high in thund position in Sb, efter which the C ninor theme is repeeted, This passage in Xb is emphesized by the merking, sul ponticello, end is strangely =: nilar to important pessszcs from the other two movements of the sonata. Upon this, ond other factcrs of general thematic derivation, we base our argunent of early attempte at cyclic form. It is evident that Boccherini vas not unaware of the great resemblance between these theres whioh not only ere ell in kb mejor, but are likewise identicel in register and position. An important fector concerning these particular thenes in sb is thet they ere the only ones in that key in the entire composition. The firrt one, which is the main theme cf the opening moverent, eppeors tries (thoug: only in the recapitulation in the key cf 1b}; the Second urder consideratio; is the second thee cf the :cegio novenent; while the third is the thene ve have mentioned « veins in the seco:.é contrestive section of th: rondo: aes The 2b nejor sonute, which we have revised fron the nenuseript, is one of the ecsiest to grasp from the stendpoint of form. Porh:ps It is because the sonuta is comperetively easy, or facile, end is thus naturally simple ond streisht- forward formally specking.? ‘The first two movements, narked Largo end Allegro, are in sonate form, end the last novenent is a Linuctewith ‘Irio. The Largo hes the recular first, second, and closing themes in the usual keys; and the develop= ment starts with the opening theme in the dominent. ‘The theme is abandoned after the fourth measure, and modulaticn proceeds 1it wee the ouston of Bocoherini, Cambini, end others to write in two gredes of difficulty, Their works ere large or amall in the total ooncestion, and are labeled accordingly. Thus, wertetti end guartettini; quintetti end quintettinl; sonata ae Sonatina or Sonata _ 83 into the releted ninor. The recapitulation ie in the tonic, although the rir:t anc second thenes are considerably cltered: Largo Ear. “Rear. tt ET SE She second xoverient, Allegre, ie aluoct exactly the save in planning: Alle _ Reeeg. Siggy ot —tz mr ee poy ‘The development section in Loth novements is comparatively short, concistiig of avout eighteen measures in ecch case. vequence, modulation, successive diminiched seventh chords, ete., are the essential ingredients of these development sections. The third novewent is the idinuetto: Minette A 3 Gls ete eel tore Mech large section is in inoipient three-part form, with a return to the last phrase of the main subject in the lust few bars, ‘There is a fine example of cadence evasion and exten- sion at the end of the second repeated strain. Next ia the sonata in A major, the first of a group of six revised by “lfredo Piatti. (These six sonatas we will anelyze in the same order as numbered.) The first sonata 54 presents difficulties, in the sense that it is extremely free t rouckout and it 4s not eas: to determin where eack transi- tion ends aud exci tee vegins.2 Exe. . Te ST. cr. ee sec ree A r. fn he EA wey ha AB cua be Geen, the developuent section of the Allegro is not to be found in its usuel place. Insteed, a very free section, with modulation, ete., occurs aiter the restatenent of the opening these, aud continues throughout the second thene. ; The closing theme is repected exactly, but transposed to the tonle. ‘The second uovewont evade: classification, although it is nearer to soneta forn that any other. ‘The second theme is entirely lacking in the recapitulation, but tie closing thene is dwelt upon and extended so as to lecd smoothly into ‘the final novenent: eae tS The final Allegro shows Boooherini's typical sonete form, with the development section placed after the restate- nent of the opening theme. In this development section lane first movenent of this sonate in 4 major is aleo pub- lished as the first movement of the concerto in A major, but it 1s not known which is euthentie. Perhaps Bocoherini transplanted the entire uovenent himself. Bonaventura, Op. git., pp. 69-92. —————————ee erpergios, double stoys, extensions, ete., nay be found, but © end closing the: enter in tic tonic and ere repeated verbat . fron the expos'ilor: Alle Exe. lle Mt jot y wer ¥ormally, the second sonets is rather typleal. the Allegro there is « transition between the exposition end the recapitulaticn which could herdly be called « development section, It ie only four neesures in length, ead includes a statement of the opening; theue in the doiinant, but is follow- ed immediately by the recapitulation with a stetenent of the sane theme in the tonic. The real development secticr then enters, with considerable key change aud free material. The Second thene and closing thene are aimort intuet in the recapitulations Alle Exe. | | a: CG = The Largo is very clearly and sirply constructed. However, there appecrs to be no closing thene and again the development cones efter the restatenent of the opening theme. ‘The movement is in ¥ major--the subdominent: Lap Exe. Recar, Sy it Sy wt pees Sty F c Aac ¥ 56 1 ovement is .llegro woderato. This tire it ed: the reeepitdetion wider Le neve to uwiderse changes -n' nedulstione +s if 1t were « development section. ‘here ic s codette conate as given in the originel, followed by our solution: _ a It will be noticed only the sinplest hrrnonization 1s added. boecherini give: the epenin; thene te the "cello and indicetes an Ldtetlon in the vase. It is only lopicel thet wre next velce enter wit’ 4: itetion-=then the phrese is brought to a close with « ciple 3 § suspension. ‘he next phr § se besins with & pedal Bb ii.dfected in the bes, od thie 1s brought out in the right hend with verletions or the opening active. Note also. in the fourt! meesure the omission of the usucl cetave Zb in the left hand. Unless there is good reason all such octave pleying should ve absent fro: the eceonpaninent, ay it tends to thicken any rendition. ‘ter the first thene is concluded in the twelfth bar, the ‘cello begins « trensition inte the second theme with a eyncoputed figure, wiile the clive. bess mrehes along on the vest. Soe neloche fgur-th was consequently applied in the right hend to relieve the ronotcny, but net te take the interest from the 'collo: 66 Then, in a few nersures, when the second thene begins it is Simple to use agiin the idea or syncopation thet the ‘cello hes just finished: Base It is best, wherever possible, to arrenge the accon- peniment so that the harnonies are brought out melodioally, or at least in arpeggiated style, rather than in block chords. In this we’ the accompaniment will tend to be lighter and less static. At the end of the exposition of the first move- nent, for exemple, a chronatic nelody 1s piven to the ‘cello while the bass noves diatonically in contrary motion. Insterd of writing block chords against the nelody it was found to be muoh olearer to bring the right hend un in thirds alony with the bass, and then to add a third volos in t'irds vith the the cadence: Sunttt te. 2 67 As shova: above, the different voices should be brousht in carefully and discontinued logtes] cbviously, no voice should » browght in sudderly sorely to contlete the chords end then be dropped without varning:. Is thic sueges- tion is followed conscientiously + snocther acconpaninent will be assured. It should elso be menticned here thut it is only logical to keep the accompaninent *ron revciv e undue atten- tion from the listener. Yor this reason, doubling of the solo part in ar outsice voice is generally unwise; likewise, the accompaninert should be kept within « normal vance. Someti:.es Boceherini bre: the 1elodic flew entirely, seemingly resting on pure, leisurely chord progres- sion, In such cases the intended mod shold “e kept in the accompeninent, perieps by quietly roving erpergios: Coeesicnelly the "eello part can de ivverted or mirrored in the eceorpaninent, es happens in cur arrancenent of a section of th. ‘liegro aN Notice also in the above the strict sequence, which is a common fecture of Boocherini's style. One of the most important ieviees in such arran:ing is the use of variation end contrast in develozing the thenatio meterial. ¥or example, after the oveni.ig four bers of the sonata the following solution wus nade, as previously quoted: 69 In the recepitulation Eceeherini deperts from the exact repetition after the flret four bars; =:¢ so do we, with the nted figure in the ri-ht hend: change to an orn Agein Allustreting the principle of avoiding excet repetition, the closing thene of the ‘llegro nay be quoted. The given bass on” the toello part cre reperted exactly, but the right hand ve veried thematically; ond also o third voice added and the dynenie narkin: 70 Since Boccherini utilized no expr his music, imitative phrases may be made nore interes: nics. The through the use of chanze in recister and dyni fron the Allegro: AS was stated previously, chords shold be arpeggiated or made into nelodic fragnents so as to produce lightness. Inagine the differeice in oharacter if the following two examples, taken fror the sllegro, were arranged in dloc' fornation: Below is an illustration of the Italian sixth, which Boecherini wrote into the given bass. This is then followed, by the melodic interval of en auguented second, from wich stems our thematic derivation in the accompaniment: tet 7 Mecdless tu sey, there are tines when c thene cen de so changed «nd fitted to o new tdes thet it tees on the aspect of a coral exemple of this is at the beginnire cf the last movement. This beautiful ninustto ds co 4iffercrt in chsrecter from the preceding voverents that dlsect thenes fron ther woul? ve labored and tir sone. Acc ly, this nelody, @ thenatic certvation fron the openinz there of the sonat:, was a heppy thought: Wettst fa + By referring to the complete accompuntiuent it will be noted thet two and three parts are most generally used in the acoompaninent. Sonetines, of course, there are four or five parts, as in block chords; and other tines only the bass : part accompentes the ‘eello. However, in generel « thin but : sufficient support seers best suited to the style. ‘The problens of cadences, modulation, pedal point, eto., are relatively easy to solve. They are cleerly and simply indicated in the given bass end solo cart, and oll that ig required is to fill out the perts as interestingly as possible. The bass in the cadences prozresses: in the follow ing typical stylz, thouzh naturally varied somewhat in erch TE “HEE end the teellc pert cenerally helos to define the cadence applicr tion: with soue such figure es: % oo, Nodulations offer very few diffioultics, since they are like wise rather clearly defined by a chromatic alteration, @ininished sevents, rucnented sixth, or « regular erdence formation in the ne any times, too, Joceherint achieves modulation sinzly 27 starting off 2 new section with the ney toi » thus: ‘The key systen follows closely the traditional usage of the classical style: that 1s, the closely related and the next related :eys, !odulations are not cormonly frequent or transitory; however, they nay eonett es occur at unusual points as compare? with contenporsry prectice.) 1see Part III, Yormel Structure. Ho a a rr 1 the editing few wor’s should also be seit cone2rnin of the solo pert. The subject of amvellishrente is rather thoroughly teen eve of in the seetior cr "elodic Style; nevertheless, there 15 one point which will afd ‘oth in the arrangins ené rerfornance of the sonetac. Thic is the old practice of vritin«: 7 They are to be performed: said may be uct thus du the realization. Hocenerini in¢lented little or nothine tn the way of vowing an? fing-ring, These matters nre left to the arranger, who is free te use the best and nost ricdern fingerings and vowings 1f they do not change the essential style. The uatter of cadenzos is 11 @ left to the arranger. Boechertni indicated no ectenzas whatsoever, but it is surely proper to Insert the: in traditional fashion, just before the final eatences of either or both the first and second noveents, Care nust be t:ken to use essentially variations on material previously heard in the movenent, and the degree of difficulty must be consistent with that of the L sonata. Johann Joachim Quentz, Versuch einer Anweisung die Flote traverstore zu spielen, foreword and notes by /rnold Schering, Tlelpzig: C. x. Kehnt Nachfolger, 1906). Herein Quantz givee Intereatin rules for writin: calenzes (1752). He says _———_—_—_—_—_———— Boecherini mekos full use of ‘cello technic in the ig exploited, thuvh-position is 8, double etuss, and chords ever, modifier tions should ve + Yor exemple, this cudden ane ¢ifficult inte the thust position (2 najor so: og) se atte is mede sirple and effective by transposin= the passage down an octave, then inverting it so as to use the open G strinr TP in pedal point: sages which are indee? si: ple to finger in fixed thund posit: wy be nade nore effective nelodicelly by changing positic: so i to keep the .sSege on the same string. For exe e, the following 1s the opening of the C major sonatu--pleyed in thund position it 1s scnevhat (Quantz on cadenzas, continued)--that the talented performer should de able to inprovice < good cadenze in performance, naking it different each time. In case of any doubts as to one's ability slong these lincs he suggests that 1t te cone~ times advisable to have cadenzes prepared in the various keys ty insert wee needed (althous he adnits these are lleble to be inconsistent with the mood of the composition). Finally, £2 one hus no tale:t or inc -in: tion, he 1s to write in © cadenza based on the themes of the composition. This last rule us beeone cus modern one, 76 eesier, but it is more effective when played entirely on the A etring:, Fue’ orocedure, cf course, is definitely “rons if used to excess, nnd hichiy tee’nical vessege ore always better left with the sinplect of fingerings end with e ninirun of shifting. Marnonics ray be used with ood effect, particularly in the cadenzas, while double stovs end chords ere very frequent. The chords zenerally occur at cadences, and meny tines can be reercnn-ed tor batter effect ana ease of cxecu= tion. Tor exanpl2, the ¢ollowiaz, from the “> sonata, has ait pita pica ‘The following chord (from Crepas' arrangement of the C major et lest two better version: soneta) {8 broken in the revision by Silva (as in his copy of the original): ‘nd chords or ersz7cfos like these are often arranzed so as to take adventaze of the peda! effect of the oven string: fees + eat vat. 342,44 i Zo peeht 7 Double stops of ell varieties sre used frequently and effectively. ‘hey sre so meny and veried thet any attempt to show examplcs here would ve useless; che cuvject is in- eluded in our aiscussion on ,elodic Ltyle. sowever, it ney be seid that novt or the extended passeges Boccherini wrote in doubly stops ure intended for the thu, vesitica, enc cre rather out-and-dried ev ier at fingerin.s ure concerned. special erfeets, such as pizeicato end gul poaticello, are sparingly isaicated, slthougi they nay be interpcleted in certain passeges. vor instance, chords nay ve played pizzicato as well +s vowed if e softened effect is desired. Also, certain nasseges or novewents micht conceivavly be muted if such on offect 18 consistent with the mood. it lewst one very effective ponticello bowing is indicated by Boceherini in the ond ox the sonvte in C major. It is a sprightly end comicel pessege (in .b major) wisn in thumb position, inserted between heavy end serious thenes in © minor. At all times the mood uust ve interpreted carecully end the style should ve kept in mind. Altius: there 18 no definite rule, it seems a good idee to keep dynanio markings in "stairstep" formation--that is: definite changes in intensity should come between figures, plirses, or noveuente-~ rather then the romantic use of long interpretive crescendi end decrescendi. ‘the music genvrally seems to dictate such practice and it produces effective results,

    You might also like