Program-note booklet for Bach\'s Brandenburg Concertos

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BRANDENBURG CONCERTOS -

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PROGRAM NOTES BY

EMANUEL WINTERNITZ

RECORDED ON VOX RECORDS · DR. OTTO KLEMPERER, CONDUCTING SETS 618-623

BRANDENBURG

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In the year 1717 Johann Sebastian ~ .... at the court of Coethen, about eighty miles . . . . _ Music. The excellent orchestra inspired Bach 1D • instrumental compositions in a few years. In 179 Brandenburg, Christian Ludwig, a cultivated . 1721 he sent the Margrave she concertos for ....i dedication: To His Royal Hie;hness My Lord Christian I--. Elector of Brandenburg, etc. Your Royal Hia;hness,

A. I had a couple of years ago the pleasure ~ . . . . . . of Your Highnen' command11, and as I noticed tbea ~ 1 small talents which Heaven has given me for Music. . . . Ill Your Highness deigned to honor me with the ~ . . Composition: I have then in accordance with Your i . . , _ rendering my most humble duty to Your Roy.I~-, adapted to several instruments; bea;ging Your Hi&f- - I the rigor of the fine and delicate taste which the _...., . . pieces; but rather to infer from them in benign • 1 obedience which I try to show Your Hicbness dws . . . . Hie;hness very humbly to have the a;oodness to coaW-. ~ to be asaured that nothing is so close to my i - t - . . • more worthy of Your Royal Hie;hness' service-I,, wllo ...._

Sire, Your Royal Highness' most bumble aad

~

Coethen, March 24th, 1721 *

These six concertos represent one of It. . . Neither before nor after has anything so n we -· obvious that Bach did not mean simply to .ne. but intended to demonstrate in a carefully .,...._. this field. The number six in connection with a.d There are many such cycl~ of six; among ta- • partitas from the Clavier-UbunA, the sonatm b • and the cycles of French and English Suitea. 'r.. of the partitas from the Clavier-Ubunl. date ill Brandenburg Concertos. They all are merir' 1z intention.

To label Bach's Brandenburg Concertos~ texture and form. For the term concerto ,,,.,,,_ ilil unequal groups of instruments, the tutti. or ~ against each other. Bach was well acquainted . . . the concerto grosso, but Bach was an ezplorer. 'Wiii positions, the inherited patterns-as so often ia l!I and unheard of. The variety of combinaa- . . orchestra was indeed rich enough amongst bia . . tematically expanded to an unsurpassed degree. It seems, indeed, that Bach overlooked - • instruments vary from one concerto to the Dl!!ld:. • *translation by Arthur Mendel, courtesy ol ,•._,..,..., Copyrie;ht 1947, Em.nuel Wintemitz All rie;hts reserved. 'J;'hi11 book, or any part thereof, must not be reproduced in any form without the written perminion of the author.

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BRANDENBURG CONCERTOS In the year 1717 Johann Sebastian Bach, then thirty-two years old, was employed at the court of Coethen, about eighty miles northeast of Weimar, as Director of Court Music. The excellent orchestra inspired Bach to write the main bulk of all his secular insttumental compositions in a few years. In 1718 or 1719 Bach met the Margrave of Brandenburg, Christian Ludwig, a cultivated patron and connoisseur of music, and in 1721 he sent the Margrave six concertos for several instruments, with the following dedication: To His Royal Highness My Lord Christian Louis Elector of Brandenburg, etc. Your Royal Highness, Aa I had a couple of yeani ago the pleasure of appearing before Your Royal Highness, by virtue of Your Highness' commands, and as I noticed then that Your Highness took some pleasure in the small talents which Heaven has e:iven me for Music, and as in taking leave of Your Royal Highness, YoUl' Highness deigned to honor me with the command to send Your Highness some pieces of my Composition: I have then in accordance with Your Highness' most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging YoUl' Highness most humbly not to judge their imperfection with the rigor of the fine and delicate taste which the whole world knows Your Highness has for musical pieces; but rather to infer from them in benign Consideration the profound respect and the most humble obedience which I try to show Your Highness therewith. For the rest, Sire, I befit Your Royal Highness very humbly to have the goodness to continue Your Highness' gracious favor toward me, and to be assured that nothing i9 so close to my heart as the wish that I may be employed on occas«>n.. more worthy of YoUl' Royal Highness' service~!, who without an equal in zeal am,

Sire, Youf Royal His:hness' most humble and obedient servant

JEAN SEBASTIEN BACH Coethen, March 24th, 1721*

These six concertOl!I represent one of the peaks of polyphonic orchestral music. Neither before nor after has anything so magnificent been created in this vein. It is obvious that Bach did not mean simply to write a few original orchestral concertos but intended to demonstrate in a carefully planned group of works what he could do in this field. The number six in connection with Bach's works gives us food for thought. There are many such cycl~.s of six; among them the sonatas for clavier and violin, the partitas from the Clavier-Ubung, the sonatas for solo violin, those for solo violoncello, and the cycles of French and English Suites. These cycles, with the single exception of the partitas from the Clavier-Ubung, date from the Coethen period, as do the Brandenburg Concertos. They all are meticulously planned sets devised with didactic intention. To label Bach's Brandenburg Concertos concerti grossi tells us very little aS to their texture and form. For the term concerto grosso implies no more than the use of two unequal groups of instruments, the tutti, or ripieno, and the soli, or concertina, set off against each other. Bach was well acquainted with Corelli's and Vivaldi's formulas for the concerto grosso, but Bach was an explorer. When he applied them to his own compositions, the inherited patterns-as so often in his works-grew into something new and unheard of. The variety of combinations within the polyphonic texture of the orchestra was indeed rich enough amongst his predecessors. In his hands it was systematically expanded to an unsurpassed degree. It seems, indeed, that Bach overlooked no possibility: the number and kind of instruments vary from one concerto to the next, ranging from the most colorf~ orches*translation by Arthur Mendel, courtesy of Associated Muaic Publishers, New York

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tration by brass, reed, and stringed instruments in the first two concertos to the use of strings alone in the third and in the last Similarly varied is his method of combining the instruments into groups. While most of the concertos employ the contrast between two groups, others, following the seventeenth..century custom of using several choin, employ three groups of instruments, as, for instance, the first concerto, which has three groups of sharply contrasted timbre (brass; woodwinds, and strings), and the third, which has three groups of strings (three violins, three violas, and three violoncellos), thereby abandoning entirely the original pattern of the concerto grosso. Moreover, the number of instruments and their grouping as indicated at the beginning of each. score gives no idea of the wealth of combinations which are introduced in the course of the single movements. The instrumental groups may keep or lose their individuality, they may remain contrasted to each other, to mention only the extremes, merge into unison, or break up into a rich polyphonic web of many single parts. Or, in the course of the movement, one instrument may be singled out for long solo passages, as is the solo violin in Concerto No. 4, and the solo harpsichord in Concerto No. 5. There is an equally great variety in the order in which the instrumental groups alternate. If there are only two groups, they may relieve and replace each other at equal or varying distances; or the tutti may for some time be reduced to accompanying the soli or to reinforcing it; or, again, it may burst in on the soli without, however, silencing it-a dramatic effect employed by Alessandro Scarlatti in his operatic arias. But if the methods of grouping the instruments determine the texture of the music, there is still another question which reaches into the very heart of the form: that is, how the thematic material is distributed among the instrumental groups. Here again a great variety of possibilities opens up. There may be a distribution of the thematic material once and for all, with strictly different themes assigned to the tutti and to the concertino-for instance, a ritornello theme to the tutti, and a "solo theme" to the concertina. Or, there may be an occasional infringement upon one another's property. Or, finally, there can be that free-for-all which characterizes the classical and the moder-n symphony orchestra. The listener will notice both the systematic alternation of the little motives and the symmetrical arrangement of the main sections. These two basic principles of alternation and symmetry are by no means incompatible but, on the contrary, are frequently combined. Alternation, such as a-b-a-b ••. or a-b-a-c-a-d ••• , tends naturally towards forms of the rondo type. But such a pattern need not necessarily proceed-in centrifugal fashion, as it were--by inserting ever new motives between the recurrences of a; it may just as well, for instance, after presenting the initial motives. gradually return to them jn reversed order and hereby achieve some degree of symmetry--simple. such as A B A, or more complex, such as a-b-a c-a-c a-b-a, to mention only one of the almost innumerable possibilities. The endowment of rondo structure with symmetry is well known to connoisseurs of Joseph Haydn's and Beethoven's finale movements. But similar combinations of rondo structure and symmetry existed long before the classical rondo. They were represented in the musical baroque by one of the most popular and universal art forms of that period: the aria of the Neapolitan opera, which was the model for countless arias in Bach's cantatas and Handel's operas and for many of their instrumental concerto movements. In it the rondo principle was represented by the ritomello device: that is, the constant recurrence throughout the movement of a pregnant ritomello motive, in full or partial quotation. The principle of symmetry was represented by the da capo device: the recapitulation of the sometimes long and elaborate ritornello section in its entirety (as a rule given to the tutti) at the end of the movement gives the scheme A B A. How Bach, in his concerto movements, developed this form of the da capo aria into an extremely subtle and highly complex organization will be shown in the following discussions of the individual concertos. It is tempting to compare from this angle the Brandenburg Concertos with the set of twelve Concerti Grossi which Handel wrote in England in 1739. Handel was then fifty-four years old, at the height of his career, while Bach, when he tried his hand at this new venture, was in his thirty-sixth year. Handel plays with the material, following paths already trodden by his predecessors in the concerto grosso. If anything new came 4

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of it-and a great deal did-that wm tll ideas. However, in principle there ... - _ . . . in the structure of the works or in .... a opposition of groups within the Oi • &. . . . . , . tionary in their structure, their;,, ·a··w·w ' of harmony. They are unsurpaaed in ~ _ . • and vigor of their melodic material.

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Strangely enough, in the Bach 4tl attention was paid to Bach's new iml if one remembers that it was the age of ...._. was known at the time of Weber and M 77 S even pedantic, master of form. The ... works were accepted by everyone. Bat, if . . - - • of this period, his champions bad to ...,_ .._ the learned old Thomas-Cantor. This llm7" ......... the nineteenth century we find specific . . . . , . .i insistence on the pictorial and em iti ... . . . period words like "sunset," "waterfall,• ..... t than such terms as "symmetry," "ritorne11o,• w 11

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The chief aim of these notes, tbenfore,, is • • of today is probably more form c ·,.. 6-i . . intelligent music lover, even if be hm aat ...... enabled, by repeated hearing of the 1rm ~.I and to derive increased enjoyment &c:.n ..._ 6 and individuality. 5

BRANDENBURG CONCBnO.

Of all the Brandenburg Concert... tbe linl;. ia: variety of instruments, among them iaab .. such as the hunting horn and the viotioo ~ The autograph mentions two cor:ni da ~ t first and second violin, viola, violoncello, ..,,.;;,.~

The corno da caccia (hunting: horn) wm a 11111 piece and a penetrating tone unlike tt..t of • available in the Coethen orchestra, gtlell: . . . , _ 1 these parts.

While the oboes belonged to the • orchestra, the bassoon was not so eonmw- ia . . . first Brandenburg Concerto, it is emplo.Jed aml.r la at Coethen. -

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The viob"no piccolo, too, was in& : ly of the ordinary violin, tuned a miner thinl ~ concerto, it is usually replaced by an cw 5 > .tll when he used the first movement of this ..,..,. . . Cantata No. 52, "Falsche Welt, dir trau" idl midlll

The violino trosso mentioned in tt. ....... the largest member of the violin family. cw1 a

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No tempo indication, F major. Alla i.---. 'llii dominated, surprisingly enough, by one sincle- .... trill. The figure is introduced by the oa.:- im .... to which this figure is subjected will amae times it descends; frequently it is built up ill riliC scheme shows a few of these transformaticms:

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of it-.ui a great deal did-that was because a giant was improvising on monumental ideas. However, in principle there are no new ideas in Handel's concerti grossi, either in the structure of the works or in the orchestration, in the use of polyphony or in the opposition of groups within the orchestra. Bach's Brandenburg Concertos are revolutionary in their structure, their imaginative instrumentation, and their inspired. freedom of harmony. They are unsurpassed in clarity and grandeur of design and in the variety and vigor of their melodic material. Strangely enough, in the Bach renaissance of the nineteenth century, not too much attention was paid to Bach's new achievements in form. This is not so curious, however, if one remembers that it was the age of musical romanticism. If anything about Bach was known at the time of Weber and Mendelssohn, it was his reputation as a scholarly, even pedantic, master of form. The technical skill, the flawless texture and form of his works were accepted by everyone. But, if he was to be very popular with music lovers of this period, his champions bad to prove how much feeling and emotion there was in the learned old Thomas-Cantor. This may explain the fact that in the Bach literature of the nineteenth century we find specific analysis of the form less often than rhapsodic insistence on the pictorial and emotional qualities, and in the critical works of that period words like "sunset," "waterfall,'' and "cloud effects" occur much more frequently than such terms as "symmetry," "ritomello," or "da capo aria". The chief aim of these notes, therefore, is to analyze the form. The average listener of today is probably more form-conscious than the nineteenth-century listener, and an intelligent music lover, even if be has not studied harmony and counterpoint, will be enabled, by repeated hearing of the recordings, to grasp the form of these masterpieces and to derive increased enjoyment from them through an insight into their organization and individuality,

BRANDENBURG CONCERTO No. 1-F MAJOR Of all the Brandenburg Concertos, the first, in F major, employs by far the greatest variety of instruments, among them instruments only rarely used by Bach at that time, such as the hunting horn and the violino piccolo. The autograph mentions two comi da caccia, three oboes, bassoon, violino piccolo, first and second violin, viola, violoncello, continuo, and violino grosso. The corno de caccia (hunting hom) was a large coiled hom with a shallow mouthpiece and a penetrating tone unlike that of the mellow W aldhorn. As horns were not available in the Coethen orchestra, guest players must have been engaged to perform these parts. While the oboes belonged to the standard equipment of the eighteenth-century orchestra, the bassoon was not so common in Bach's orchestral music. Apart from the first Brandenburg Concerto, it is employed only in the Ouverture in C, also composed at Coethen. The violino piccolo, too, was infrequently used by Bach. It was a smaller version of the ordinary violin, tuned a minor third higher. In modem performances of this concerto, it is usually replaced by an ordinary violin. This was done by Bach himself when he used the first movement of this concerto as the introductory Sinfonia to his Cantata No. 52, "Falsche Welt, dir trau' ich nicht." The violino /lrOStlO mentioned in the autograph list of instruments was probably the largest member of the violin family, corresponding to the modem double bass.

I. No tempo indication, F major, Alla breve. The whole highly complex movement is dominated, surprisingly enough, by one single rhythmical figure which resembles a slow trill. The figure is introduced by the oboes in the first bar. The many transformations to which this figure is subjected will amaze the careful listener. At times it ascends; at times it descends; frequently it is built up in rising and falling sequences. The following scheme shows a few of these transformations:

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which_......,

Note the triad fanfare with oboe. ~ese two elementll alW1t7S ~ . . . . . In bar 6 the solo idea occurs for the Allt tli the first theme and like it is a cloahle . . . _ • introduced by tha woodwindl, . . . - 1IP i . groups together. The horns are silent.

1)

Es. 1

1® w , §· (r ti

a

*

,

b

Ex. 3 (bar 6)

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Ills·

c We recognize here figure I from

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The ingenuity, freedom, and ...., • entwined into an ever changing moe.ic _ , 1i1J from the beginning of the tutti ritomello. ._. 1 C. (see ex. 3), appear later combined ~ die - -

d

Ex. 4 ( ban 8-10)

I Ill.

e

II

f

a is the figure of the first bar; b and c are rising versions; d, e, I are falling sequences. The movement begins with a mighty ritomello (bars 1-13) which never seems to pause for breath. We quote its first three bars: Ex. 2 (bars 1-3)

-:~ ......

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: ::1:.

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The organization of the mov , ii • .. There are many factors which detezmiwww ... . . . . the distribution of the thematic mall!rial; . . . . . of the ritornello in full or in part; and die . . . full cadences. The divisions arisinc &om lliil one definition of the form as the •"e1 • cation. It is just the plurality and • 41 make the form so rich and interesting. 'J'bm., . .~ into three parts does not exclude a m.-.. ill instance, may be regarded as tripartite • introduction (bars 1-13) serves as ritomea. . . (bars 72-84). The middle section is clc.ely . . . . . it repeats the ritornello theme fully or in ....... gradually progresses from the original key' ID .I back into the final ritornetto. This fonn. a ..... da capo aria, which took shape in the Veaelima teenth century and was later refined by tbe ......

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6

7

Note the triad fanfare with which the violin enten under the bilI figure of the first oboe. These two elements always appear together in the recurring ritornello sections. In bar 6 the solo idea occurs for the first time. It retains the rhythmic pattern of the first theme and like it is a double theme designed in double counterpoint: it is introduced by the woodwinds, taken up by the strings and then played by the two groups together. The horns are silent. Ez. 3 (bar 6)

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.... We recognize here figure I from e::sample 1. The ingenuity, freedom, and ease with which the basic thematic elements sre entwined into an ever changing mosaic may be seen from one example. The subject from the beginning of the tutti ritomello, bar 1 (see ex. 2), and the first solo idea, bar 6 (see ex. 3), appear later combined in the smallest possible space-two measures. Ex. 4 (ban 8-10)

The organization of the movement is as accurate and logical as it is complex. There are many factors which determine the breaking up of the movement into sections: the distribution of the thematic material; the sequence of tutti and soli; the recurrence of the ritornello in full or in part; and the harmonic scheme and the distribution of full cadences. The divisions arising from these factors necessarily overlap. To single out one definition of' the form as the essential one would amount to a gross oversimplification. It is just the plurality and cooperation of the principles of organization that make the form so rich and interesting. Thus, for example, a division of the movement into three parts does not exclude a division into two parts. The present piece, for instance, may be regarded as tripartite according to the symmetrical scheme A B A. The introduction (bars 1-13) serves as ritomello and is repeated literally at the close (bars 72-84), The middle section is closely woven out of the elements of the ritornello; it repeats the ritomello theme fully or in abridged form at fairly regular intervals, and gradually progresses from the original key to more distant ones and then modulates back into the final ritornello. This form is essentially the form of the then fashionable da capo aria, which took shape in the Venetian opera of the second half of the seventeenth centuty and was later refined by the Neapolitan school, especially by Alessandro

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Scarlatti and-besides J. S. Bach-Handel. Anyone interested in the use of this form in keyboard music should turn to the preludes to J. S. Bach's English Suites in G minor and in E minor.

........

B (3bars):

First bar al . . . . . . .

C (Shan):

At the same time the movement falls into two parts of almost precisely the sa1ne length (bars 1-43 and bars 43-84), if one considers that the four main sections A B C D are followed by a repetition of these sections in different order, A B C D, whereupon the movement is closed by the full repetition of the introductory ritornello A. With this in mind the listener might be helped by the following outline of the organization:

Theme in violino piccolo Epilogue

(3 bars): B (3bars):

A (1-13)

B

C(incl.A')

( 13-27)

(27-33)

R

R

R

D 133-43)

I

A" (43-48)

c

B'

( 48-57)

(57-63)

R

R

R

D' A (63-72): (72-84) R

D (2+4 ban):

Concl...U.., · --· the theme. Joadios

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The crystalline symmetrical atructwe . . . . -

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1-78

79-232

233-310

Section A follows the usual fugue pattern: exposition sections with several entries of the theme alternate with episodes: Exp.

Exp.

Exp.

Exp.

- ~Epis.r / ,----,.---A-'--~-fl. hp. fl.'Epis. '- - - - - - - -ti.'

vi.

vi.

hp. -3-9-11-17

vc.

fl. ,

66 -

75

vi.

va.

29 -

IL

va.

hp.

31 -

33

39 -

40

64 -

65 -

Exp.=exposition section; epis.=-episode; the entries of the subject within each exposi1:.ion are shown by fl. (flute), vl. (violin), va. (viola), vc. (violoncello), hp. ( harpsi.::hord) above the number of the bar in which they enter.

While the entires are two bars apart in the nrst and second expoeitiot1, in the third and fourth exposition they are only one bar apart, thus producir.!( « c.trc:t~o: Ex. 7 (bars 39-41)

Section B, from its thematic elaboration and its modulation into distant keys, is clearly a development part, comparable to the development section in a symphony. If th~re is a difference it is only in the admirable economy of means: all melodic patterns are derived from the gigue theme, even where this is not immediately noticeable. The development section B begins with an elegiac episode in minor (bars 79-106) of haunting sweetness and an organ point on B. Against an accompaniment of soft and regular w:ives of triplets, the flute sings a long-spun· melody: Ex. 8 (bars 79-82 )

This turns out to be an ingeniously protracted transformation of the gigue theme. It is taken over by the solo violin (bar 89) and at last by the harpsichord (bar 99), this time on the dominant of B minor. Then follows (bars 98-145) a free conversation between the three solo instruments on fractions of the gigue theme and motives derived from it, interrupted occasionally by

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literal quotations of the gigue theme itself; until the elegiac episode reappears (bar 148) this time in the major, and only for 8 bars. Soon thereafter, the second main ingredient of the development enters (bar 163): it is a two-part canon performed by the harpsichord, written in the octave at a distance of one bar. We quote its first bars:

Ex. 1 (bars 1-2)

Ex. 9 (bars 163-169)

In bar 17 the solo motive is inttodoced: Ex. 2 (bars 17-21) Another stretch of free elaboration on the pattern from the main theme, chiefly in the solo instruments, leads to a full close (bar 232) and therewith to a literal recapitulation of the 78 bars which introduced the movement (section A). If we look back over the treatment of the orchestra in the three movements, we see that while in the first movement the lion's share falls to the harpsichord and the second movement is a typical solo trio, the third places equal emphasis on the three solo instruments and the full orchestra. Here solo passages alternate with tutti, one echoing the other; these are then recombined and in this whole interplay each solo instrument is given its fair share. In short, the third movement is what Beethoven might have called a "triple concerto".

BRANDENBURG CONCERTO No. 6-B FLAT MAJOR This concerto is written for strings only, but has no violins. The effect of the peculiar dark timbre reminds us somewhat of Brahms' Serenades for Orchestra, Op. 11 and Op. 16. The score calls for two viole da braccio, two viole da gamba, a violoncello, and, for the continua, violone and harpsichord. The viole da braccio mentioned were probably, to judge from their compass, the alto members of the violin family-what we today call violas. The viole da samba were members of the ancient family of viols, a family of six instruments reaching from high discant down to the bass. They differed from the family of violins by their shape, the greater number of their strings, the use of frets, and their more delicate, silvery timbre. Bach's viola da gamba was about the size of a violoncello but had a greater range.

Unlike the ritornello theme, it is ~ half a bar apart in the following order: Yi 4 .. viola da braccio II, viola da gamba 'TbeR ill 1 two viole da braccio, which enter one full '-" . . which begin a second canon one bar apart. Bar 21 introduces the third of the m.ia -

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Ex. 3 (bars 21-23)

I. No tempo indication, B flat major, Alla breve. The concertino consists sometimes of two viole da braccio with the two viole da gamba, and sometimes of the two viole da gamba either alone or with the violoncello. The tutti introduces a long ritomello theme of 16 bars. The harmony starts rolling but slowly, as though an enormous inert mass were gradually being set in motion. The first 4 bars are on a pedal point in B flat, and the harmony remains unshakably in B flat major; later too, when the harmony starts moving, organ points are frequent; once, for instance, there is an organ point on F for 7 whole bars (bars 10-17). Over this harmony there is a two-voice canon of an especially amusing nature. It moves in unison between the two viole da braccio, but since the two voices enter only an eighth note apart, the listener is absorbed in the complicated texture of the lacework before he has a chance to grasp the theme or to perceive that it is a canon. Here is the beginning of the canon:

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It is likewise a canon between the two Yiale • instead of the octave. The whole movement shows a regulmr . . . resulting in a highly organized structure. • . .

I

I 1

bars

Tutti 1-16 Ritomello

Soli 17

1

Tutti

25

29

Ex. 1 (bars 1-2)

In bar 17 the solo motive is introduced:

Ex. 2 (bars 17-21)

x ...

J

I

I

Viola

II

£"\_ _____ ......._. - -

,,"iF:;_

~-

C'\--

-:.1:

...

_, .

--

--

--=-- """' ,.,

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I

- - - I.

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===

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Vla.d.gm>.I

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'51

Ve.

I

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Cb.

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.....

Unlike the ritornello theme, it is characterized by an upbeat. The two voices enter half a bar apart in the following order: violoncello, viola da braccio I, viola da gamba I, viola da braccio II, viola da gamba II. There is a strict canon in the octave between the two viole da braccio, which enter one full bar apart (x), while the two viole da gamba, which begin a second canon one bar apart, soon continue in free imitation. Bar 21 introduces the third of the main motives as an epilogue to the solo motive: Ex. 3 (bars 21-23)

It is likewise a canon between the two viole da braccio, but this time in the seventh instead of the octave. The whole movement shows a regular alternation between tutti and solo sections, resulting in a highly organized structure, as follows:

I 1

bars

Tutti 1-16 Ritomello

II 1

So!i 17

III

Tutti

Soli

25

29

29

Tutti 46

Soli

53

v

IV Soli 80

Tutti

73

Tutti 86

VI Tutti 114-126 Ritornello

Soli 92

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eighth-notes. The movenwd: ends, wp;- major, which, as the dominant of G ............ B fiat major. Ill.

II.

Adagio ma non tanto, E. flat major, 3/2 time. This is a trio in which the parts of the ~rst and second vio~a and t!1at of the violoncello move over the harmonic background furnished by the contmuo (vtolone and harpsichord). The texture of this movement s~ows three strata, each of which is consistent and maintained throughout the whole piece: the lowest is the bass, moving in half-notes; above, the violoncello moves in flowing quarter-notes; and on top, the two violas, in strict imitation, perform a cantilena of great rhythmical variety.

Allegro, B flat major, 12/8 ti-. Tim the time, and the rhythm of the 1...-. ~111 fugal in texture. But like the Frendt ..,_ wllilli it combines the simple traditionm . . _ . .__ , da capo aria. The movement starts with a

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.....

Ex. 5 (bars 1-4)

Ex. 4 (bars 1-9)

. I Viola

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t

•

p.

&-

II

L

Violoncello

~

L

_, ~-

L"'-- ~

- ·-

-

.,,_

-

""- ,.,,t •

!1

-

The leading melody, introduced by the second viola, has two parts: the first (bars 1-2) includes the downward leap of a seventh; the second, in faster time values, climbs back to the first tone in mournful appoggiatura figures. When, in the fifth bar, the first viola enters with the "answer" to the subject, the second viola glides into a sequencelike counterstatement (x), designed in double counterpoint with the subject so that the two are of equal importance throughout the movement. The contrapuntal texture furnished by these elements is densely woven: there is literally not a bar that is not occupied with the subject or fragments of it. There are no less than 11 statements of the subject in the 62 bars of the movement. In bar 40 the violoncello and the continuo abandon their uniform and flowing rhythm and take over the theme itself: twice they bring the first half of the theme, and then at last the whole theme while the violas above take up fragments derived from bar 7 (see example 4), and develop them in free imitation. The close is foreshadowed by the violas, which delicately suggest the main theme (bars 54 ff.) while the violoncello embarks on a passage of ascending and descending

30

having characteristic anticipations in 1-s 3 . . .

When, in bar 9, the soli (2 violas

SS

..

Ex. 6 (bars 9-11)

their lively sixteenth-note figures seem mt int • reveal themselves as a strict ornamental ~mil Actually, the first viola soon sheds i1s diilmlii unornamented version of the ritornello ~ 1111 out the sixteenth-note figures into a loac ...... These themes occupy practically the ...... from the same germ, the utmost ecwJ' i9 ritornello section of 45 bars, the concern.. di.while the tutti interrupts at short iatenl8la • ritornello theme (see example 5).

In bar 46 a short middle section al 17 Iii modulate into minor and distant keys, mt . . . • in the violas. But even here the ritornello ia • center of the middle section the two main ..._ A literal recapitulation of the whole rilm the movement.

Its structure thus appears as follows:

A 1-45 Ritornello section B fiat majo~

B

46-65

MiddJe.-11 mochd £11

31

I I

v

eighth-notes. The movement ends, surprisingly enough, with a modulation into D major, which, as the dominant of G minor, prepares for the key of the last movement, B fiat major.

VI

Tutti

Soli

86

92

I

I Tutti 114-126 Ritomello

III.

u.

'-' 3/2 time. This is a trio in which the parts of

1119 ........ ello move over the harmonic background 11i11 ~ord). The texture of this movement -..a: and maintained throughout the whole f ia half-notes; above, the violoncello moves in . . . wiolas, in strict imitation, perform a cantilena

i I~ I.rrkt; ai!ftf i 1=' l~tr:t 1;r: r~ll:r : r:rI £

I I

Allegro, B flat major, 12/8 time. This movement has the jagged triplet theme, the time, and the rhythm of the Italian giga, which, unlike the French gigue, is not fugal in texture. But like the French gigue which forms the finale of the fifth concerto, it combines the simple traditional dance form with the symmetrical structure of the da capo aria. The movement starts with a typical ritomello theme . EL 5 (bars 1-4)

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