SOME OF THE STYUSTIC ASPECTS OF THE OBOE CONCERN, OPUS 7 AND OPUS 9. OF TOMASO ALBINONI Thesis for the Degree of ‘M. A. MICHIGAN STATE UNIVERSITY FREDRIC MELVL‘N OOHEN 1967 I.."‘?fi-“" ’ IIIIIIIIIIIIIIIIIIIIIIIIIIIII Midngan bane 31293000032954 .. . . ' University ABSTRACT sous or THE srrLrsrxc ASPECTS or THE OBOE CONCERTI, opus 7 up arms 9, or TOHASO ALBINONI B: Fredric M. Cohen The present study will involve a comparative analysis of four oboe concerti by Tomaso Albinoni (1671-1750). The concerti will include Opus 7, number 3, inBb major; Opus 7, number 6, in D major; Opus 9, number 9, in C major; and Opus 9, number 2, in D minor. These concerti are representative of the entire group of sixteen compositions for oboe and string orchestra published between 1716 and 1722 by this composer. The method used to examine these concerti consists of a series of melodic and harmonic rhythm graphs. The composer's concise and economical employment of the ritornello technique, devise, multi-thematicism, and kinetic repetition are drawn from this study. In addition, four movements of these concerti are diagrammed to note a stereotyped system of key relationships, modulatory practices, and the alternation of tutti and solo passages within the concerti. SOME OF THE STYLISTIC ASPECTS OF THE OBOE CONCERTI, opus 7 AND OPUS 9. 0F.TofiA30 ALBINONI By Fredric Melvin Cohen A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Music 1967 .31.? .u. ‘1 {$75b77 . 5/33/07 Acknowledgments I thank those mentioned below'for their assistance in the translation of several sources, lending material that would have otherwise been difficult to obtain, or for their advice after reading parts of this report. Mr. Melvin S. Cohen Mr. William Elliott, Michigan State University, Department of Music Mrs. Dennis Burk ii I II III IV V TABLE OF CONTENTS AOMO'ICdngntaeeeeeeeeeeeeee Introduction: The Concertato and Concerto Toward the Solo Concerto . . The Albinoni Oboe Concertos: Concerti a Cingue,0pus7and9........... Devices Used to Achieve Unity Within Albinoni's "Allegro" Movements of Opu87and9............... As The RitOl‘DCllO TQChniqu. e e e e e e Be DOViBéeeeeeeeeeeeeeee C. Multi-Thematicism . . . . . . . . . Kinetic R.p.t1tion e e e e e e e e e e e e Interrelationships in the Oboe Concerti a Cingue of Tomaso Albinoni . . . . . . . . . Tutti-Solo Contrasts Within the Oboe ConcertihCinguo............. Bibnograph’oooeeeeeeeeeeee 111 ii 11 l7 17 26 30 39 “3 61 68 II III IV VI VII VIII IX Opus IX, Harmonic Measures Opus IX, Harmonic Measures Opus IX, Harmonic Measures TABLES number 2--Melodic and Rhythm ' 1 through 8 e e e e e number 2--Melodic and Rhythm 8 through 20 . . . . number 9--Melodic and Rhythm 1 through 11 0 o o 0 Opus 9, number 2--Melodic and Harmonic Measures Rhythm 1]. through 15 0 e e 0 Opus 9, number 9--Melodic and Harmonic Measures Rhythm 22 through 24 e e e e Opus 9, number 9--Melodic and Harmonic Measures Opufl 7e OPuB 7: Opus 7. Opus 79 Rhythm 2% through 30 . . . . number 3--Allegrc I . number 3--Allegro III number 6--Allegro I. . number 6--Allegro III iv 19 20 #8 51 53 62 63 64 65 INTRODUCTION THE CONCERTATO AND CONCERTO While the concerto was essentially a creation of the late baroque, many of the elements of its form may be found in compo- sitions that appeared much earlier. We recall the use of the tutti--solo contrast of the "concertato" style which was first encountered in Gabrieli's ensemble canzonas and in the works of Usper and Neri of the Venetian school.1 "Concertato" or "Concerto" playing arose in opposition to the "calla-parts" practice of the renaissance in which instru— ments might double or substitute for vocal parts.2 The earliest usage of the terms "concertato" and "concerto" referred to the competition between contrasted groups of instruments, or to the combination of voices and instruments. The term "Concerto" first appeared as the title of the "Concerti per voci et stro- menti" published in 1587 by Andrea and Giovanni Gabrieli.3 However, here the influence of the renaissance is still felt in the arranging of these pieces for instruments and voices to be used "together and separately." All possible combinations were left to the discretion of the conductor. Before the close of the sixteenth century, "Concerti" or "Concertato" were to appear in such works as the: Intermedii et Concerti (1591), edited by Malvezzi;#and three collections 1 ‘llllllv.‘|ll\'lu l|lll| I‘ll [villi 2 entitled Concerti ecclesiastici by Andrea Gabrieli and other composers, Banchieri (1595), and Viadana (1602).5 The instru- mental ensembles within these collections were called "concerti grossi" as well as "concerti." Banchieri, when writing for double chorus, supplied an organ score for the first chorus. This organ accompaniment was justified in the title "concerto." In addition, several of the works with a chordal accompaniment were in the "concertato style,” in reference to their being "in the modern style." The "concertato style" developed to its greatest dimensions in Venice, the city where the aid of instruments was needed to perform polychoric compositions. However, almost a century passed before a stylistic differentiation between instrumental and vocal writing was attempted. Some of the characteristics of the early "concerto" or "concertato style" are: l. Contrasting motives with intricate rhythms: These first appeared in the secular madrigals of the late sixteenth century and were brought into sacred music by the Gabrielis. 2. "False" intervals: With regard to dissonant combinations Gabrieli ventured into uncharted regions, as is evident in his insistent use of ”false" intervals. These were melodic dis- sonances not tolerated in renaissance music. Gabrieli under- linedsignificant words with the use of diminished fourths, tritones, and augmented triads which appear usually in first inversion. This chord form which presented the diminished fourth between‘upper voices became a commonplace device in the 3 pre-tonal phase of the baroque. The works of Monteverdi, Frescobaldi, and Schutz should attest to this. Sharp dissonances were often employed at cadences. 3. The beginning of a clear differentiation between choral and solo ensemble: In the twelve-voice motet In Ecclesiis, Giovanni Gabrieli began to differentiate between the choral and solo ensemble. His orchestra consists of three cornetti, viola, and two trombones. Within the composition, Gabrieli contrasted a full chorus against a solo quartet and also differentiated between the choral idiom and soloistic concer- tato sections. These sections could be performed only by skilled musicians. TOWARD THE SOLO CONCERTO Gradually moving toward the develOpment of the solo concerto, we must consider three important factors: the 7 French orchestral discipline; the trio episodes in chaconnes by Jean Baptiste Lully;8and the trumpet sonatas of Stradella, Giovanni Vitali, and Cazzati--all members of the early BolOgna school. The trumpet, in this case, was accompanied by a full string orchestra, not by solo ensemble. Stradella also clearly distinguished between a "concertino" and a "concerto grosso" in his operas and oratorios and in his "Sinfonie a piu instrumenti" (c. 1680).9 However, even with the use of contrasting sonorities these so-called "concertos" can not be placed in that category which was to become known as the "solo concerto." Arcangelo Corelli (1653-1713) and Giuseppe Torelli (1658- 1709), who were closely associated with the middle Bologna L, school, probably took the decisive steps toward the development of the concerto proper in their "concerto-grosso" compositions. We owe to Corelli the full realization of tonality as is evi- dent in his instrumental music. While the early Bologna school had left for Corelli a legacy of contrapuntal writing, he sys- tematized the new tonal idiom, as may be judged from his twelve "concerti-grossi" of Opus 6 (published in 1711+).10 Corelli united in a dialOgue the combination of the trio- sonata (consisting of two violins and a cello), the concertino, against a larger instrumental group, the grosso (consisting of first and second violins, cello, and continuo). Since this "concerto-grosso" conception is in the form of the trio sonata, it seems, when compared to later "concerti grossi," rather primitive in form. No new formal scheme was devised by ~—Corelli--only a molding of the concerto grosso into two tradi- tional types of chamber music: the sonata da chiesa (church sonata) and the sonata da camera (chamber sonata). Thus, they were entitled concerti da chiesa (Opus 6, numbers 1-8) and concerti da camera (Opus 6, numbers 9-12). Each concerto was in five or more movements. Between the fast movements short sections are often found which actually hide a basic four- movement structure. The church concertos actually were per- formed before, during (the Offertory and Communion), and after a High Mass, while the chamber concertos were meant for use outside the church and they contain a prelude and a suite proper (allemande, courante, optional dance or group-minuet, bourrée, gavotte, etc.: sarabande and gigue). 5 Adding to the primitive quality of these concerti, there is rarely a structural distinction made between the solo and tutti bodies of sound. Since the contrasting sections are extremely short and there seems to be a lack of thematic differ- entiation, the alternation of concerto grosso and concertino (or the contrast between loud and soft) may be more important to Corelli than a well-defined tutti and solo. The device of "echoing," or the playing of one continuous phrase in alternation, is used in the first allegro of the Christmas Concerto (Opus 6, number 8). Also, the competing groups of instruments are placed on an equal footing, since violinistio figurations are distributed equally to both groups. Lastly, the internal organization of these concertos is somewhat primitive. There are chains of brief almost fragmentary parts showing a marked resemblance to the Venetian overture. The first movement of Opus 6, number 7,has six contrasting _sections which would hang very loosely together had Corelli not made the first three sections correspond to the last three-- producing a large bipartite form common to many of the Corellian movements.11 The orchestral "adagio cantilena" of the slow movement had its complement in the orchestral allegro style in which Corelli adapted the French orchestral discipline to Italian music. The influence of Lully on Corelli is substantiated by the manuscript of Opus 6, number 3,12 which is a French overture (although not designated as such). The concerto style appears with Corelli only in a tentative and melodically undeveloped form. Corelli came closest to it in the first allegro of Opus 6, number 12, which may have been composed somewhat later than the other concertos. The first violin part receives more emphasis than the rest of the continuo--an indication that Corelli stood at the beginning of the road that led to the solo concerto. EXAMPTI l. Corelli: From Concerto grosso, Opus 6, number 12 ‘fil‘ma‘gfigm mint fffl ma .5 1’ I J .— . - -... ,,.- -4 “a _ q-‘ -u‘ -m- -m, ,_-., -7 h I “- -—— -s..-_ w-- ‘ pvcuw - -—r V j Fan—v—--.—J\~-or e- m- on.uc-—-—-—--o~— ..,-.-_., I t T " ”I “3'“ " We now turn to the middle Bologna school and to Giuseppe 'Torelli (d. 1708). It is to Torelli, Corelli's counterpart, that we owe the convincing realisation of the concerto style and the establishment of the baroque concerto form. Torelli 7 began by first experimenting with concertos in the style of the church and chamber sonata, then he turned to the typical concerto form of three movements: allegro--adagio--allegro.11+ Here, Torelli placed the emphasis upon the two outer allegro movements, with the adagio often being reduced to a few chords (which may have been improvised upon). This new arrangement of movements was to aid in the evolution of the solo concerto, appearing shortly after the turn of the eighteenth century in the compositions of Albinoni and Antonio Vivaldi. Torelli's orchestral concertos (Opus 6, 1698) had short interludes for the violin, which were explicitly marked for solo performance by the composer. Thus, both the concerto grosso and the orchestral concerto set the stage for the solo concerto. If Torelli's collection of concerti (Opus 8, published posthumously in 1708), which contained six concerti grossi and six solo concertos, was written before the violin concertos of Albinoni (Opus 2, published in Venice by Sala in 1700), he may well have established the form of the solo concerto before Albinoni. Torelli's Opus 8 exhibits a better balance between tutti and solo groups. The solo ceased to be a transitional interlude, making the orchestra and soloist of equal importance. The tutti--solo contrasts were also more clearly defined with the opposition of soloistic figurations and recurrent ideas in the tutti. This thematic differentiation, which also applies.. to Torelli's concerti grossi, is a decisive step ahead of Corelli's more simply organized concerti. The tutti sections began to function as ritornelli and reappeared in rondo fashion, - 8 not always in the tonic (as in the rondo refrains) but each time in a different key, excepting the first and last ritornello.15 The concerto style also adopted what were to become its classic features with Torelli: prolonged up-beat patterns, driving rhythms, and triadic themes that set the key. Arpeg- giated chord beginnings may be traced back to the trumpet sonatas of the middle Bologna school. I] i. i, .-A..I...|fl|?. _. hat... ‘1. b.5532 FOOTNOTES INTRODUCTION 1Manfred F. Bukofzer, Music in the Barggue Era,(New York: W. W. Norton and Company, Inc., 1997) page 222. 21bid., page 20. 3Ibid., page 20. 4 Ibid., page 21. 51bide, page 21s 61bide, pages 23-24e 7Ibid., page 222. 8Ibid., page 222. 91bide' page 222a 10Remo Giazotto, Tomaso Albinoni, trans. John S. Weissmann (New York: Dover Publications, 196E) page 8. Hereafter cited as Giazotto/Weissmann. llCorelli Oeuvres, (Augener's Edition, No. #936E; Book V, Opus 6, part II, edited by Joachim and Chrysander London: Augener, n.d.), pages 132-137. 12Ibid., Concerto Opus 6, number 3, pages 46-69. Instru- mentation: Concertino--Violin I and II, Violoncello; Concerto grosso--Violin I and II, Viola, Basso. lBIbid., excerpt is from Allegro I, pages 220-229. Instrumentation same as 12. 1“Ibid” page 229. lO 15 GiBZOttO’ OEe Cite, page 8e CHAPTER I THE ALBINONI OBOE CONCERTOB Concerti a Cinque, Opus 7 and 9 Judging by his compositions appearing between 1694 and 1722, Tomaso Albinoni played an important part in the estab- lishment of the solo concerto. Within this type of instru- mental music it is not various groups of instruments that are Opposed one against the other as in the concerto grosso, but rather one instrument is set against the rest, resulting in a coherent and logical continuity of musical discourse. The idea of placing a group of solo instruments (the concertino) against a larger ensemble of accompanying strings (ripieno) was necessitated by the requirements of the contemp porary Italian theater but was also inspired by the style of the late baroque school of painting which preferred super- structures and contasts of color and greater architectural and perspective‘dimensions.1 We know that in his concerti grossi (probably written about 1680 ' and published posthumously in 171‘!) Corelli had united in a dialogue the combination of the trio- sonata (consisting of two violins and a cello, the concertino) against a larger instrumental group, the ripieno (first and second violins, cello, doubled as required, and the basso ll [[rtrluTllll 12 continuo).2 Corelli's predecessor in the cultivation of the concerto grosso was Alessandro Stradella (1665-82), who had also used the concerto grosso for dramatic purposes in his oratorio "San Giovanni Battista."3 The example was set by Stradella. He was followed by Giuseppe Torelli of the Bologna school, who, himself, had many followers in Venice shortly before 1700. Tomaso Albinoni probably was aware of the compositions of Stradella, Corelli's concerti grossi, and Torelli's solo- istic "Concerti a quattro" (Opus 6, 1698). Yet Albinoni, who infused the solo concerto with elements of the polyphonic sonata in his Opus 2 of 1699,had, by the time he began compos- ing his concerti E cinque of Opus V (1707), already abandoned the restricted schemes of the solo concerto. As Albinoni preferred to write for only one solo instrument, he did so by composing for either the violin or the oboe. In his works featuring the oboe, Albinoni sometimes chose two solo instru- ments instead of one. Four of his concerti from Opus 7 and four from Opus 9 are for two oboe soloists. In consideration of both of the above Opera, it should be noted that each con- sisted of three distinct groups of concertos arranged in the following manner: Opus VII ' A. Four concertos for strings only 3 numbers 1, 4, 7, 10. B. Four concertos for strings and two ‘ oboes, numbers 2, 5, 8, 11. O. Four concertos for strings and one oboe, numbers 3, 6, 9, 12. 13 All of the above were published, circa 1716, by the firm of Roger in Amsterdam. The Opus IX concertos show a similar pattern of composition: A. Solo: Violin--Ripieno or grosso (orchestra): first violin, second violin, viola, cello, . and continue Concertos numbers 1, 4, 7, 10. 3. Solo: 0boe--Ripieno or grosso (orchestra): first violin, second violin, viola, cello, and continuo Concertos numbers 2, 5, 8, 11. 0. Solo: Two oboes-éRipieno or grosso (orchestra): first violin, second violin, viola, cello, and continuo Concertos numbers 3, 6, 9, 12. Both opera 7 and 9 are divided into two books of six concertos each: two for solo violin, two for one oboe, and two for two oboes.“ The concerto form was, for Albinoni, as essential as the sonata form for later classic composers. Remo Giazotto states that it is perhaps even more so.5 Albinoni could not compose chamber or church sonatas without soon afterwards, or even at the same time, giving free outlet to the concerto form which required larger dimensions and more assiduous care. We know that Vivaldi attempted extremely varied sound combinations in his concerti grossi (one needs only to examine his L'estro S armonico, Opus 3, or his "La Cetra" Opus 9). and that Benedetto Marcello (1689-1739) and Francesco Antonio Bonporti (1672-1769) attempted the classical concerto grosso and solo concerto. Tomaso Albinoni continued along the road that was to lead to the perfection of the solo concerto.6 14 The reason for the apparent neglect of Albinoni is understandable in that he has been totally eclipsed by Vivaldi. If Albinoni had differed from Vivaldi as much as Bach had from Handel, he might have attracted more attention, but the two contemporary Venetians were active in the same fields--they were both violinists and concerto and Opera composers. Albinoni may have played an important role in the develoPment of the solo concerto, but the works of Vivaldi, since they are so very numer- ous, span first the history of the concerto from Corelli to Bach and then the whole distance from the high baroque concertos to the symphonies of Sammartini and Stamitz. Otherwise, Albinoni would be admired as the prolific and versatile composer that he was. Upon a first hearing of the concerti of Tomaso Albinoni, especially the oboe concerti a cinque of Opus 7 and 9, the listener is immediately struck by the concise, complete, and economical handling of the musical material. Each concerto is cast in the typical Venetian three-movement fast--slow--fast form. Each exhibits brilliant, incisive, often memorable solo passages, interspersed with an insistent string ritornello, or an impassioned instrumental aria drifting above a gently flow- ing string and continuo ensemble. The connective material ,which prefaces the thematic recurrences in a series of clearly prepared keys is made up of sequences, motivic develOpment, and what has.been referred to as "kinetic" recurrences which are as clearly articulated as the themes.7 Extemporization is at a minimum and fortspinnung occurs only occasionally in the bravura figurations of the solo instruments. FOOTNOTES CHAPTER I lGiazotto/Weissmann, page 8. 2G. Muffat in the Preface to his Suaviores harmoniae-- Florilegium I published in Augsburg (1695) states that Corelli's concertos were well know1in Roman and Venetian musical circles about 1680: "While in Home I conceived the idea of studying the Italian style of organ and clavecin playing under Pasquini. I heard with wonder some of A. Corelli's concertos splendidly performed by a large ensemble . . . . . Noticing the rich variety of sounds with which this sort of work is filled, I set to imitating it and am beholden to Corelli himself for several useful observations on the way to obtain the right effects, and for kindly giving my works his approval." See also Hutchings, page 120. 3Remo Giazotto, Tomaso Albinoni, Milano: Fratelli Bocca, 1945, page 71. The "G. B. Martini" conservatory in Bologna possesses two manuscripts of the oratorio "San Giovanni Battista." Hutchings states that Stradella belongs to no school. "He studied in Modena under Uccellini and Bononcini and was influenced by Vitali. We do not know if Stradella was ever in Bologna for longer than a short visit, but he was certainly influenced by the trend of music in that city, and his work must have been known and discussed by the Bolognese musicians of Torelli's generation." page 52. “An original Me. of Opus VII,Book I is found in the Schloss Bibliothek of Berlin, bearing the frontispiece of the firm of Estienne ROger and Michel Charles Le Gene and catalogued number 361. Opus IX was published circa 1722 in Amsterdam as two editions, the first by Michel Charles Le Cene, partner to Estienne Roger and catalogued under the numbers #94v5 (2 books). The frontispiece of the second edition bears the name of Jeanne Roger yet the catalogue numbers are the same. It may be inferred that only the frontispiece was altered, but the edition remained the same. Jeanne Roger was the fourth in the succession of proprietors of the Amsterdam publishers. 15 16 A nineteenth century Ms. copy of Opus IX is found at the Royal Conservatory of Music in Brussels. Copies of the first Dutch edition (M. Ch. Le Cene) are extant in the Landes- Bibliothek of Darmstadt, Germany, and the British Museum of London. A mutilated copy i.e. the first violin part, of the second edition (Jeanne Roger) is found in the Conservatory of Music "San Pietro a Maiella" of Naples. 5Giazotto/Weissmann, page 10. 6Ibid. 7A. J. B. Hutchings, The Baroque Concerto, (New York: W. W. Norton and Company, Inc., 1961) page—R3. CHAPTER II Devices Used to Achieve Unity Within Albinoni's "Allegro" Movements of Opus 7 and 9 A. The Ritornello Technique Important to the evolution of the concerto was the conception of an opening tutti from which ritornelli could be drawn. An initial tutti that closed in the tonic put a 'seventeenth century concerto in the evolutionary stream of the classical solo concerto.1 This aspect of form is present in many of the trumpet sonatas of the Bologna school, to which Torelli was the main contributor. The ritornello idea found its birth in songs, dances with refrains, and in pieces of the roads type. When the ritornello became not an exact or complete recurrence but an allusion, or partial quotation leading to new material, it moved closer to the organization of the classical concerto. Monteverdi's "Orfeo" (1607) contains an example of the abbreviated ritornello in the prologue. Before the singer begins, the viola play a short introduction of eight measures. ZDuring each pause taken by the singer, the viola play only the last six measures of the introduction. These sections were named by Monteverdi either "ritornello" or "sinfonia."2 Around 1637, when Opera houses began to be Opened in Venice, the public demanded more and longer solo arias, in 17 18 place of the madrigal-like choruses, as well as complex scenes in which recitative, arioso, ensemble, and orchestral music were combined for dramatic effect. There arose a school Of bel-canto singing which specialized in the use of ritornelli to give to the aria a dignity, and length, as well as placing the voice into high relief. Members of this school were Rossi, Cesti, Cavalli, Carissimi, Stradella, and others. Lengthening the aria also created problems, since the musician must accustom himself to long strings of modulatory passages rather than a direct return to the tonic from a possible dominant diversion. The composer, too, had to use such devices as a "ground bass" or a contrapuntal texture to prolong his work. AmOng the lesser «composers of the seventeenth century, a constant shuttling of choruses between dominant and tonic only served to create a patchy framework. Not until the middle and late baroque do we find long and elaborate developments in the ritornelli of arias. Among the Venetian composers, Tomaso Albinoni was one of the first to use the ritornello technique in the concerto.3 This use generally came within the confines of his solo cOncerto allegro movements (with limited use also to be found in his adagio second movements). For example, Albinoni's Opus 9, number 2,5 in D minor has an opening tutti of contrasting ideas which are: disconnected and varied, both of them being employed as the, ritornello (either in exact or varied form), or being used for treatment by the solo group. . .. .L In [Him 19 mm 2. Albinoni:5 Opus u, number 2, in D minor Opening Tutti: Section A, Measures 1-8, Violin I and II in unison. Allegro e non Presto TABLE 1: Opus IX, number 2, Melodic and Harmonic Rhythm, Measures 1 through 8. Melodic rhythm: measure: 1 O 2 O “fiiflfl Harmonic rhythm: Key: Diminor J F1 iiiiiéf: e S I :1 W116 I6 --- 161 v6 vv6 1 vug) : (rhythmic sequential pattern) 5 5 6 5 7 E a s s : : I : ' ! o O I m 5 i - i 9 v1 II ' v I I v , 6 g 5(2) 6 g 6 g g cadence O O 0 20 IXAMPLB 3. Albinoni: Opus IX, number 2, in D minor opening tutti: Section B, Measures 8-20, Violin I and II in unison Allegro e non Presto TABLE II: Opus IX, number 2--Melodic and Harmonic Rhythm, Measures: 8-20 v Eve/IV v7/1v 1v 1V6 (n) Melodic rhythm: ‘3 measure:8 9 E 10 E 11 o O a - mam: ~ ‘* '53 5:53 _. gv' mes 12'. Harmonic rhythm: : g I Key: D miner : E T T O O I Sequential Passage 12 E 13 E 14 5 15 . 0' I U 1‘ e v I I3 EVE? ififiifi 55513 H ' .L‘L‘fi- 1'; its; .2 £2: 0 O I 111g 1116: 5 g V: n61:g E v 16 €116, 16 v6/rv ' z : ' : 5 (passing) , , , ‘ (Table II continued page 21) 21 (Table II continued) 16 17 mm V6 I V116 l9 JTTJ v61 ‘6 v 5 e fiifi ET I I u-z suspension -Q--.-----------. UH‘__. In these two analyses, we have carefully traced the develOpment of the Opening tutti from Opus IX, number 2. The tutti consists of two distinct though inter-related sections. ’“’However, unless we can determine how Albinoni‘uses this material, it is of no value. Section A will be used as soloistic material and to a degree as ritornello material. This statement may be proven by an examination of the solo oboe line in comparison with Example 2, page 19. EXAMPLE #. Albinoni:' Oboe Measures 20-28: Key: D minor ' 4- h a Notice that the harmonic rhythm of this example is essentially identical with that of the opening bars of the work. Only the rhythm is subject to slight variation. Other than at points of repetition of the original solo line (which will occur in measures 3k-h2.and 122-130). imitation of sectio'n A éfigural passages is very common: (Example 5, page 22 [5. “Cir u... a. v... Glorifinflfizlqw 22 1. Up-beat pattern: EXAMPLE 5. Albinoni: Opus 9, number 2, in D minor am. Measures 20-26--Violins I and II: EXAMPLE 6. Original: The reader is asked to examine also measures 34-40, and measures 122-128. In both instances the above pattern is used in conjunction with the solo oboe melody as it appeared in Example 4. 2... J-j rhythmic pattern: EXAMPLE 7. Albinoni: Opus 9. number 2 _ Measures 42-47: D minor. leading to F major 23 Here we find a figure from section A used in conjunction with the above mentioned "up-beat" figure, and also paired with a dotted-sixteenth, thirty-second note figuration from section B. 3. During the development of the opening allegro of Opus 9, number 2, the section B figuration is placed in opposition to the section A thirty-second note figure, EXAMPLE 8. Albinoni: Opus 9, number 2, in D minor Measures 64-70, Key: D minor Allegro e non Presto Violin I & II Violoncello q 24 Albinoni has here cleverly set both sections of the opening tutti as chains of sequence. 4.. Section A used as ritornello material: Excluding a recapitulatory section, Albinoni rarely repeats an opening tutti section in its entirety, choosing rather the repetition of short figural points deriving from the opening material: EXAMPLE 9. Albinoni: Ritornello derived from Section A Opus 9, number 2, in G minor A. Measures 80-87 oboe tacet 25 5. Section A and B rhythmic figures combined during a ritornello: EXAMPLE 10. Albinoni: Opus 9, number 2 Measures 52-59 Key: D minor Solo: tacet “\p/‘fi. Violin I A II Violoncello A B c, A B . 6. Section B from the Opening tutti of Opus 9, number 2, will also function as a basic ingredient of the ritor- nello. Small figures from section B permeate the soloistic structure and act as an underpinning to it. The following example of a ritornello should amply illustrate this point: EXAMPLE 11. Albinoni: Opus 9, number 2, in D minor * . Allegro I Ritornello: measures 28-34 ‘T\ 'a7\ ’7.1. ' n: h- 26 There are two more devices closely integrated with the technique of ritornello. These are: 1. Devisé 2. Multi-thematicism B. Devisé I.The idea of dgzigé is closely associated with the arias of Alessandro Scarlatti. Devisé consists of the repetition of the firflt '0981 phrase Ortan interruption of it by the orchestra, after which the singer repeats the Opening phrase before continu- ing. This form of double announcement is often called a "Scar- lattian opening motto."6 Although Scarlatti may have popularized this device, it was used at least a decade earlier, an example being Purcell's "Hark, the ech'ing air."7 By way of review, arias in which the voice: (a) first repeats the main orchestral theme and (b) then advances to Other music but (c) is interrupted by references to the tutti Opening in the tonic and other related keys--exhibit a principle of the formal concerto outline in which the tutti interpolations are the ritornelli,and the repetition of the main orchestral theme is called devisé or, in German, divisen aria.8 Albinoni and Vivalgi, and other members of the school of Venice, were the first to use the devisS in all of their compositions. They were guided by Opera composers who quoted either entire initial tuttis on parts of initial tuttis, and combined them with the echoing Of the solo melody. Within the.oboe concerti of Opus 7 and Opus 9, it is not extremely difficult to pinpoint Albinoni's employment of the 27 devisé technique. It is used in an overwhelming majority of the concerti. To name a few: Opus 9, number 2, in D minor I Allegro e non Presto II Adagio III Allegro Opus 9, number 5, in C major I Allegro III Allegro Opus 9, number 8, in G minor I Allegro III Allegro Opus 9, number 11, inBb major I Allegro III Allegro Opus 7, number 6, in D major I Allegro III Allegro There are, in addition, two concertos which, while exhibiting characteristics of the devisé technique, ~ will be classified as "multi-thematic" for reasons to be explained below. Opus 7, number 3, in Bb I Allegro Opus 9, number 9, in C major I Allegro It should be noted that in both of these concertos the third allegro movements are totally within the devisé technique. Merely to_state that a certain characteristic is present within aficomposition is of little importance unless we face the problem squarely and endeavor to discover the essence of it. In discussing devisé, Albinoni's first movement of Opus 7, number 6, in D major is representative of the technique: 28 EXAMPLE 12. Albinoni:8 Opus 7, number 6,in D major - Allegro I Antecedent_phrase 'F ‘W . , . Violin I & II V lonc 11o _ Consequent phrase 5 6 29 EXAMPLE 12 (continued) 1. The entrance of the solo oboe at measure 9 is derived from the antecedent phrase (measures 1-4). The oboe repeats a portion of the opening tutti (to ‘, measure 4, beat 3), fulfilling a requirement of Sfiléflé' The harmonic structure is identical to that of the antecedent phrase. However, there is a slight modification to reach a cadence on the dominant. 2. The first ripieno entrance at measure 12 is an exact repetition of the structure of the consequent phrase (from measures 4 to 9). 3. The second entrance of the solo instrument (at measure 16) is identical to the first (fulfilling a second requirement of devisé). However, after a complete repetition of the previous material (to ‘), a new melodic oboe passage begins to move away from D major toward A major. A smooth transition is accomplished through the employment of secondary dominant chords. Examination of all the concerti quoted on page 27 will reveal remarkable similarity to the above analysis of Opus 7, number 6. 30 C. Multi-Thematicism Closely allied to the art of devisé is "multi-thematicism."_ Preference for the use of this term over that of "Bi-thematicism" as suggested by Schering is based on the knowledge of the Clas- sical and Romantic concerto to which the latter term would seem more apprOpriate.lo ‘ The outline of an Albinoni concerto movement utilizing "multi-thematicism" is essentially the same as one which employs devisé, with one exception: the statement of a motive by the solo oboe is not derived from the opening orchestral tutti. This new motive maintains a separate identity throughout the normal extent of devisé (two repetitions of a passage by the oboe) until it, tOo, becomes entwined in the modulatory move- ment of the composition and the new material following there- after. The first movement of Opus 7, number 3, in Bb major begins with a ripieno introduction approximately nine measures. in length (see also Opus 7, number 6, page 28) frOm which the ritornelli will once again be derived: ll EXAMPLE 13. Albinoni: Allegro tutti from Opus 7, number 3 Key: Bb (oboe tacet) Section A 1 . a ‘ I Violoncello . 31 EXAM PLE 1} ( .section b T? ‘ 32 1. The first and second violins are in unison and the viola and Violoncello are essential to the flow of the ripieno and are not relegated to a position of secondary importance. 2. The opening tutti may be subdivided into two distinct sections based on their rhythmic character. This subdivision would occur between beats two and three of measure 5. Each of these subdivisions is held together by repetition and syncopation. 3. The entrance of the solo oboe is not derived from a previous statement by the tutti but consists of a short statement punctuated by a truncated ritornello. The ritornello is derived from the opening tutti but is not a repetition of a particular section,howevan it is a combination of opening tutti figures. EXAMPLE 14. Albinoni: Opus 7. number 3, in 3" major first oboe entrance and ritornello (measures 9-11) Ifibfijiyfii’g’EElfligT g ‘7 ._ r “Violin _I_ 3} EXAMPLE 14‘ (continued) {p.119 ; b Jim Violin II 5. The second solo entrance is identical to the first, _as in the devise technique, but after a complete repetition of the previous material (to '). a new passage begins to move away from the tonic Bb to the dominant E. For additional evidence of "multi-thematicism" one should examine the first movenent (allegro) of the oboe concerto, Opus 9, number 9. in c laJor. 3# Much of what we have examined has dealt with those aspects of style found predominantly in Albinoni's concerti a cingue allegro movements. Yet in keeping with the topic under discussion we note also the presence of "multi- thematiciem" within the adagio movements of the concerti: EXAMPLE 15. Albinonisla Adagio from Opus 9, number a, in D minor Key: Bb major (measures 1-7) / w 7 Violoncello O )5 EXAMPLE 15 (continued) "Multi-thematic" entrance of solo oboe: (measures 8-12) Within the serene. aria-like quality of this movement there seems to be an absence of any ripieno and solo alterna- tion. Measures 1 through 7 set the mood with a string texture that is very much Vivaldian in character.13 v At measure 8, the oboe begins to sing its aria over the arpeggiated chordal accompaniment of the strings. This five measure.phrase comes to a tonic close (Bb)~in measure 12. The strings continue their pulsating movement but what. relation does this movement have to previous ripieno passages? Measures 12-16 are an exact repetition of measures 1 through 5 (to ‘) in the ripieno. A part of the introduction has become the ritornello and it has been placed against the solo aria "second theme." 36 The solo oboe enters once again at measure 17 and continues to measure 21 as an exact repetition of the first .solo entrance (measures 8-12 to‘). At this point the solo it becomes the basis for passage takes on a new character: WU“ QMK —’three melodic episodes (measures 21-26, 26-3#, 3#-#llfiébefore entering the recapitulation at measure 4}. EXAMPLE 16. Albinoni: Opus 9, number 2, in D minor Episodic structure: ' measures 21-26: _ oboe measures 26-3#i oboe we I ~4— measures 3kd#lz A m1 s; 4411-— 3.31”"!er hart: :rDHflu _ FOOTNOTES CHAPTER II 1Tovey in "The Classical Concerto," Essays in Musical Analysis, vol. ii, Oxford)states that the function of the initial tutti is misunderstood if it is regarded as a parade of expository ideas. Following the entrance of the solo instrument in the classical first movement, the tuttis become chiefly ritornelli, partial ritornelli, variations, and developments of ideas within the opening tutti, or echoes and soloistic materials in continuation. After Hutchings, The BarogugiConcerto, New Iork: Norton and Company, 1961, pages #5, #5. ' ' 2House in "Die Instrumental Stucke des Orfeo" in 222 venetianischen Opern-Sinfonica (Sammelband der Internationale Musikgesellschaft, Leipzig, 1903) feels that "sinfonia" meant musical scene-painting and "ritornello" designated that which integrated vocal sections and clinched the form and sentiment of a scene. After Hutchings, su ra, page #6. 3Vivaldi, Albinoni's contemporary, also thrived on the ritornello technique. From Vivaldi's L'estro armonico, Opus 3, number 2 (Amsterdam: E. Roger, 1712, in G minor), we have an example. Vivaldi omits the bass instruments and puts this passage (played by two solo violins) into strong contrast with previous tutti ideas, and again with the same ideas when they follow as a ritornello. "B" is the first ritornello: the whole prelude transposed to D minor is the second, and the third is "B" in C minor. 37 38 “This exact repetition is called devise. It is discussed on page 26. 5Tomaso Albinoni, Concerto a cinque Opug_;x,_number 2 for Solo Oboe and Strings in D minor, edited by Fritz Kneusslin (Basel: Edition Kneusslin, 1955). 6Hutchings, page #7. See also the "Essercisi" and other keybOard sonatas by Domenico Scarlatti. 7Ibid., page 47- 8Arnold Schering, Geschichte des Instrumental konzerts, (Leipzig: Breitkopf und Bartel, 1927) page 36. 9Tomaso Albinoni, Concerto per l'oboe Opus VII, number 6, in D major, edited by Bernhard Paumgartner (London: Boosey and HEUKOB, Ltde ’ 191.8) e 10Arnold Schering, su ra, pages 76,77. :1Tomaso Albinoni, goncerto per l'oboe, Opus 7, number in B major, edited by Bernhard Paumgartner (London: Boosey and Bawkes, Ltd., l9#8). 12Tomaso Albinoni, Concerto per l'oboeI Opus 9, numbergg, edited by Kneusslin (Basel: Kneusslin, 1955). 13A. J. B. Butchings, page 160. CHAPTER III KINETIC REPETITION The term "kinetic repetition" is described by A. J. B. Butchings as "a special kind of repetition, either of melody or of melody with supporting harmony, which certainly does not retard rhythm, but actually seems to add energy and shapeliness."1 Butchings states that this form of repetition does not have long rests in the melody, and may occur in either thematic or connective tissue. The repetition should also include a full close within the main theme of the movement to give it extra strength and emphasis.2 The Venetian concertists, especially Albinoni and Vivaldi, seem by this method to have anticipated the classical symphonic practice which has been called "presenting arms in the tonic."3 Albinoni and later Handel, employed kinetic recurrence of a small unit within the melody, thus producing the effect of irregular phrasing. In Albinoni's concerti l cinque from Opus 7 and Opus 9 this manner of phrase extension is a rule rather than an exception: 39 #0 EXAMPLE 1?. Albinoni: Oboe Concerto, Opus 7, number 6, in D major, Allegro I measures 9-12 Oboe Violoncello measures 52-5# Violin I and II Viola lr—rvl Vio oncello EXAMPLE 18. Albinoni: Opus 9, number 9, in C major ' Allegro I opening tutti Violins I and II in unison . n _‘ l .5” :[‘ EXAMPLE l9. Albinoni: Opus 7, number 3, in Bb opening tutti in unison #1 EXAMPLE 20. Handel: Andante from Opus VI, number 7 ta Middle parts tted EXAMPLE 21. Handel: (Opus 7, number 1 (kinetic repetition is combined with concertato or echo) , Orchestra I, Organ :: Orch. ,Or” n | V ( '43:;7- _:_ {@558 _, fir.“ ' Kinetic recurrence was not a new technique in the early years of the concerto. It was found in folk songs and dances but was not part of renaissance ensemble technique. Hutchings states that he knows of no examples of it in Gabrieli or Monte- verdi, and that it may have come into the Italian sonata and concerto through French overtures and dances. This type of recurrence helped to achieve "length with.integrity."“ FOOTNOTES CHAPTER III 1Hutchings, Op. cit., page #3. albid. 31bid. “Ibid. #2 CHAPTER IV Interrelationships in the Oboe Concerti a Cinque of Tomaso Albinoni Aside from the aspects of ritornello, gezigé, multi- thematicism, and kinetic recurrence, the oboe concerti exhibit relationships through the use of sequential treatment, syncopa- tion, imitation, repetition, and a myriad of other qualities. Fragments of motives are combined, and complete sections are lifted from one place and transposed to another. Within these complexities, movement is cohesive and concise. While there are hundreds Of points we may choose for illustration, it is best to select one movement of a concerto (the Opening allegro to Opus 9, number 9, in C major for two oboes and strings with cembalo di ripieno (harpsichordD) for the purpose of preserving continuity.1 The striking opening of this concerto and the subsequent development of its themes recall Vivaldi's "L'estro armonico" (Opus 3)f2 .Bowever, Albinoni is more intrinsically polyphonic here than Vivaldi: in fact, he foreshadows J._B. Bach's "Brandenburgeponcertosfl3 “3 1.4 EXAMPLE 22. Tomaso Albinoni: Opening tutti from the .Concerto for two oboes and strings Opus 9, number 9, in C major oboe tacet Section A . Violoncello & Contrabass TABLE III: Opus 9, number 9--Melodic and Harmonic Rhythm ' Measures l—ll Key: C Major Signature: 3 O O I 2 ;_l 2 j;__ 2 as) y o o Designation , A g g B Melodic E E E W Mm In? W: U was fit (violins) E i s 7 is es Harmonic : g : rhythm: V : I I :I - V VgV/V ‘79/V 3 3 3 Figure ' ' ' designation:: Kinetic~repetition :, B ( ' ~‘ ° ' Rhythmic repetition 1., IV Igy wSynoopation in violins v'fiJITfiffi UNDEFINED IIIIIII IGWITSVI #7 Within the Opening ripieno there are elements of: A. Repetition: ' 1. Measure l--(kinetic repetition) Section A 2. Rhythmic repetition measures 3-5 Section B 3. Repetition of section as cadential material measures 9-11. B. Syncopation: 1. Measures 6-9, Section C (Giazotto refers to this section as "the second exposition theme") (page 236). After a short reappearance of the arpeggiated theme in C major, the two oboes enter at the last eighth-note of measure 11, and they proceed in a dialogue to which the violins and violas furnish a homophonic accompaniment. The first entrance of the solo oboes is minus the aid of the contrabass and harpsichord. . ‘30-. 1:8 EXAMPLE 2). Albinoni: Concerto in G major, Opus 9, number 9, for 2 oboes and strings First movement Solo entrance (measures 11-15) Oboe II & Violins I L 11 + Viola TABLE IV: Opus 9, number 9--Melodic and Harmonic Rhythm Measures 11 through 15 Key: C Major Signature: # a, Designation: D (1 + 11) 5 12 i 13 E O I I Melodic rh thm: ' c : ’ bf'flflrfiflWI—flfi‘“ Oboe I : ‘ : ' ' ‘ : - m: * * 0130. II : . : g o a c : O i 9 “1011”!" 131.5”): ”3m” D m II + Viola : -: : Harmonic E i E rhy 8 s . I661 3 I6 : Designation: : : beat: Oboe Iv : D : L ' J Link 2.1L: . ' Pa:ttern 'Repetition 3 ' . ' : Oboe 11 ' 1: . ii ‘ Link ' Dis Violins'I a. : . " 3 u '+ Viola : :n11 53.3: '. s O O E¥.3Einj . . . m . 49 ; uh "D (i + ii) mums mnmn FAD JTTJ :1 SI .Dl...[ mm 1715' “M“ a; I I {5V6 II : L916 : I Pattern 'Repetition : Cadence ' I n1 i : : Cadence ' I I on i I I I Although the first solo entrance, with its accompaniment, has been designated as a "D" thematic grouping, it seems to be an outgrowth of the syncopated "C" figuration in the opening dpieno. :Motice the repetition of the figurations in the oboes (measures ll-to the fourth beat of measure 12, and the up-beat to measure 13 through measure 1%). 50 ‘ The strings in unison also are repetitious. The link passage (fourth beat of measure 13) in the strings is, by one beat, cleverly staggered from that of the oboes. The solo oboes end their first entry on a half cadence. At this point the ritornello enters with a theme that should seem familiar--it is the "C" theme of measures 5 through 8 in the opening tutti, only slightly varied melodically and harmonic- ally on the last beat of measure 16 and beats one and two of measure 1?. EXAMPLE 24. Albinoni: Opus 9, number 9, in C major measure 15 ritornello e swat—r 318;? -————-—_._____._—_:-_: ‘. *- 5 9ch Violoncello ¢ 0+, The oboes enter in devise fashion at measure 18 with an exact repeat of measures 11-15. However, at measure 22 after a C major V cadence a new dialogue takes shape in the solo lines over an incessant sixteenth-note passage in the violins. For two measures the two fragments are combined. (Because of the similarity between the two fragments and the syncopated "C" theme, (“‘53 JE I measures 5-8) have been designated "Oi" and "G11" .') 51 EXAMPLE 25. Albinoni: Opus 9, number 9 from opening allegro measures 22-30 Violin 10 one 11 TABLE V: Opus 9, number 9--Melodic and Harmonic Rhythm Measures 22 through 29 Key: C major , , 22 2 23 2 2k Designation missus.) : Melodic : 3 W M H \ J :J O Oboe I 7 g 1 I e e ‘1 : '1 e ‘J J“ J E‘ V Oboe II 1 fl; 1 1 EJ ‘1 e éfrfi m: ffi firm an F3 Harmonic E i rhythm: V E1 (Va) I61 B ('1) V V 31 ('6) k I Figure : : Designation: ' ' Oboe 1 g o’- i : L c11 g : c1 3, g : cii : . I 11. I I 1 I I ii. I I i I Oboe II C : C C : c I I Pattern Sequence ' Pattern ' ' Repetition 52 Following the "Ci" and "011" alternation we again arrive at a familiar figure--the syncopated y'fis‘ J‘sfiJ I V V figuration that was first performed by the strings in the opening tutti, and then again at measures 15-17 by the first and second violins in unison. (This syncopated figure and the c1 and c:11 figures will appear frequently throughout the move- ment--measures 37-59, 55-56, 63-65, 89-86, 97-98.) The violins of measures 26-29 also engage in a rhythmic sequential pattern below the solo oboes: (see page 55)‘ 53 Opus 9, number 9, in C major (continued) measures 29-2 Oboe II Violin Violoncello TABLE VI: Opus 9, number 9--Melodic and Harmonic Rhythm Measures 2# through 30 Key: C major a 24 as 2.: Designation: C (i,ii,iii) “3333*; m m; r m A“? Oboe I 7 J” Oboe II J 1 5 J n em eisi j s\ - vs“ ‘fii'a Fm rm m1 J31; .V Harmonic . rhythm: V VI V I V '6 v/V V Figure desi nation: 8e uential Passi e . onfi. I 011: ciii :3 0121 2 : ciils E {0111 -_—I II ‘ I 011 : Support I Oboe II 01 g I ' Pattern Strings Repetition 2 Support . I I EXAMPLE 26. Albinoni: Violin I & Violoncello 54 Opus 9, number 9 (continued) measures 26-28 Designation: C Melodic rhythm: Oboe I Oboe II I m Violin In J .| & II O O Harmonic rhythm: I V/V V 16 VV v7/V V - Figure , designation: Oboe 1 0111 g g 0111- g : 16th Note Passage Oboe 11 :: ciii _: : Support Strings Pattern H: Sequence Sequence V 55 Opus 9, number 9 (continued) measures 28-50 OboeI m m Oboe 111 fi fi f'fifi Violins & II Oboes I & II Strings -?-EJEFJ.-- Sequential) a; I I - 16th Note Pdssage I ‘Syncopation pm: on :3:— B if. 33"" 00 '1’! ‘-m- . :w—~ a» r .. -32: ‘ ing... ” - “1.: :3 “‘7‘“ <~ I ,— | 3:71} :r‘j" it; .Q" _;j :33? _ L - * -' F}: .L -..:E - w’ H »m ~vnqe- . '-.E-_-. ~ ., J I «4. ~— ‘ J-—-. ' I f ‘21:“. .: '1‘” ' ' :27: - : "Burg“...n . g: L . "fiat-7-. r~~ ..._ Egfij fi;: “FL .1 -- N. . ;:1 l_- ‘LUI‘L:J“'1" WWII-Iii. ma 3.1.)? “LN N. 43?: 4. 56 The polyphonic implications of the theme which first appeared in the solo oboes (measures 11-15) are amply realized in the course of the movement. Here is a final illustration of the ensuing instrumental texture: EXAMPLE 27. Albinoni: Opus 9, number 9, in C major . , measures 57-65 Violin I & II Violoncello EXAMPLE 27 (continued) Oboe II Violin I & II Violoncello 57 58 In the working out of this movement and its careful attention to the details of the accompanying parts, as well an to the realization of the polyphonic implications of the -thene, Albinoni'e mastery of the concerto form is evident. FOOTNOTES CHAPTER IV 1Tomaso Albinoni, Concerto in C Major, Opus 9, number 9, for two oboes, strings and cembalo di ripieno, ed. Remo Giazotto (Milan: Ricordi, 1959). 2Compare the Opening of Albinoni's Opus 9, number 9, with Vivaldi's L'estro armonico1 Opusgj, numbers 5, 6, and 11 (published in Amsterdam-~Estienne Roger in 1712, numbers 50, 51 /two books/, in France published by LeClerc, in England published by Walsh). Vivaldi: Opus 3, number 5 - Allegro con 2 violini obligati First Movement M Third Movement - Allegro £56. - '5?" ""‘ :3?— w: Lg” . ”ketijf r L... I Vivaldi: Opus 3, number 6 - Con violino solo obligato First Movement - Allegro 59 6O Vivaldi: Opus 3, number 11 - Con 2 violini e Violoncello obligate First Movement - Allegro 1 §_1F “”}F:TIE:::E:3:'-:::::1" or Albinoni's Opus 9, number 12,1n D major Con 2 oboi, violins I principale e violino II, violetta alto, violoncello e basso continue _A¥ LL 1 ‘IH ”a"? 1 I First Movement - Allegro 3'Giasotto/Weissmann, page 16. CHAPTER V Tutti-Solo Contrasts Within the Oboe Concerti a Cinque The separation of several of the previous examples into tutti and solo passages, and the thorough discussion that accompanied each, serve to define the relationship between these passages. Furthermore, these procedures help to illustrate that Albinoni's Concerti a Cinque have a definite system of tutti-solo contrasts within the movements. I Four movements from these concerti are outlined below to describe their characteristics. Following the tables several important conclusions are advanced. '61 62 TABLE VII: Albinoni, Concerti ; Cinque Opus 7, number 3, in B major Movement: Allegro I t Type: Multi-thematic Multi-thematic 2' .8‘ .1: .8. measures: 1-9 9-ll ll-lS 15-22 key: ' Bb Bb Bb measure 20: pivot chord v/v in Bb V in F major .8. 8. ’ .8. .8 22-29 27-33 33-34 34-43 F major F major to D minor to G minor to D minor G minor 0 minor to measure )0: measure 34: G minor pivot chord pivot chord measure 36: vg/iii F major v/iv D minor pivot chord o v3/V D minor I G minor v#/iv in G minor 3 v“ G minor 3 measure #1: pivot v/ii#} C minor v/v G minor Recapitulation .T. E 2 §. 43-50 50-52 52456 56372 G minor to Db Db B Bb minor oboe in dialogue measure #5: with ripieno to pivot chord closing cadence vA/vii G minor - 3 vu/V Bb major to 3 b V 3 major 6 Tutti ’Tutti Solo ' 6 Solo 6} TABLE VIII: Albinoni, Concerti a Cinque Opus 7, number 5, in B Major Movement: Allegro III 3 21228 221M. 222%.?! 1'. E 2 §. measures: 1-1u luslv 17-2) 23-35 key: Bb B Bb Bb to F major measure 31: pivot ghord v7/v B v F major I §. 2 35-38 39-46 45-49 F major F major to Gbminor to G minor B measure #1: measure 47: pivot chord pivot chord v7/ii F major IV G minor v G minor 3b 7 VBb/v Bb major to v Bb major Recapitulation .8. :2 .8. 50-60 60-63 63-75 Bb major ‘Bb B major oboe and ripieno in dialogue to closing cadence 5 T 5 8 6# TABLE Ix: Albinoni, Concerti L Cinque Movement: Allegro I Type: Devisé Deviss' . .§ .2 .§ measures: 9-12 12-16 16-2# key: D major D majorv D major D major to A major measure 22: pivot chord v6/V D major 5 . v6 A major 5 24-30 30-38 38-h0 #0-47 A major D major D major D major to measure 29: B minor v A major measure 4#: v/V D major v6/vi D major '6 B minor 3?. #7-49 B minor to D major measure #7: 1V6 B minor V6/V D major Recapitulation .§ .2 .§ #9-52 52-56 56-70 D major D major D major 6 T Opus 7, number 6, in D major 6 8 ~ 65 TABLE 1: Albinoni, Concerti a Oinque Opus 7, number 6, in D Major Movement: Allegro III 3 Type: Devisé Devisé . 2 a " .T. .8 measures:‘ l-ll ll-l§ 15-20 ‘20-32 key: D major Dmajor D major D major to A major measure 26: pivot chord vw/v D major 5 v4 A major 3. 2 8. .8. 32-#1 #1-50 50-53 A major to D major to B minor to D major B minor D major - measure #0: measure #7: measure 50: v6/ A major pivot chord pivot chord 'G/V D major v6/vi D major . vii“ B minor '6 B minor vg/v16 D major 5 Recapitulation .8. 2 ' .8: 55-57 57-59 59-77 D major D major D major 5 T 58‘ 66 A general outline of the conclusions reached: 1. II. The a. b. 0e d. f. The 8e b. Ce d. I. first movements of the Albinoni concerti: feature a rather short three or four measure solo entrance after an opening tutti of generally two contrasting ideas. begin to move away from the tonality of the opening tutti generally during the second solo entrance and modulate smoothly to the dominant. generally, by the fourth solo entrance the movement of the concerto has reached the relative mihor (or relative major) by means of a smooth transitional section. generally, by the fifth solo entrance we reach the recapitulation and arrive in the tonic key and remain in the tonic to the closing cadence. are either in a devise or "multi-thematic" set- ting, with two identical solo entrances, before flowing into new material in the form of modula- , tory passages to closely related keys. contain modulatory passages with pivot chords of a secondary dominant nature. final movements of the Albinoni concerti: feature a short three or four measure solo entrance after an opening tutti of generally two contrasting ideas. begin to move away from the tonality of the Opening tutti by the second entrance of the solo instrument and modulate smoothly toward the dominant. . by the third solo entrance the movement of the concerto has reached the relative minor (or major) by means of a smooth transitional section. by the fourth solo entrance, the recapitulation has begun. The movement has progressed back to the tonic and it remains there to the closing cadence. while the two outlined movements are both in the devise style, other movements of other concerti are also "multi-thematic" in structure. As in the first movements, there are two identical solo entrances before the movement flows into modulatory passages drawn from new material. the modulatory passages contain pivot chords of a secondary dominant nature. 67 Tutti-Solo Contrasts: There is an even distribution of tutti-solo passages. While the movements chosen do have five or six tutti passages alternating with five or six solo passages, other concerti (especially those of Opus 9) must be classified on a much broader scale, alternating sections within these concerti being so interwoven that they are hardly distinguishable. Indeed, that which was once a solo passage, now becomes (in Opus 9) a close duet for two instrumentso-the oboe and the first and second violins (in unison).1 FOOTNOTE " CHAPTER v 1Remo Giazotto, op. cit., page 219. Mr. Giazotto makes Special reference to the duet style of Opus IX as opposed to the definitessolo style of Opus VII. Be mentions particularly ‘the first movement "Allegro e non Presto" of Opus 9, number 2, in D minor. BIBLIOGRAPHY Books Bukofzer, Manfred F. Music in the Baroque Era. New York: W. W. Norton and Company, Inc., 19#7. Giazotto, Remo. Tomaso Albinoni: Musico di violino dilettante veneto (1671-1750). Milano: Fratelli Bocca--Bditori, 1945. Butchings, A. J. B. The Baroque Concerto. New York: W. W. Norton, 1965. Kolneder, Walter. Antonio Vivaldi. Wiesbaden: Breitkopf und Bartel, 1965. ' Newman, William S. "The Sonatas of Albinoni and'Vivaldi," in Journal of American Musicological Society, V, No. l IsPrQnBe 1952). Pincherle, Marc. Antonio Vivaldi et La Musique Instrumentals. Paris: Libraire Floury, 19#8. Schering, Arnold. Geschichte des Instrumentalkonzerts. Leipzig: Breitkopf und Bartel, 1927. Pamphlet Giazotto, Remo. Tomaso Albinoni: Twelve Concerti a Cinque, 0 us Nine. trans. John S. Weissmann. New York: Dover PHbli-C‘tiona. In°e ’ 196‘l'e . Scores Albinoni, Tomaso. Concerto_per l'oboe1 Opus 7, #3, in Bb major. ed. Paumgartner, London: Boosey and Hawkes, Ltd., 19#8. Albinoni, Tomaso. Concerto for two oboes, Opus 2, #2, in C major. ed. Kneueslin, Basel: Kneusslin, 195 . 68 69 Albinoni, Tomaso. Concertogper 1'oboe, Opus 7, #6, in D major. ed. Paumgartner, London: Boosey and Hawkes, Ltd., 19#d. Albinoni, Tomaso. Concerto a cinque, Opus 9,_#2, in D minor. ed. Kneusslin, Basel: Kneusslin, 1955. Albinoni, Tomaso. Concerto in C major, Opus 9, #9. ed. Giazotto, Milan: Ricordi, 1959. Corelli Oeuvres, Book 5, Opus VI, Part 2. edited by Joachim and Chrysander, London: Augener, No. #938, n.d. “1181111aria“