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

  
 
    

  

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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

 

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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

 

 

 

 

 

 

 

 

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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

EÂ¥.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
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Strings

 

 

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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...

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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

_AÂ¥

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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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“