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Background Information
> Published in 1689
> Dedicated to the Duke of Modena
Melody
> Mixture of stepwise movements and leaps.
> Bars 1 and 2 are an ornamented version of the three note stepwise ascent D-E-F# used in the first and second movement in the beginning.
> Most melodic material derived from quaver and semi-quaver motifs in the subject, often used in inversion. E.G B5 = transposed inversions of B1 in parallel 3rds.
Rhythm
> Lively movement.
> Use of dotted crotchets, crotchets and quavers -> sometimes semi-quavers.
> Bars 1-4 = clear-cut two bar phrasing. > Bar 5 = imitative entry of the 'cello halfway through bar 6.
> Cross rhythms bar 26 - tie results in violins sounding like in 3/4 whilst other parts remain.
> Hemiola bar 27 - change from dotted crotchets to straight crotchet beats.
> Syncopation 26 & 27 through violin tie.
Texture
> Widely spaced: violins in highest register, bass sometimes 3 octaves lower. Space filled by continuo chords.
> Violins often in 3rds, frequently cross.
> Generally contrapuntal, lots of imitation.
> Quasi-fugal passage --> starts like a fugue based on subject in bars 1 & 2, real fugal answer in violin 2 (real bc 4th lower), bass has final entry b6.
> Section B = fugal section heard in free inversion; imitative V2 & bass enter only one bar apart, creating a stretto (B21).
Structure / Form
> Binary AB form. Each section repeated, clarified by diatonic harmony of the piece.> Section A: D major --> A Major (P. cadence B10-11)
> Section B: D major --> B minor (B25) then passing through various keys before returning to D Major in B36.>Wider range of modulations in B typical of binary form.
Tonality
> Modulations to closely related keys.
> Diatonic tonality.
> 1-8: D major except 3-4 which are A major.
> 8-21: A major.
> 22-25: D Major> 25-28: B minor (relative minor)> 28-32: E minor (relative minor of subdom)>32-33: glace at E minor> 33-34: through D major>34-36: G major (subdominant)
>36-43: D major
Harmony
> Functional harmony - establishes and maintains major and minor keys, mainly through use of chords I and V. New at time of Corelli.
> Mainly root and first inversion chords - decorated with dissonant suspensions that resolve by step to a consonant note (7 onto 6).
> Suspensions provide harmonic tension / rhythmic impetis (e.g. 28-32).
> Figured bass. No number = root, 6 = first inversion.
Performing Forces & Performing Circumstances
> Trio sonata: 2 melodic instruments (in Corelli's works always two solo violins), supported by continuo part.> Corelli's church sonatas use organ, whilst in 12 of his chamber works a harpsichord is mentioned. However, the use of organ doesn't always mean church - organs were found in homes of the wealthy
>Church sonatas usually followed 4 movements: slow-fast-slow-fast>chamber sonatas usually began with a prelude, followed by dance movement. >Trio in D shows that dance movements also occurred in church sonatas.
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