Trio sonata
The trio sonata was one of the most important genres of chamber music during the Baroque period, approximately 1600 to 1750. Numerous prints and reprints already from the earliest times bear witness to the popularity of this genre. She offered to both the bourgeois and noble music lovers as well as the virtuoso a broad field.
Introduction and characterization
The trio sonata is characterized by two equal (Upper ) - melody voices over a basso continuo. Model could operas and sacred works by Claudio Monteverdi have been, at the ritornelli lean on the first sonatas. The focus was on the melodic line and less the tone. Many of the sonata movements consist of two -part fugues or fugatos to find in later works fully elaborated three -part fugues, which include the bass with. In the Rococo period increasingly occur sentences that leave the fugal style by the first voice takes on a solo lead role, while the second voice becomes the voice side. The stages of development of different forms of trio sonatas are parallel to similar chamber music genres, such as of the later virtuosic solo sonata and other polyphonic sonata forms.
The melody voices were initially occupied almost exclusively with violins, violas and tines ( Cornetto ), can be found in the 18th century often woodwind instruments. The bass part was usually played by a cello, a bass viol, bassoon, violone or theorbo. The given by the numerical expression harmonies, was indicated by improvising a harpsichord, organ or lute. Contrary to the name of the genus more than three performers were so often involved, especially since contemporary performance material suggesting that even the melody voices were always occupied or passages as many times and the Trio Sonata so became a testing ground for the flourishing in the late 17th century concerto grosso.
Early Baroque
Country of origin of the trio sonata is Italy. The first works, the assumptions, the trio form, date from the late 16th century and originating in vocal music. Giovanni Gabrieli built in the Canzonen his Symphoniae sacrae 1597 already trio passages, while one of music history, the " Canzone alla Francese a 4" 1602 for violin, Corneto, 2 Trombones ( as a supporting cast) and basso continuo (Bc) by Lodovico Grossi da Viadana as be called first real trio sonata. The oldest collections of trio sonatas was created by the acting under Monteverdi violinist Salamone Rossi with his " Primo libro delle Symphony in E Gagliarde " of 1607 and his Secondo libro of 1608. Works in the same temporal environment to Giovanni Battista Buonamente, Dario Castello, Giovanni Paolo Cima, Biagio Marini, Tarquinio Merula and Marco Uccellini.
Also north of the Alps found this new type of high standing instrumental music quickly appeal, so first in works by Paul Peuerl with its 1613 printed in Nuremberg " Gantz new Padovanen .... ", at the Innsbruck Court Kapellmeister Johann Stadlmayr in " Philo Menus coelestis " ( 1624), Johann and Johann Vierdanck Erasmus Kindermann in his " Deliciae studiosorum " ( 1643). In the French -speaking published Henri Dumont (Paris 1657) in his three-part Meslanges Church Pavanen, more Triosonaten Dumont ' can be found in the Canti of sacra in 1662.
High Baroque
The Catholic priest Giovanni Legrenzi and Maurizio Cazzati developed in Bergamo own trio sonata style. Your sonatas were performed during the fairs. Around the middle of the 17th century, the northern Italian instrumental style was transmitted by Uccellini and Cazzati on Emilian centers such as Modena and Ferrara. The acting in Modena musicians led a French dance forms, Scordatura and canon forms, while in Bologna " Da- chiesa " style ( church sonata ) was maintained by cantabile and powerful timbre. Giovanni Maria Bononcini and Alessandro Stradella must be mentioned here as examples. Legrenzi and acting as a leading musician in Rome 1670s violinist Alessandro Stradella and Carlo Ambrogio Lonati and Lelio Colista ( lute) exerted by their trio Symphonias direct influence on the works of Arcangelo Corelli and Henry Purcell.
Outside Italy, the trio sonata was coined by Johann Heinrich Schmelzer with his " Duodena Sonatorum Selectarum " of 1659, the works of Heinrich Biber ( " Harmonia artificiosa - ariosa ", 1670 ), and the six sonatas from " Musicalische pleasures " ( 1691) by Johann Pachelbel. In Northern Germany, we find Dietrich Becker's " First Part Zwey -voice sonatas and suites " of 1674, as the culmination of this period, Dietrich Buxtehude from seven trio sonatas existing collections op 1 and op 2 ( 1696 ), in which some of the gamba second melody instrument is used.
In England, John Jenkins is taking in advanced age with some Trio suites, the new terrain. Twelve Sonatas for two violins and bass are him - not sure - attributed; they could not be found so far, but are considered as first composed in England Trio Sonatas Italian style. Apart from this, in 1653, published in Innsbruck three sonatas by William Young are the first English works of the genre.
The Italian-born French court composer Jean -Baptiste Lully with his Trios pour le coucher du roi and Marin Marais with its Lully dedicated viol works (1686) and the Sonata for violin, viola da gamba and continuo with the programmatic title " Sonnerie de Saint Geneviève du Mont de Paris ' trio are examples of the last two decades of the 17th century.
Late Baroque
Leading the way for the creation of the following generation of composers for the type of the late Baroque ( " da chiesa " church sonatas ) Trio Sonata can Arcangelo Corelli's Opus 1 ( 1681) and op 3 indicate, with the typical for the Emilian Violinschule block change slow-fast -slow- quickly. The individual records are mostly fugati, in the passages, the bass voice is included. His chamber sonatas ( " da camera " ), Op 2 and Op 4 ( 1695), starting with a slow " Preludio ", followed by two to three dance movements ( Allemande, Corrente, Gavotte, Gigue, Sarabande ). Corelli waived in these compositions on outstanding virtuosity, this makes them interesting for lovers and offers the professional musician variety of design options. Just to Corelli's lifetime, there were a total of 78 reprints of these works, this suggests its extraordinary popularity and widespread dissemination. The first published collection of a woman composer of instrumental works of all is the 1693 published in Bologna, Op 16 by Isabella Leonarda, in the eleven trio sonatas are included.
The following heyday of Corelli crucial embossed Italian trio sonata, the works of Tomaso Albinoni (Op. 1, 3 and 8) and the sonatas of Legrenzi 's pupil Antonio Caldara emerged ( op 1 ( 1693) and op 2 (1699 ) ) who - himself a cellist - some sonata movements were annexed an obbligato cello part. Many of the fast movements of the latter two are fully elaborated three -part fugues. From the beginning of the 18th century the sonatas by Francesco Antonio Bonporti (op. 4 (1704) ) and by Antonio Vivaldi originate (whose first publication, "Sonata da camera " op 1 of 1705). You start with a da chiesa -like prelude, followed by dancing. Vivaldi's works collection op 5 also includes two trio sonatas. Several sonatas by Vivaldi (Op. 1, No. 8, 11 and Op 5 No 6), in several sentences have the structure of a concertante solo sonata. While the first violin throughout takes the melodic lead, the second voice accompanied supplement the ostinato bass. The sonatas Opus 3 of 1712 associated with Munich and Brussels Italian Evaristo Dall'Abaco are usually in three movements.
In Germany Georg Philipp Telemann composed around 140 trio sonatas, of which about one-third of Corelli follow structures. Telemann emphasized in 1718 in his " life - fluidized " to be obliged Corelli and appears proud that his trio sonatas of Corelli would be appreciated because of their virtues. In addition, written by him Overture in the French style suites or sonatas with Slavic folk music entlehntem rhythm as the two sonatas polonesi. The majority of Telemann's trio sonatas were " for the amusement of great princes and lords, to entertain distinguished guests, bey wonderful meals " determined, but also for the Collegia Musica in Leipzig, Frankfurt and Hamburg, which he directed himself. In his collection of sonatas Essercizii Musici Telemann published trio sonatas for various occupations of the upper voices, in addition to the violin he set the time came into fashion " flute traversière " ( flute ) and oboes, recorders, viols and a harpsichord obbligato.
Furthermore be mentioned that George Frideric Handel works attributed op 2 ( issued in London this from publisher Walsh Opus are three early works, the so-called " Dresden Sonatas ", included). Handel's chamber sonatas op 5 of 1739 also often begin with a Da- Chiesa - introduction, followed by several dance movements. Less active in the Trio Sonata in the narrow sense was Johann Sebastian Bach BWV 1039 with the works and the Trio Sonata from the Musical Offering, BWV 1079th The authorship of the sonatas BWV 1036-1038 is assured beyond reasonable doubt. He developed a special form of trio sonata for a solo instrument and harpsichord, in which the harpsichord and the bass - in the right hand - took over the second upper voice. So he wrote sonatas for harpsichord and violin concertante ( BWV 1014-1019 ), flute ( BWV 1030-1032 ) and viola da gamba ( 1027-1029 ). Designed Similarly, the early works Wq 144-147, which created the 17 -year-old Carl Philipp Emanuel Bach. With the six trio sonatas BWV 525-530 Johann Sebastian Bach was the principle of the trio sonata on the organ. By Jan Dismas Zelenka, who worked in Dresden, come six trio sonatas ( ZWV 181, probably 1721/22 ) for two oboes, bassoon and basso continuo. By de facto independent, virtuous leadership of the bassoon part is works for three melodic voices and continuo, so actually to " Quartets ".
In France they closed up long, rather for political reasons, any Italian influence. The Tragédie lyrique, coined by Jean -Baptiste Lully under Louis XIV, was the main music genre, whose care the Académie Royale de Musique particularly respected. From about 1700 young composers ventured for the first time, inspired by the charm of the works of Corelli, to the reunification of the Italian and French taste, in which the perfection of the music was to be found. Even under a pseudonym François Couperin published his first trio sonatas, while in 1724 with the six-movement " Grande Sonate en trio 'Captain Corelli's music collection recorded in the Parnassus. In the book " L' Apothéose de Lully " of 1725, with a final " As - Chiesa " Trio Sonata in which Couperin the Master Lully and Corelli can jointly celebrate the union of the French and Italian style solemnly. As the creator of another French trio sonatas are found: Jean- Fery Rebel with 1695 created Recueil de Douze Sonatas, Élisabeth Jacquet de La Guerre ( Four Sonatas of 1695), André Campra, Joseph Bodin de Bois Mortier, Louis -Nicolas Clérambault with his Sonata " La Magnifique " and JJ de Ville Mondo ( Opus 2). Jean Marie Leclair was instructed by Corelli's pupil Giovanni Battista Somis and presented with his sonatas Opus 4, 13 and 14 ( posthumously ) a final climax of the French trio sonata is, after he had already done before with solo sonatas a name. The bridge to the galant style with main and secondary voice can be found in the resultant after 1740 works by Louis -Gabriel Guillemain and Jean Philippe Rameau Pièces de clavecin en with his concerts.
Henry Purcell in England also treading the paths of the Italian style, but Purcell takes over French elements and the tradition of English consort music in his 22 works on the genus. The first volume of 14 sonatas was published in 1683; another ten sonatas in 1697, two years after his death, published. John Ravenscroft with its held in Corellistil Sonatas Opus 1 and 2 made his posthumous name, because eight of his trio sonatas in 1740 incorrectly as Corelli's Opus 7 went to Paris in pressure. England trio sonata landscape has also been enriched by emigrated composers such as Johann Christoph Pepusch, Francesco Geminiani, Francesco Nicola Haym and Felice Giardini.
In the English bourgeoisie, the trio sonata enjoyed the longest great popularity. This let the numerous reprints of Walsh and other publishers realize until the beginning of the 19th century. This also testify to the numerous contemporary, writing held expressions of contemporary English music lover and biographer Roger North.
The gallant style
The strict requirements of Baroque music were left to Rococo and it sat gallantly from 1740, the style by. Increasingly find themselves now works in the place of the fugue-like structure of the first upper voice a solo part is transmitted while the second voice often denies an accompanying part. In the time of origin of this style fall the works of the older masters of the Mannheim School. To name Likewise, the acting at the court of Frederick the Great Graun brothers that left more than 200 Trio Sonatas, Johann Joachim Quantz and 29 trio sonatas of Carl Philipp Emanuel Bach, between 1731 ( Wq 143) after baroque model and in 1765 composed progressively the detachment from traditional style to illustrate. In his Sonata " conversation between a Sanguineus and Melancholicus " ( Wq 161/1 Nuremberg 1751 ), the Bach son drew before the Themendialektik of classical music. The early Church Sonatas for Two Violins and basso continuo organ accompaniment by Wolfgang Amadeus Mozart are among the last of their kind in the German-speaking world before the symphonic style replaced the trio sonata.
The Italian composer this development of Trio Sonata in Giovanni Battista Sammartini, Pietro Nardini (1760 ), Carlo Tessarini and Pietro Locatelli (op. 5 of 1746 and Op 8) to pursue. Gaetano Pugnanis op 1, 3 and 9 are already precursor of the last works in this genre by Luigi Boccherini and Giovanni Battista Viotti, where the first signs of burgeoning romance are identified.
With the increasing autonomy of the individual voices of the basso continuo era was nearing its end. More and more, created new forms. From the end of the 17th century we find the Violin Sonata, which still took first with basso, later based on the type of sonata with obbligato harpsichord style. The string trio and piano trio, and string quartet took over the dominant role in chamber music in the subsequent period.
Exploration of the trio sonata
The musicologist Ludwig Finscher received in 2006 in Rome, the Balzan Prize. Half of associated with a total prize money of one million Swiss francs devoted Finscher a project of a systematic study of the trio sonata at the University of Zurich, which will extend over the period from 2007 to March 2012. It is expected a catalog of more than 10,000 plants of the genus, probably around 1,200 collections.