Sonata na skrzypce solo w siedemnastowiecznych Włoszech:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawn. Uniw. Wrocławskiego
2005
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
Musicologica Wratislaviensia ; 2 Acta Universitatis Wratislaviensis 2847 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Sonata for a violin solo in seventeenth-century Italy |
| Beschreibung: | 314 s. Notenbeisp. 24 cm |
| ISBN: | 8322927096 |
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| 490 | 1 | |a Acta Universitatis Wratislaviensis : Musicologica Wratislaviensia |v 2 | |
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| 500 | |a Zsfassung in engl. Sprache u.d.T.: Sonata for a violin solo in seventeenth-century Italy | ||
| 505 | 0 | |a Bibliogr. s. 290-296, dyskogr. s. 296-297. Indeks | |
| 648 | 4 | |a Geschichte 1600-1700 | |
| 648 | 7 | |a Geschichte 1600-1700 |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Music / Italy / 17th century / History and criticism | |
| 650 | 7 | |a Muzyka skrzypcowa / 17 w / historia i krytyka |2 jhpk | |
| 650 | 7 | |a Sonaty (skrzypce) / 17 w / historia i krytyka |2 jhpk | |
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Datensatz im Suchindex
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| adam_text |
Spis treści
Wstęp
. 7
1.
Przedmiot i zakres pracy
. 7
2.
Stan badań
. 8
I.Twórcy i ośrodki
. 11
1.
Veneto
. 1 ]
2.
Lombardia, Piemont i
Liguria
. 16
3.
Emilia-Romania .
18
4.
Lazio, Marche
i Toskania
. 29
II.
Problematyka gatunku
. 49
1.
Definicja sonaty barokowej
. 49
2.
Gatunki blisko spokrewnione z
sonatq a
różnorodność terminologiczna
. 54
3.
Terminologia obsadowa a kwestia instrumentacji partii
continuo
i sposobu wydania
. . 59
4.
Funkcje
. 76
5.
Tytuły utworów
. 81
III. Forma i styl
. 83
1.
Sposoby kształtowania formy i ich interpretacja. Wieloodcinkowość a wieloczęściowość
83
2.
Forma canzonowa a cykl
do chiesa
. 94
3.
Tonalność i jej rola w architektonice sonaty skrzypcowej
. 102
4.
Techniki kompozytorskie i ich wpływ na kształtowanie sonaty skrzypcowej
. 111
5.
Styl
. 128
IV.
Technika skrzypcowa
. 144
1.
Idiom skrzypcowy w baroku
. 144
2.
Skala
. 146
3.
Operowanie barwą brzmienia
. 149
4.
Technika lewej ręki: pozycje, aplikatura
. 157
5.
Motywika skrzypcowa, wielodźwięki
. 163
6.
Ozdobniki i formuły dyminucyjne
. 168
7.
Technika prawej ręki, smyczkowanie, artykulacja
. 176
Wnioski
. 184
Aneksy
. 189
A. Transkrypcje materiału źródłowego
. 190
B. Tabele
. 230
С
Schematy formalne
. 241
312
SPIS TREŚCI
Bibliografia
. 290
Wybrana dyskografia
. 296
Summary
. 298
Indeks osób
. 304
Contents
Introduction
. 7
ì
.
Subject and scope of the book
. 7
2.
Actual state of research
. 8
I.The composers and the centres
. 11
1.
Veneto
. 11
2.
Lombardy,
Piedmont and
Liguria
. 16
3.
Emilia-Romagnia
. 18
4.
Lazio, Marche
and Tuscany
. 29
II.The genre
problématique
. 49
1.
Definition of the Baroque sonata
. 49
2.
Genres closely related to sonata and variety of nomenclature
. 54
3.
Scoring terminology, instrumentation of
continuo
part and printing devices
. 59
4.
Functions of violin sonata
. 76
5.
Naming sonatas with special titles
. 81
III.The form and the style
. 83
1.
Formal designs and its interpretation. Multi-sectional vs. multi-movement structure
. . 83
2.
Canzona
form and the
da chiesa
cycle
. 94
3.
Tonality and its role in composing violin sonata
. 102
4.
Compositional techniques and their influence on violin sonata
.
Ill
5.
Style
. 128
IV. The violin technique
. '44
1.
Violin idiom in the Baroque era
. 144
2.
Range requirements
. 146
3.
Varying the timbre
. 149
4.
Left-hand technique: positions, fingering
. 157
5.
Violinistic figures, chordal playing
. 163
6.
Embellishments and diminution formulas
. 168
7.
Right-hand technique: bowing, articulation
. 176
Conclusions
. 184
Appendices
. 189
A. Transcriptions of source material
. 190
B. Tables
. 230
С
Analytical diagrams
. 241
3
1 4
CONTENTS
Bibliography
. 290
Selected discography
. 296
Summary
. 298
Index
. 304
Sonata for a violin
solo
in
seventeenth-century Italy
SUMMARY
The subject-matter of the work is a seventeenth-century Italian sonata for a violin solo and
continuo,
its form and the technique. For the needs of the work, all known and preserved old prints and manu¬
scripts with the Italian violin sonatas of the discussed period have been analysed (altogether there are
220
compositions of thirty composers' authorship, see:
Wykaz
I [Index I] and
Aneks
A [Appendix A]).
Classified as Italian were the works of the Italian composers writing in Italy and at the Italianised
European courts. The time frame chosen begins in
1617
with the first in history edition of solo sonatas
from Biagio Marini's
Affetti musicali,
Op.
1,
and ends with the manuscript collection of Carlo Ambro-
gio Lonati, which was dated to the January of
1701,
though, finding its concordances in the copies of
Colombi
from before
1694.
I. THE COMPOSERS AND THE CENTRES
The artistic activity in the field of a solo violin sonata in seventeenth-century Italy have taken place
in accordance to the following scenario. In
1617-1641
the primacy was being held by
Veneto
province,
with Venice, Brescia, Padua,
Adria,
Spalato
and
Lesina,
where Biagio
Marini,
Giovanni
Battista Fontana,
Dario
Castello, Innocentio Vivarino and Tomaso Cecchino
were working in. This period of time is
marked by the date of Marini's Op.
1
publication
(1617)
and the posthumous edition of Fontana's
sonatas
(1641).
Within that time, six collections appeared in print, for various instrumental settings
(1617, 1620, 1628, 1629, 1629,1641),
in which thirty solo violin sonatas with basso
continuo
were pub¬
lished. Beyond the fixed period of time, one should mention the reprint of Castello's
libro secondo
(1644)
and also late and somewhat accidental publication of Giovanni
Bonaventura Viviani (1678),
shortly associated with Venice. For a long time in Venice also the composers from outside
Veneto
were publishing their collections of solo violin music (Ottavio Maria
Grandi, Girolamo
Frescobaldi,
Marco
Uccellini, Maurizio Cazzati, Agostino Guerrieri),
which supplement the production of the
centre with additional twenty nine compositions.
The years of
1641-1663
and
1674-1694
is a period of the artistic activity, in
Modena,
of Marco
Uccellini
at the court of Francesco I and Giuseppe
Colombi
and Giovanni
Battista Vitali
at the court
of Francesco II
d'Esté.
Within these years four
Modenese
publications appeared
(1645, 1649, 1660,
1689),
which comprised twenty four solo violin sonatas, including the first in history collection entire¬
ly devoted to the genre (Uccellini's
Sonate
over
canzoni
from
1649).
Moreover, in the manuscripts
ascribed to
Colombi
nineteen sonatas from
1674-1694
have been preserved, which gives the number
of forty three compositions all together.
In
1676-1696
an intensified production of violin sonatas took place in Bologna. However, this time
frame do not comprise the earlier publications of the closely associated with the city composers:
Ottavio Maria
Grandi
(1628),
Bartolomeo Montalbano
(1629)
and Mauritio
Cazzati
(1648).
Along
with the works of
Pietro Degl'Antonii, Clemente
Bernardino
Rozzi,
Giuseppe Jacchini,
Giacomo
Predieri, Carlo Mazzolini and Antonio
Montanari,
the centre bequeathed, in six prints
(1628, 1629,
1648, 1676, 1686,
ca
1695)
and Torelli's manuscript (ca
1696),
thirty six solo sonatas.
SUMMARY
299
In the years of
1675-1700
Rome became an issue, which was mainly due to the activity of
Arcan¬
gelo
Corelli, Carlo
Mannelli
and
Alessandro Stradella.
As the beginning data, the first documented
evidences of Corelli's artistic activity in Eternal City have been accepted, together with the dating of
the manuscripts that include Corelli, Manelli and Stradella's solo sonatas. Prior to this period, comprised
of thirty six compositions, the prints of Girolamo Frescobaldi
(1628-1634)
and Giovanni Antonio
Leoni
(1652)
were published. Therefore, the overall number of the works in all Roman publications
(1628-1634, 1652, 1700)
and manuscripts (ca
1630,1675-1682)
reaches fifty six solo sonatas altogether.
In the years of
1660-1701
the violin sonatas of Giovanni Antonio Pandolfi Mealli, Giovanni
Bonaventura Viviani,
Angelo Berardi, Agostino Guerrieri, Aldebrando Subissati,
Isabella
Leonarda
and Carlo Ambrogio Lonati originated. They were composed far from the centres mentioned before¬
hand
-
in Innsbruck, Viterbo, Genoa, Fossombrone,
Novara
and Milan. In general, fifty five sonatas
originated from these centres, either published
(1660, 1660, 1670, 1673, 1678, 1693)
or preserved in
the manuscripts
(1675-1676,
before the January of
1701).
II. THE GENRE
PROBLEMATIQUE
The usage in the present musical literature of a wide and non-generic term, the Baroque sonata, as
a composition "to play" (the idea taken from Italian
sonare),
with indication of its destination for da
chiesa or
da camera, cause many misunderstandings. The division of sonata into the sonata
da chiesa
and the sonata da camera had been used locally only during the last quarter of the 17th century, that
is, before the terms of
suita,
partita and divertimento were introduced for a wider usage. The analysis
of the source material and the definitions of
Sébastien De Brossard
(Dictionaire
de Musique,
1703),
Tomas
Baltazar Janovka (Clavis
ad thesaurům,
1701)
and
Johann
Matthesson (Das Neu-Eröffnete
Orchestre,
1713)
incline to designate the genre of abstract music most often described, in the 17th
century and the later epochs, simply as sonata, as the Baroque sonata. They incline also to the exclusion
all dance-forms, variations based on ground bass and the pictorial and programmatic compositions,
from a range of this definition, as separate genres of music.
In general, the seventeenth-century sonata is a long, improvisatory in its character composition
(particularly a solo sonata), limited neither by a rhythmic formula nor by a metre of a particular dance,
comprised of the succession of adagio and allegro sections, varied by means of changes in a mood,
style, texture, key or a metre. Such compositions occasionally existed by the name
oí
canzona, sinfonia
or toccata. In the analysed material, these are, however, marginal cases, resulting either from the weak
consciousness of the genre distinctiveness, which is found among the composers of the beginning of
the 17th century (e.g. Frescobaldi, Montalbano) or from the practice of combining, within one com¬
position, the styles of various genres (e.g.
Uccellini, Leoni,
Berardi) or else, from the regional varie¬
ties of music nomenclature typical of separated into many state-cities Italy (e.g. Stradella,
Mannelli).
Against the prevailing present classifications, wrongly reducing all the richness of the Baroque
sonata's scorings merely to the "solo" and "trio" sonata, the analysis of the sources allows to acknowl¬
edge as the proper sonata for a violin solo only these compositions that were described, in the 17th
century, by the term of sonata
a uno,
and to exclude from a range of the work the sonatas a due for
a violin, a melodic bass and basso
continuo
(SB/bc),
in many significant publications treated improp¬
erly as the solo sonata (e.g. M. Bukofzer, Music in the Baroque Era,
1947,
WS.
Newman, The Sonata
in the Baroque Era,
1972).
The alleged lack of consequence in the Baroque setting nomenclature is
found to be the inconsistency of the musicologists who designate the sonatas a
2
in the SB/be scoring
as the "solo" ones and the sonatas a
2
in the SS/bc scoring as the "trio" sonatas, while naming both
identical settings in vocal music duets. The statements from the epoch, the editorial and performing
notes found in the researched scores and quoted in the work prove that the seventeenth-century violin
sonata was being usually played with the accompaniment of one only instrument
continuo,
mostly
the organ, and occasionally only the harpsichord, lute,
violone or
the violoncello.
The sonata has taken over from the
canzona,
as its direct derivative, the same musical functions,
that is, of music appropriate to the liturgy, concertos in academies, didactics and private home enter-
300
SUMMARY
tainment. The seventeenth-century testimonies and the prefaces of the musical prints being discussed
here point out that the most accurate moment for the performance of a violin solo sonata during the
mass were
Elevatio
and
Communio,
while during the vespers it was played on the opening or instead
of the antiphons (e.g. the sonatas of Vivarino,
Cecchino, Leoni
and
Subissati).
The most numerous
group of the discussed works, considering the dedications and a virtuosic character, one may connect
with the academic context (especially the sonatas of Montalbano,
Marini, Uccellini, Pandolfi, Cazzati
and
Degľ
Antonii).
In case of a few sonatas only it would be proper to mention an explicitly didactic
destination (the sonatas of
Colombi, Uccellini or Corelli's
Op.
5).
III. THE FORM AND THE STYLE
The analysed material proves that the multi-sectional and multi-movement structures were two
models of the Baroque sonata form, used alternatively from the beginning of the 17th century. The
multi-sectional form was not a more primitive model predicting the development of the later multi-
movement form, as the multi-sectional procedure was used in the eighteenth-century sonata also, to
create one at least of its movements, usually the first. The multi-movement forms predominated
during both the first and the second half of the 17th century
(63%
of survived solo sonata output).
There is no existing direct convergence between small sizes of sonata and an increased tendency of
such a composition to assume the multi-sectional form, as there is no such a convergence between big
sizes of sonata and the multi-movement form. Already in the first solo sonatas, one can find the
extensive multi-sectional forms (larger than
150
measures) and in the sonatas from the end of the cen¬
tury the small-sized multi-movement forms (smaller than
80
measures). The evolution of the seven¬
teenth-century violin sonata form did not lie in a gradual increase in its size and a transformation of
the small sections into bigger movements, but rather on a reduction of a great variety of the formal
ideas and the creation of a perfectly stylistically evaluated standard of the four- or five-movement
form, which would be treated as commonly replicated norm within the next century.
From the very beginning the sonata, by the reason of its functions, was strongly influenced by the
style of madrigal, motet or vocal monody. The multi-sectional mosaic structure was best suited for
dramatising the expressive course of the first sonatas in a way of the mannerist madrigals or the early
Baroque concertos and monodies. During the second half of the century, when the codifying trends
became more intense, yet long before Corelli, the artists such as
Leoni
(1652),
Pandolfi
(1660),
Subis¬
sati
(1676)
and Stradella
(1676)
developed their own standardized formal models. Belonging to the
older generation
Leoni
based his sonata on
canzona
form, therefore, the multi-sectional structure
within the three-phase metric framework (quadruple
-
triple
-
quadruple) still dominates in his com¬
positions. In his two-movement sonatas,
Subissati
used the multi-sectional structure in the first move¬
ment and a clear suite-like periodical structure in the second one. In case of Pandolfi and Stradella
one can mention the multi-movement form predicting the type of Corellian sonata
da chiesa.
Never¬
theless, for a long time before Corelli's well-proportioned form was broadly accepted as a model,
various solutions were being tested, which is best illustrated by the sonatas of Berardi
(1670),
Guerrieri
(1673),
Degl'Antoni!
(1676-1686),
Viviani
(1678)
and
Colombi
(1674-1694).
After the replacement
of the early Baroque multi-sectional structures with the multi-movement forms, the sonatas have lost
a bit of the richness of their expression and became much easier in perception. Still, even at the end
of the 17th century, the composers such as
Colombi, Torelli, Lonati
and Corelli were introducing
strong contrasts and the multi-sectional procedure into at least one movement of the sonata, mostly
the first, considering the fresh perception of the listener.
In the violin sonatas of the period also the abandonment of the
canzona
form's scheme (e.g. the
sonatas of Vivarino,
Cecchino,
Frescobaldi,
Uccellini
and
Leoni)
have been finally executed, in favour
of genetically bound up with sonata the through-composed form (e.g. the sonatas of
Castello, Marini,
Pandolfi, Berardi,
Subissati,
Stradella,
Degl'Antonii, Colombi,
Lonati and Corelli). Definitely, the
SUMMARY
301
biggest number of the through-composed forms in the whole analysed period
(78%)
affirms the
credibility of Brossard's definition, according to which a sonata is a contrasted internally composi¬
tion. The recapitulation structures were being used seldom
(17%),
though throughout the whole cen¬
tury (until
Colombi, Torelli
and Corelli). The variation forms were being most rarely constructed
(5%)
and during the first half of the century only. The Italian violin sonata of the 17th century
comprises of two to eight movements, however, the three-, four-, or five-movement constructions
are prevailing.
From motet, madrigal and
dramma
per
musica,
the composers of sonatas have adopted the practice
of creating rich tonal planning of a piece, in which the beginning and the end of a composition
explicitly define the main mode, while in the middle of the work various subsidiary modes and har¬
monic modulations are being introduced. Looking at the plan of cadences of the analysed sonatas, by
no means it is not likely to notice the dependence between the multi-sectional structure and the bigger
choice of
claves
clausularum and also, between the multi-movement form and the more modest plan
of cadences. Free choice and variety of
cadenze irregolari
and commixtio tonorum within the early
sonatas, in the second half of the 17th century transformed into the practise of composing one of the
internal movements of the cycle in a different mode (in parallel, mediant or dominant relationship to
the main mode). In Italian violin sonata of the 17th century one can notice some vital changes, which
at that time took place regarding the tonal language: a reduction of different modal types leading to
the polarized major/minor system, an increase in the number of mode's transpositions preparing the
multiplicity of keys of the well-tempered system and, finally, an increasing role of the fifth and third
relationships, which foreshadows formulating the rules of the functional system.
In the Italian violin sonata of the
1
7th century the most significant Baroque techniques such as
the imitation, fugue, variation, concerto and
monodie
technique were used. To some extent by the power
of the sixteen-century tradition, the usage of the imitation technique prevails in the compositions
created at the beginning of the 17th century and, which is important, not in the works of the violinists,
but the organists (Vivarino,
Cecchino, Frescobaldi).
These works, likewise the canzonas of the time,
open with an imitative exordium-like section and still, basso
seguente
dominates in them. In other
sonatas of the first half of the 17th century, usually after the introductory adagio, small-sized canons
and based on short
canzona
themes fugues are introduced, while at the end of the century, well-devel¬
oped fugues based on themes of
soggetto
and
andamento
type are used.
In the middle of the 17th century, in
1630-1670
entirely
monodie
type of sonata was exclusively
cultivated, with a real long-note fundamental bass, on the background of which the violin led a free,
improvisation-like and highly ornamental melodic line. Evidently, in the whole material being discussed,
the
monodie
sonatas dominate in terms of their quantity; they constitute more or less
80%
of the ana¬
lysed sonatas.
The concerto technique was most frequently applied to the compositions of ambivalent character
between a
1
and a
2
type
-
to the solo sonatas with the possible addition of a melodic bass ad libitum
(some sonatas of
Marini
and
Cazzati)
and to the violin-violoncello duets popular during the last
quarter of the 17th century (the sonatas of Stradella,
Rozzi, Berardi,
Corelli, Lonati). Often, in the
extensive sections of the violin-violoncello sonata, the melodies of both the parts are of equal impor¬
tance. Occasionally, when the violoncello soloistic melody is accompanied by chordal violin part, even
momentary reversal of the roles takes place.
The variation technique was used very rarely. Yet in the first half of the 17th century, the proce¬
dures known from the variation
ricercar
(the theme sectioning, diminution, augmentation, inversion,
rétrogradation)
were employed. However, variation on a ground bass, more typical of suite, has not
been commonly adapted. This kind of variation was used exceptionally by the artists working at the
Italianised Austrian courts
(Pandolfi, Viviani, Subissati)
and was used once by Corelli (Op.
5,
no.
5/iv).
302
SUMMARY
An intensified tendency, in the second half of the century, to unify the sonata through the proce¬
dures such as the similar
incipit
opening each of the movements
(Vitali, Lonati),
the repetition of the
whole
fugai
movement in a different metre at the end of the composition (Corelli,
Torelli, Colombi),
the introduction of the variations on ground bass, or a rehabilitation of the imitation and concerto
techniques, led to the development, in the last quarter of the century, of the through-composed cyclic
form, in which, from that time, the imitation, variation, concerto and monody techniques were sup¬
posed to coexist in harmony. To the great attractiveness and expressional wealth of the such constructed
sonata best testifies the success of the sonatas from Corelli's Op.
5.
Moreover, this well-balanced
form not only become a model for the sonata production in the late Baroque, but also a new developed,
derived musical genre was based on it
-
the instrumental concerto (e.g. the concertos of Corelli,
Taglietti, Gentili
and others)
.
The solo violin sonata, as a genre from its definition favourising whatever the expressions of
virtuosity and spectacular effects, is a good example of a stylistic
Wellness
of the Baroque. In the violin
sonatas one can find the pronounced influences of many musical genres both instrumental and vocal:
canzona,
suite,
ricercar,
toccata,
battaglia,
concerto, motet, cantata and vocal monody. The
canzona
stylistics the most intensely permeated into the sonata, which is quite evident, considering the genetic
relationship between both the genres. The important factor influencing the development of the sonata
form was also the growing impact of suite stylistics during the second half of the 17th century. It lied
in the simplification of the sonata's tonal planning, the introduction of dancing-formulas, the
ostinato
variation and, becoming more and more explicit quasi-periodical structure. The hybridization of the
sonata and suite was initiated by the works of
Pandolfi, Berardi, Subissati
and Viviani (in
1660-1678).
Before Corelli, it is hard to speak of any existing generally accepted stylistic model of sonata, it would
be also difficult to point out any essential technique similarities that would allow persuasively connect
the composers mentioned above to any group or school. This is due to the originality and artistic
individuality that were valued the most at that time. Nearly every composer reflects an individual
stylistic category.
IV. THE VIOLIN TECHNIQUE
The
1
7th century is regarded as a period of the development of the violin idiom. In the violin
sonatas from
1617-1634
the solo part is still non-idiomatic, it can be played either by a violin,
a cor¬
netto
or by a recorder. This resulted from the fact that the works were published in the mixed vocal-
instrumental collections intended for church performance, at that time still often dominated by the wind
instruments. From the end of the 1620s, the collections of sonatas expressively exploiting the violin
idiom have begin to appear.
The Italian solo sonata, in contrary to the solo suite, turns into a music gender somehow reserved
to the bravest experiments in terms of the violin technique. Already in the solo sonatas of the first half
of the 17th century the violin range was expanded to three octaves and first attempts of multiple-stop¬
ping,
scordatura
and playing within the seventh position were made. In the last quarter of the 17th
century one can observe the vital change in motif, figuration and ornamentation types. It was the final
departure from modelising the solo part on sixteen-century vocal diminution schemes. From now typi¬
cally violinistic leaps, chordal playing,
bariolage
and arpeggio figures was practiced. The basic difference
between the violinistic technique used in the
monodie
sonatas with the organ accompaniment and the
concerted sonatas accompanied by violoncello or harpsichord became noticeable. In the
monodie
so¬
nata, developing mostly
monophonie
aspects of a violin play (range exploration or
motorie
skills), its
relations to vocal music are evident. It is manifested in the embellishment and diminution formulas'
types, and relatively frequent use of seconds in a melodic line of the soloist. In the violin-violoncello
duet the typically violin chordal motifs find its expression more decidedly, there also appear multiple-
stops, dialoging of planes, and peculiar to a violin types of figurations and bowings. The most compli¬
cated in terms of the violin technique are sonatas of
Marini,
Uccellini,
Pandolfi, Lonati and Corelli.
SUMMARY
303
CONCLUSIONS
The plentiful testimonials of admiration for the best violinist of the epoch, the tone of the descrip¬
tions of their performances and the unprecedented fame of Corelli indicate that after the
castrati,
the
violin virtuosi were the most admired musicians of the Baroque period. Nevertheless, from the great
number of the names of the most splendid violinists of seventeenth-century Italy, only one has survived
to our days
-
Arcangelo
Corelli. His
Sonate a violino e violone
o címbalo,
Op.
5,
due
to the unprece¬
dented number of reprints, quickly became a model for the artists of the 17th century to imitate and,
lastingly, established the popularity of an Italian violin sonata in the whole world. Looking from the
perspective at the works of Corelli's predecessors
-
the ones that have survived up to the present and,
therefore, could become the subject of the work
-
it is evident that Corelli in a magnificent way had
summarized the many years' experiences of his predecessors in terms of form, texture, style and tech¬
nique, and transformed them artistically reaching almost classical order, moderation and balance. In
Italy, these features did not value much before the year of
1700.
At that time they were valued the
most for the uncontrollable invention, extravagation and extreme individuality, in which the compos¬
ers such as
Marini, Uccellini,
Pandolfi Mealli, Degl'Antonii and Lonati were leading. The fascinating
originality of their works, now forgotten owing to the lack of contemporary publications and the
adequate monographic studies, were the main reason for taking up this subject in the work.
Translated by
Agnieszka Wiszewska |
| adam_txt |
Spis treści
Wstęp
. 7
1.
Przedmiot i zakres pracy
. 7
2.
Stan badań
. 8
I.Twórcy i ośrodki
. 11
1.
Veneto
. 1 ]
2.
Lombardia, Piemont i
Liguria
. 16
3.
Emilia-Romania .
18
4.
Lazio, Marche
i Toskania
. 29
II.
Problematyka gatunku
. 49
1.
Definicja sonaty barokowej
. 49
2.
Gatunki blisko spokrewnione z
sonatq a
różnorodność terminologiczna
. 54
3.
Terminologia obsadowa a kwestia instrumentacji partii
continuo
i sposobu wydania
. . 59
4.
Funkcje
. 76
5.
Tytuły utworów
. 81
III. Forma i styl
. 83
1.
Sposoby kształtowania formy i ich interpretacja. Wieloodcinkowość a wieloczęściowość
83
2.
Forma canzonowa a cykl
do chiesa
. 94
3.
Tonalność i jej rola w architektonice sonaty skrzypcowej
. 102
4.
Techniki kompozytorskie i ich wpływ na kształtowanie sonaty skrzypcowej
. 111
5.
Styl
. 128
IV.
Technika skrzypcowa
. 144
1.
Idiom skrzypcowy w baroku
. 144
2.
Skala
. 146
3.
Operowanie barwą brzmienia
. 149
4.
Technika lewej ręki: pozycje, aplikatura
. 157
5.
Motywika skrzypcowa, wielodźwięki
. 163
6.
Ozdobniki i formuły dyminucyjne
. 168
7.
Technika prawej ręki, smyczkowanie, artykulacja
. 176
Wnioski
. 184
Aneksy
. 189
A. Transkrypcje materiału źródłowego
. 190
B. Tabele
. 230
С
Schematy formalne
. 241
312
SPIS TREŚCI
Bibliografia
. 290
Wybrana dyskografia
. 296
Summary
. 298
Indeks osób
. 304
Contents
Introduction
. 7
ì
.
Subject and scope of the book
. 7
2.
Actual state of research
. 8
I.The composers and the centres
. 11
1.
Veneto
. 11
2.
Lombardy,
Piedmont and
Liguria
. 16
3.
Emilia-Romagnia
. 18
4.
Lazio, Marche
and Tuscany
. 29
II.The genre
problématique
. 49
1.
Definition of the Baroque sonata
. 49
2.
Genres closely related to sonata and variety of nomenclature
. 54
3.
Scoring terminology, instrumentation of
continuo
part and printing devices
. 59
4.
Functions of violin sonata
. 76
5.
Naming sonatas with special titles
. 81
III.The form and the style
. 83
1.
Formal designs and its interpretation. Multi-sectional vs. multi-movement structure
. . 83
2.
Canzona
form and the
da chiesa
cycle
. 94
3.
Tonality and its role in composing violin sonata
. 102
4.
Compositional techniques and their influence on violin sonata
.
Ill
5.
Style
. 128
IV. The violin technique
. '44
1.
Violin idiom in the Baroque era
. 144
2.
Range requirements
. 146
3.
Varying the timbre
. 149
4.
Left-hand technique: positions, fingering
. 157
5.
Violinistic figures, chordal playing
. 163
6.
Embellishments and diminution formulas
. 168
7.
Right-hand technique: bowing, articulation
. 176
Conclusions
. 184
Appendices
. 189
A. Transcriptions of source material
. 190
B. Tables
. 230
С
Analytical diagrams
. 241
3
1 4
CONTENTS
Bibliography
. 290
Selected discography
. 296
Summary
. 298
Index
. 304
Sonata for a violin
solo
in
seventeenth-century Italy
SUMMARY
The subject-matter of the work is a seventeenth-century Italian sonata for a violin solo and
continuo,
its form and the technique. For the needs of the work, all known and preserved old prints and manu¬
scripts with the Italian violin sonatas of the discussed period have been analysed (altogether there are
220
compositions of thirty composers' authorship, see:
Wykaz
I [Index I] and
Aneks
A [Appendix A]).
Classified as Italian were the works of the Italian composers writing in Italy and at the Italianised
European courts. The time frame chosen begins in
1617
with the first in history edition of solo sonatas
from Biagio Marini's
Affetti musicali,
Op.
1,
and ends with the manuscript collection of Carlo Ambro-
gio Lonati, which was dated to the January of
1701,
though, finding its concordances in the copies of
Colombi
from before
1694.
I. THE COMPOSERS AND THE CENTRES
The artistic activity in the field of a solo violin sonata in seventeenth-century Italy have taken place
in accordance to the following scenario. In
1617-1641
the primacy was being held by
Veneto
province,
with Venice, Brescia, Padua,
Adria,
Spalato
and
Lesina,
where Biagio
Marini,
Giovanni
Battista Fontana,
Dario
Castello, Innocentio Vivarino and Tomaso Cecchino
were working in. This period of time is
marked by the date of Marini's Op.
1
publication
(1617)
and the posthumous edition of Fontana's
sonatas
(1641).
Within that time, six collections appeared in print, for various instrumental settings
(1617, 1620, 1628, 1629, 1629,1641),
in which thirty solo violin sonatas with basso
continuo
were pub¬
lished. Beyond the fixed period of time, one should mention the reprint of Castello's
libro secondo
(1644)
and also late and somewhat accidental publication of Giovanni
Bonaventura Viviani (1678),
shortly associated with Venice. For a long time in Venice also the composers from outside
Veneto
were publishing their collections of solo violin music (Ottavio Maria
Grandi, Girolamo
Frescobaldi,
Marco
Uccellini, Maurizio Cazzati, Agostino Guerrieri),
which supplement the production of the
centre with additional twenty nine compositions.
The years of
1641-1663
and
1674-1694
is a period of the artistic activity, in
Modena,
of Marco
Uccellini
at the court of Francesco I and Giuseppe
Colombi
and Giovanni
Battista Vitali
at the court
of Francesco II
d'Esté.
Within these years four
Modenese
publications appeared
(1645, 1649, 1660,
1689),
which comprised twenty four solo violin sonatas, including the first in history collection entire¬
ly devoted to the genre (Uccellini's
Sonate
over
canzoni
from
1649).
Moreover, in the manuscripts
ascribed to
Colombi
nineteen sonatas from
1674-1694
have been preserved, which gives the number
of forty three compositions all together.
In
1676-1696
an intensified production of violin sonatas took place in Bologna. However, this time
frame do not comprise the earlier publications of the closely associated with the city composers:
Ottavio Maria
Grandi
(1628),
Bartolomeo Montalbano
(1629)
and Mauritio
Cazzati
(1648).
Along
with the works of
Pietro Degl'Antonii, Clemente
Bernardino
Rozzi,
Giuseppe Jacchini,
Giacomo
Predieri, Carlo Mazzolini and Antonio
Montanari,
the centre bequeathed, in six prints
(1628, 1629,
1648, 1676, 1686,
ca
1695)
and Torelli's manuscript (ca
1696),
thirty six solo sonatas.
SUMMARY
299
In the years of
1675-1700
Rome became an issue, which was mainly due to the activity of
Arcan¬
gelo
Corelli, Carlo
Mannelli
and
Alessandro Stradella.
As the beginning data, the first documented
evidences of Corelli's artistic activity in Eternal City have been accepted, together with the dating of
the manuscripts that include Corelli, Manelli and Stradella's solo sonatas. Prior to this period, comprised
of thirty six compositions, the prints of Girolamo Frescobaldi
(1628-1634)
and Giovanni Antonio
Leoni
(1652)
were published. Therefore, the overall number of the works in all Roman publications
(1628-1634, 1652, 1700)
and manuscripts (ca
1630,1675-1682)
reaches fifty six solo sonatas altogether.
In the years of
1660-1701
the violin sonatas of Giovanni Antonio Pandolfi Mealli, Giovanni
Bonaventura Viviani,
Angelo Berardi, Agostino Guerrieri, Aldebrando Subissati,
Isabella
Leonarda
and Carlo Ambrogio Lonati originated. They were composed far from the centres mentioned before¬
hand
-
in Innsbruck, Viterbo, Genoa, Fossombrone,
Novara
and Milan. In general, fifty five sonatas
originated from these centres, either published
(1660, 1660, 1670, 1673, 1678, 1693)
or preserved in
the manuscripts
(1675-1676,
before the January of
1701).
II. THE GENRE
PROBLEMATIQUE
The usage in the present musical literature of a wide and non-generic term, the Baroque sonata, as
a composition "to play" (the idea taken from Italian
sonare),
with indication of its destination for da
chiesa or
da camera, cause many misunderstandings. The division of sonata into the sonata
da chiesa
and the sonata da camera had been used locally only during the last quarter of the 17th century, that
is, before the terms of
suita,
partita and divertimento were introduced for a wider usage. The analysis
of the source material and the definitions of
Sébastien De Brossard
(Dictionaire
de Musique,
1703),
Tomas
Baltazar Janovka (Clavis
ad thesaurům,
1701)
and
Johann
Matthesson (Das Neu-Eröffnete
Orchestre,
1713)
incline to designate the genre of abstract music most often described, in the 17th
century and the later epochs, simply as sonata, as the Baroque sonata. They incline also to the exclusion
all dance-forms, variations based on ground bass and the pictorial and programmatic compositions,
from a range of this definition, as separate genres of music.
In general, the seventeenth-century sonata is a long, improvisatory in its character composition
(particularly a solo sonata), limited neither by a rhythmic formula nor by a metre of a particular dance,
comprised of the succession of adagio and allegro sections, varied by means of changes in a mood,
style, texture, key or a metre. Such compositions occasionally existed by the name
oí
canzona, sinfonia
or toccata. In the analysed material, these are, however, marginal cases, resulting either from the weak
consciousness of the genre distinctiveness, which is found among the composers of the beginning of
the 17th century (e.g. Frescobaldi, Montalbano) or from the practice of combining, within one com¬
position, the styles of various genres (e.g.
Uccellini, Leoni,
Berardi) or else, from the regional varie¬
ties of music nomenclature typical of separated into many state-cities Italy (e.g. Stradella,
Mannelli).
Against the prevailing present classifications, wrongly reducing all the richness of the Baroque
sonata's scorings merely to the "solo" and "trio" sonata, the analysis of the sources allows to acknowl¬
edge as the proper sonata for a violin solo only these compositions that were described, in the 17th
century, by the term of sonata
a uno,
and to exclude from a range of the work the sonatas a due for
a violin, a melodic bass and basso
continuo
(SB/bc),
in many significant publications treated improp¬
erly as the solo sonata (e.g. M. Bukofzer, Music in the Baroque Era,
1947,
WS.
Newman, The Sonata
in the Baroque Era,
1972).
The alleged lack of consequence in the Baroque setting nomenclature is
found to be the inconsistency of the musicologists who designate the sonatas a
2
in the SB/be scoring
as the "solo" ones and the sonatas a
2
in the SS/bc scoring as the "trio" sonatas, while naming both
identical settings in vocal music duets. The statements from the epoch, the editorial and performing
notes found in the researched scores and quoted in the work prove that the seventeenth-century violin
sonata was being usually played with the accompaniment of one only instrument
continuo,
mostly
the organ, and occasionally only the harpsichord, lute,
violone or
the violoncello.
The sonata has taken over from the
canzona,
as its direct derivative, the same musical functions,
that is, of music appropriate to the liturgy, concertos in academies, didactics and private home enter-
300
SUMMARY
tainment. The seventeenth-century testimonies and the prefaces of the musical prints being discussed
here point out that the most accurate moment for the performance of a violin solo sonata during the
mass were
Elevatio
and
Communio,
while during the vespers it was played on the opening or instead
of the antiphons (e.g. the sonatas of Vivarino,
Cecchino, Leoni
and
Subissati).
The most numerous
group of the discussed works, considering the dedications and a virtuosic character, one may connect
with the academic context (especially the sonatas of Montalbano,
Marini, Uccellini, Pandolfi, Cazzati
and
Degľ
Antonii).
In case of a few sonatas only it would be proper to mention an explicitly didactic
destination (the sonatas of
Colombi, Uccellini or Corelli's
Op.
5).
III. THE FORM AND THE STYLE
The analysed material proves that the multi-sectional and multi-movement structures were two
models of the Baroque sonata form, used alternatively from the beginning of the 17th century. The
multi-sectional form was not a more primitive model predicting the development of the later multi-
movement form, as the multi-sectional procedure was used in the eighteenth-century sonata also, to
create one at least of its movements, usually the first. The multi-movement forms predominated
during both the first and the second half of the 17th century
(63%
of survived solo sonata output).
There is no existing direct convergence between small sizes of sonata and an increased tendency of
such a composition to assume the multi-sectional form, as there is no such a convergence between big
sizes of sonata and the multi-movement form. Already in the first solo sonatas, one can find the
extensive multi-sectional forms (larger than
150
measures) and in the sonatas from the end of the cen¬
tury the small-sized multi-movement forms (smaller than
80
measures). The evolution of the seven¬
teenth-century violin sonata form did not lie in a gradual increase in its size and a transformation of
the small sections into bigger movements, but rather on a reduction of a great variety of the formal
ideas and the creation of a perfectly stylistically evaluated standard of the four- or five-movement
form, which would be treated as commonly replicated norm within the next century.
From the very beginning the sonata, by the reason of its functions, was strongly influenced by the
style of madrigal, motet or vocal monody. The multi-sectional mosaic structure was best suited for
dramatising the expressive course of the first sonatas in a way of the mannerist madrigals or the early
Baroque concertos and monodies. During the second half of the century, when the codifying trends
became more intense, yet long before Corelli, the artists such as
Leoni
(1652),
Pandolfi
(1660),
Subis¬
sati
(1676)
and Stradella
(1676)
developed their own standardized formal models. Belonging to the
older generation
Leoni
based his sonata on
canzona
form, therefore, the multi-sectional structure
within the three-phase metric framework (quadruple
-
triple
-
quadruple) still dominates in his com¬
positions. In his two-movement sonatas,
Subissati
used the multi-sectional structure in the first move¬
ment and a clear suite-like periodical structure in the second one. In case of Pandolfi and Stradella
one can mention the multi-movement form predicting the type of Corellian sonata
da chiesa.
Never¬
theless, for a long time before Corelli's well-proportioned form was broadly accepted as a model,
various solutions were being tested, which is best illustrated by the sonatas of Berardi
(1670),
Guerrieri
(1673),
Degl'Antoni!
(1676-1686),
Viviani
(1678)
and
Colombi
(1674-1694).
After the replacement
of the early Baroque multi-sectional structures with the multi-movement forms, the sonatas have lost
a bit of the richness of their expression and became much easier in perception. Still, even at the end
of the 17th century, the composers such as
Colombi, Torelli, Lonati
and Corelli were introducing
strong contrasts and the multi-sectional procedure into at least one movement of the sonata, mostly
the first, considering the fresh perception of the listener.
In the violin sonatas of the period also the abandonment of the
canzona
form's scheme (e.g. the
sonatas of Vivarino,
Cecchino,
Frescobaldi,
Uccellini
and
Leoni)
have been finally executed, in favour
of genetically bound up with sonata the through-composed form (e.g. the sonatas of
Castello, Marini,
Pandolfi, Berardi,
Subissati,
Stradella,
Degl'Antonii, Colombi,
Lonati and Corelli). Definitely, the
SUMMARY
301
biggest number of the through-composed forms in the whole analysed period
(78%)
affirms the
credibility of Brossard's definition, according to which a sonata is a contrasted internally composi¬
tion. The recapitulation structures were being used seldom
(17%),
though throughout the whole cen¬
tury (until
Colombi, Torelli
and Corelli). The variation forms were being most rarely constructed
(5%)
and during the first half of the century only. The Italian violin sonata of the 17th century
comprises of two to eight movements, however, the three-, four-, or five-movement constructions
are prevailing.
From motet, madrigal and
dramma
per
musica,
the composers of sonatas have adopted the practice
of creating rich tonal planning of a piece, in which the beginning and the end of a composition
explicitly define the main mode, while in the middle of the work various subsidiary modes and har¬
monic modulations are being introduced. Looking at the plan of cadences of the analysed sonatas, by
no means it is not likely to notice the dependence between the multi-sectional structure and the bigger
choice of
claves
clausularum and also, between the multi-movement form and the more modest plan
of cadences. Free choice and variety of
cadenze irregolari
and commixtio tonorum within the early
sonatas, in the second half of the 17th century transformed into the practise of composing one of the
internal movements of the cycle in a different mode (in parallel, mediant or dominant relationship to
the main mode). In Italian violin sonata of the 17th century one can notice some vital changes, which
at that time took place regarding the tonal language: a reduction of different modal types leading to
the polarized major/minor system, an increase in the number of mode's transpositions preparing the
multiplicity of keys of the well-tempered system and, finally, an increasing role of the fifth and third
relationships, which foreshadows formulating the rules of the functional system.
In the Italian violin sonata of the
1
7th century the most significant Baroque techniques such as
the imitation, fugue, variation, concerto and
monodie
technique were used. To some extent by the power
of the sixteen-century tradition, the usage of the imitation technique prevails in the compositions
created at the beginning of the 17th century and, which is important, not in the works of the violinists,
but the organists (Vivarino,
Cecchino, Frescobaldi).
These works, likewise the canzonas of the time,
open with an imitative exordium-like section and still, basso
seguente
dominates in them. In other
sonatas of the first half of the 17th century, usually after the introductory adagio, small-sized canons
and based on short
canzona
themes fugues are introduced, while at the end of the century, well-devel¬
oped fugues based on themes of
soggetto
and
andamento
type are used.
In the middle of the 17th century, in
1630-1670
entirely
monodie
type of sonata was exclusively
cultivated, with a real long-note fundamental bass, on the background of which the violin led a free,
improvisation-like and highly ornamental melodic line. Evidently, in the whole material being discussed,
the
monodie
sonatas dominate in terms of their quantity; they constitute more or less
80%
of the ana¬
lysed sonatas.
The concerto technique was most frequently applied to the compositions of ambivalent character
between a
1
and a
2
type
-
to the solo sonatas with the possible addition of a melodic bass ad libitum
(some sonatas of
Marini
and
Cazzati)
and to the violin-violoncello duets popular during the last
quarter of the 17th century (the sonatas of Stradella,
Rozzi, Berardi,
Corelli, Lonati). Often, in the
extensive sections of the violin-violoncello sonata, the melodies of both the parts are of equal impor¬
tance. Occasionally, when the violoncello soloistic melody is accompanied by chordal violin part, even
momentary reversal of the roles takes place.
The variation technique was used very rarely. Yet in the first half of the 17th century, the proce¬
dures known from the variation
ricercar
(the theme sectioning, diminution, augmentation, inversion,
rétrogradation)
were employed. However, variation on a ground bass, more typical of suite, has not
been commonly adapted. This kind of variation was used exceptionally by the artists working at the
Italianised Austrian courts
(Pandolfi, Viviani, Subissati)
and was used once by Corelli (Op.
5,
no.
5/iv).
302
SUMMARY
An intensified tendency, in the second half of the century, to unify the sonata through the proce¬
dures such as the similar
incipit
opening each of the movements
(Vitali, Lonati),
the repetition of the
whole
fugai
movement in a different metre at the end of the composition (Corelli,
Torelli, Colombi),
the introduction of the variations on ground bass, or a rehabilitation of the imitation and concerto
techniques, led to the development, in the last quarter of the century, of the through-composed cyclic
form, in which, from that time, the imitation, variation, concerto and monody techniques were sup¬
posed to coexist in harmony. To the great attractiveness and expressional wealth of the such constructed
sonata best testifies the success of the sonatas from Corelli's Op.
5.
Moreover, this well-balanced
form not only become a model for the sonata production in the late Baroque, but also a new developed,
derived musical genre was based on it
-
the instrumental concerto (e.g. the concertos of Corelli,
Taglietti, Gentili
and others)
.
The solo violin sonata, as a genre from its definition favourising whatever the expressions of
virtuosity and spectacular effects, is a good example of a stylistic
Wellness
of the Baroque. In the violin
sonatas one can find the pronounced influences of many musical genres both instrumental and vocal:
canzona,
suite,
ricercar,
toccata,
battaglia,
concerto, motet, cantata and vocal monody. The
canzona
stylistics the most intensely permeated into the sonata, which is quite evident, considering the genetic
relationship between both the genres. The important factor influencing the development of the sonata
form was also the growing impact of suite stylistics during the second half of the 17th century. It lied
in the simplification of the sonata's tonal planning, the introduction of dancing-formulas, the
ostinato
variation and, becoming more and more explicit quasi-periodical structure. The hybridization of the
sonata and suite was initiated by the works of
Pandolfi, Berardi, Subissati
and Viviani (in
1660-1678).
Before Corelli, it is hard to speak of any existing generally accepted stylistic model of sonata, it would
be also difficult to point out any essential technique similarities that would allow persuasively connect
the composers mentioned above to any group or school. This is due to the originality and artistic
individuality that were valued the most at that time. Nearly every composer reflects an individual
stylistic category.
IV. THE VIOLIN TECHNIQUE
The
1
7th century is regarded as a period of the development of the violin idiom. In the violin
sonatas from
1617-1634
the solo part is still non-idiomatic, it can be played either by a violin,
a cor¬
netto
or by a recorder. This resulted from the fact that the works were published in the mixed vocal-
instrumental collections intended for church performance, at that time still often dominated by the wind
instruments. From the end of the 1620s, the collections of sonatas expressively exploiting the violin
idiom have begin to appear.
The Italian solo sonata, in contrary to the solo suite, turns into a music gender somehow reserved
to the bravest experiments in terms of the violin technique. Already in the solo sonatas of the first half
of the 17th century the violin range was expanded to three octaves and first attempts of multiple-stop¬
ping,
scordatura
and playing within the seventh position were made. In the last quarter of the 17th
century one can observe the vital change in motif, figuration and ornamentation types. It was the final
departure from modelising the solo part on sixteen-century vocal diminution schemes. From now typi¬
cally violinistic leaps, chordal playing,
bariolage
and arpeggio figures was practiced. The basic difference
between the violinistic technique used in the
monodie
sonatas with the organ accompaniment and the
concerted sonatas accompanied by violoncello or harpsichord became noticeable. In the
monodie
so¬
nata, developing mostly
monophonie
aspects of a violin play (range exploration or
motorie
skills), its
relations to vocal music are evident. It is manifested in the embellishment and diminution formulas'
types, and relatively frequent use of seconds in a melodic line of the soloist. In the violin-violoncello
duet the typically violin chordal motifs find its expression more decidedly, there also appear multiple-
stops, dialoging of planes, and peculiar to a violin types of figurations and bowings. The most compli¬
cated in terms of the violin technique are sonatas of
Marini,
Uccellini,
Pandolfi, Lonati and Corelli.
SUMMARY
303
CONCLUSIONS
The plentiful testimonials of admiration for the best violinist of the epoch, the tone of the descrip¬
tions of their performances and the unprecedented fame of Corelli indicate that after the
castrati,
the
violin virtuosi were the most admired musicians of the Baroque period. Nevertheless, from the great
number of the names of the most splendid violinists of seventeenth-century Italy, only one has survived
to our days
-
Arcangelo
Corelli. His
Sonate a violino e violone
o címbalo,
Op.
5,
due
to the unprece¬
dented number of reprints, quickly became a model for the artists of the 17th century to imitate and,
lastingly, established the popularity of an Italian violin sonata in the whole world. Looking from the
perspective at the works of Corelli's predecessors
-
the ones that have survived up to the present and,
therefore, could become the subject of the work
-
it is evident that Corelli in a magnificent way had
summarized the many years' experiences of his predecessors in terms of form, texture, style and tech¬
nique, and transformed them artistically reaching almost classical order, moderation and balance. In
Italy, these features did not value much before the year of
1700.
At that time they were valued the
most for the uncontrollable invention, extravagation and extreme individuality, in which the compos¬
ers such as
Marini, Uccellini,
Pandolfi Mealli, Degl'Antonii and Lonati were leading. The fascinating
originality of their works, now forgotten owing to the lack of contemporary publications and the
adequate monographic studies, were the main reason for taking up this subject in the work.
Translated by
Agnieszka Wiszewska |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Wilk, Piotr |
| author_facet | Wilk, Piotr |
| author_role | aut |
| author_sort | Wilk, Piotr |
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| building | Verbundindex |
| bvnumber | BV023096013 |
| contents | Bibliogr. s. 290-296, dyskogr. s. 296-297. Indeks |
| ctrlnum | (OCoLC)76314907 (DE-599)BVBBV023096013 |
| era | Geschichte 1600-1700 Geschichte 1600-1700 gnd |
| era_facet | Geschichte 1600-1700 |
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| geographic_facet | Italien |
| id | DE-604.BV023096013 |
| illustrated | Illustrated |
| index_date | 2024-07-02T19:43:05Z |
| indexdate | 2025-01-02T17:10:03Z |
| institution | BVB |
| isbn | 8322927096 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016298808 |
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| owner_facet | DE-12 |
| physical | 314 s. Notenbeisp. 24 cm |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Wydawn. Uniw. Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis |
| series2 | Acta Universitatis Wratislaviensis : Musicologica Wratislaviensia Acta Universitatis Wratislaviensis |
| spelling | Wilk, Piotr Verfasser aut Sonata na skrzypce solo w siedemnastowiecznych Włoszech Piotr Wilk Wrocław Wydawn. Uniw. Wrocławskiego 2005 314 s. Notenbeisp. 24 cm txt rdacontent n rdamedia nc rdacarrier Acta Universitatis Wratislaviensis : Musicologica Wratislaviensia 2 Acta Universitatis Wratislaviensis 2847 Zsfassung in engl. Sprache u.d.T.: Sonata for a violin solo in seventeenth-century Italy Bibliogr. s. 290-296, dyskogr. s. 296-297. Indeks Geschichte 1600-1700 Geschichte 1600-1700 gnd rswk-swf Music / Italy / 17th century / History and criticism Muzyka skrzypcowa / 17 w / historia i krytyka jhpk Sonaty (skrzypce) / 17 w / historia i krytyka jhpk Muzyka / Włochy / 17 w / historia i krytyka jhpk Muzyka - Włochy - 17 w - historia i krytyka jhpk Muzyka skrzypcowa - 17 w - historia i krytyka jhpk Sonaty (skrzypce) - 17 w - historia i krytyka jhpk Musik Music Italy 17th century History and criticism Solo Musik (DE-588)4313218-2 gnd rswk-swf Violinsonate (DE-588)4188373-1 gnd rswk-swf Italien Italien (DE-588)4027833-5 gnd rswk-swf Italien (DE-588)4027833-5 g Violinsonate (DE-588)4188373-1 s Solo Musik (DE-588)4313218-2 s Geschichte 1600-1700 z DE-604 Acta Universitatis Wratislaviensis Musicologica Wratislaviensia ; 2 (DE-604)BV021678264 2 Acta Universitatis Wratislaviensis 2847 (DE-604)BV004668106 2847 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016298808&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016298808&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Wilk, Piotr Sonata na skrzypce solo w siedemnastowiecznych Włoszech Acta Universitatis Wratislaviensis Bibliogr. s. 290-296, dyskogr. s. 296-297. Indeks Music / Italy / 17th century / History and criticism Muzyka skrzypcowa / 17 w / historia i krytyka jhpk Sonaty (skrzypce) / 17 w / historia i krytyka jhpk Muzyka / Włochy / 17 w / historia i krytyka jhpk Muzyka - Włochy - 17 w - historia i krytyka jhpk Muzyka skrzypcowa - 17 w - historia i krytyka jhpk Sonaty (skrzypce) - 17 w - historia i krytyka jhpk Musik Music Italy 17th century History and criticism Solo Musik (DE-588)4313218-2 gnd Violinsonate (DE-588)4188373-1 gnd |
| subject_GND | (DE-588)4313218-2 (DE-588)4188373-1 (DE-588)4027833-5 |
| title | Sonata na skrzypce solo w siedemnastowiecznych Włoszech |
| title_auth | Sonata na skrzypce solo w siedemnastowiecznych Włoszech |
| title_exact_search | Sonata na skrzypce solo w siedemnastowiecznych Włoszech |
| title_exact_search_txtP | Sonata na skrzypce solo w siedemnastowiecznych Włoszech |
| title_full | Sonata na skrzypce solo w siedemnastowiecznych Włoszech Piotr Wilk |
| title_fullStr | Sonata na skrzypce solo w siedemnastowiecznych Włoszech Piotr Wilk |
| title_full_unstemmed | Sonata na skrzypce solo w siedemnastowiecznych Włoszech Piotr Wilk |
| title_short | Sonata na skrzypce solo w siedemnastowiecznych Włoszech |
| title_sort | sonata na skrzypce solo w siedemnastowiecznych wloszech |
| topic | Music / Italy / 17th century / History and criticism Muzyka skrzypcowa / 17 w / historia i krytyka jhpk Sonaty (skrzypce) / 17 w / historia i krytyka jhpk Muzyka / Włochy / 17 w / historia i krytyka jhpk Muzyka - Włochy - 17 w - historia i krytyka jhpk Muzyka skrzypcowa - 17 w - historia i krytyka jhpk Sonaty (skrzypce) - 17 w - historia i krytyka jhpk Musik Music Italy 17th century History and criticism Solo Musik (DE-588)4313218-2 gnd Violinsonate (DE-588)4188373-1 gnd |
| topic_facet | Music / Italy / 17th century / History and criticism Muzyka skrzypcowa / 17 w / historia i krytyka Sonaty (skrzypce) / 17 w / historia i krytyka Muzyka / Włochy / 17 w / historia i krytyka Muzyka - Włochy - 17 w - historia i krytyka Muzyka skrzypcowa - 17 w - historia i krytyka Sonaty (skrzypce) - 17 w - historia i krytyka Musik Music Italy 17th century History and criticism Solo Musik Violinsonate Italien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016298808&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016298808&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV021678264 (DE-604)BV004668106 |
| work_keys_str_mv | AT wilkpiotr sonatanaskrzypcesolowsiedemnastowiecznychwłoszech |