Trio sonata

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Jerome Kohl (talk | contribs) at 18:26, 7 May 2020 (→‎References: exact page, rather than "welcome" front-page of site). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Template:Use Harvard referencing The trio sonata is a genre, typically consisting of several movements (Bonta and Zohn 2003) with two melody instruments and continuo. Originating in the early seventeenth-century, the trio sonata was a favorite chamber ensemble combination in the Baroque era (Mangsen 2001).

Basic structure

The trio sonata typically consisted of three parts, two violins and a continuo (Van Boer 2012, 466). However, the two violins could be substituted with pairs of flutes, recorders, or oboes (Vetter n.d.). The second part, the basso continuo, has two parts (Vetter n.d.). First, it includes the bass line, which most commonly was provided with a bass viol, violone, violoncello, or bassoon (Vetter n.d.). Second, it includes a harmony-producing instrument, such as a small organ, a harpsichord, or a theorbo (Vetter n.d.). The (basso) continuo could be performed by two or more performers; a cellist to play the bass line and a harpsichordist or organist to focus on the harmonies (Bonta and Zohn 2003). Because there normally are two people playing the continuo part, there are usually four players in all (Bonta and Zohn 2003). This can be misleading to some as the "trio" of the trio sonata refers to the three parts and not the number of players ([citation needed]). From about the middle of the 17th century two distinct types of sonatas appeared: sonata da camera (chamber sonata) and sonata da chiesa (church sonata) (Bonta and Zohn 2003). The chamber sonata was considered a group of stylized dances and church sonatas were much more serious and typically arranged into a slow-fast-slow-fast sequence (Vetter n.d.)[failed verification].

Composers, compositions and variant formats

The genre originated as instrumental adaptation of the three-part texture common in Italian vocal music in the late 16th century. The earliest published trio sonatas appeared in Venice (Salamone Rossi Il primo libro delle sinfonie e gagliarde, 1607) and in Milan (Giovanni Paolo Cima, Sonata a tre for violin, cornett and continuo in the collection Concerti ecclesiastici, 1610) (Bonta and Zohn 2003).

Arcangelo Corelli

Italian composer Arcangelo Corelli was one of most influential composers of the trio sonata. The published trio sonatas by Corelli are (Deas 1953, 6):

An additional collection of Trio Sonatas, for two violins, cello, and organ, was published as "Op. post." in Amsterdam, in 1714 (Talbot 2001b). Corelli's trios would serve as models for other composers well into the 18th century (Mattheson 1739, 345: §8).

Johann Sebastian Bach

German composer Johann Sebastian Bach is another notable composer of the trio sonata, but he was known for shying away from the traditional structure of the sonata. He typically played the three parts with fewer than three instruments. One part could be played by a violin and the other two parts could be played by a keyboard, or all three parts could be played on the organ (Britannica 2007).

Trio sonatas by Bach include:

Other composers

  • Tomaso Albinoni, 12 sonatas da chiesa Op. 1, twelve balletti a tre Op. 3, six sonatas da camera as part of Op. 8, six unpublished trio sonatas Op. 11, and a further six trio sonatas without opus number in a manuscript in Vienna, Österreichische Nationalbibliothek, Musiksammlung (Talbot 2001a).
  • Carl Philipp Emanuel Bach wrote at least 44 trio sonatas, including one for flute, viola, and piano, said to have been given its world premiere by the Society for Forgotten Music at the New York Public Library on 30 January 1949 (Anon. 1949). His best-known work in the genre is the programmatic Trio ("Sanguineus und Melancholicus"), in C minor, composed in 1749 and published in Nuremberg in 1751, which exists in two versions: one for obbligato keyboard and violin, the other for two violins and continuo (Wolff and Leisinger 2001).
  • William Boyce, 12 Trio Sonatas for two violins and continuo (1747) (Boyce 1747)
  • Dieterich Buxtehude, Op. 1, six sonatas, and Op. 2, seven sonatas, scored for violin, viola da gamba and basso continuo. These were the only works by Buxtehude that were published during his lifetime. Though real trio texture does occur from time to time, these are really sonate a due for violin and viola da gamba, with the continuo often being a simplification of the gamba part. There are however four genuine trio sonatas by Buxtehude surviving in manuscript, two for two violins, viola da gamba and continuo in C and G major (BuxWV 266 and 271), one for two violins and continuo in F major (BuxWV 270, fragmentary), and one for viola da gamba, viola, and continuo in D major (BuxWV 267) (Snyder 2001).
  • François Couperin published a number of trio sonatas: Le Parnasse, ou L’apothéose de Corelli, grande sonade en trio, for two violins and continuo (Paris, 1724); Concert instrumental sous le titre d’Apothéose composé à la mémoire immortelle de l’incomparable Monsieur de Lully, for two violins (two flutes, or other unspecified instruments), and continuo (Paris, 1725); and the collection Les nations: sonades et suites de simphonies en trio, for two violins and continuo (Paris, 1726), consisting of La Françoise [La pucelle], L’Espagnole [La visionnaire], L’impériale, and La Piemontoise [L’astrée]. In addition, two trio sonatas have survived in manuscript: La Steinquerque and La superbe, both for two violins and continuo (Higginbottom 2001).
  • Johann Gottlieb Goldberg, a student of J. S. Bach, composed at least six trio sonatas (Dürr 1954, pp. 56–57). Four of these are for 2 violins and continuo, one of which used to be attributed to J. S. Bach, as BWV 1037 [scores] (Dürr 1954). Two trio sonatas for flute, violin, and continuo are listed in a Breitkopf catalogue, but have gone missing (Dürr 1954, p. 56)(Rubin 2001).
  • George Frideric Handel, trio sonatas Opp. 2 and 5, all in sonata da chiesa form. The attribution to Handel of a set of trios for two oboes and continuo is false, and the authenticity of the three trios HWV 393, 394, and 395 is doubtful or uncertain. A trio sonata in F for two recorders and continuo, HWV 405, appears to be authentic (Hicks 2001).
  • Jacques-Martin Hotteterre, Sonates en trio pour les flûtes traversières et a bec, violon, hautbois, Op. 3 (1712) (Giannini 2001).
  • Pietro Antonio Locatelli, six Trio Sonatas, Op. 5, for two violins or two traversos and continuo (1736) (Locatelli 1736).
  • Johann Pachelbel, Musikalische Ergötzung ("Musical Delight"), containing six suites for two violins and basso continuo, each commencing with a sonata, followed by a succession of dances. The violin parts use scordatura tuning. The sonatas are of two types. Nos. 1 and 3 are marked Allegro, and are fughettas. The remaining four are Adagio movements and are similar to French overtures, in two sections (Nolte, Butt, and Butler 2001).
  • Henry Purcell, Twelve sonatas of three parts, 1683, ten sonatas in four parts, 1697, but both sets are scored for two violins, bass viol, and organ or harpsichord. In terms of style, Purcell's trio sonatas are conservative, modeled on the older generation of Italians (Giovanni Legrenzi, Lelio Colista, and Giovanni Battista Vitali) rather than Corelli or Giovanni Battista Bassani (Holman, Thompson, and Humphreys 2001).
  • Gottfried Heinrich Stölzel, over 25 extant trio sonatas, including two for solo organ. Others for continuo (sometimes indicated as harpsichord) and diverse combinations of flute(s), violin(s), oboes or unspecified instruments (Stölzel & c.1750; Stölzel & c.1720–50; Stölzel & c.1740; Stölzel & c.1760a; Stölzel & c.1760b Stölzel & c.1770; Stölzel n.d.; Stölzel & c.1700–1799a; Stölzel & c.1700–1799b)
  • Georg Philipp Telemann, around 150 trio sonatas (Anon. n.d.). The earliest sonatas exhibit the Corelli style most clearly, while later works anticipate the mid-century Empfindsamkeit and galant styles, or mix Italian, French, and Polish styles (Zohn 2001).
  • Antonio Vivaldi, 12 trio sonatas da camera Op. 1, two trio sonatas mixed with solo sonatas in Op. 5, and thirteen unpublished trios. One further trio sonata, RV 80, in G major, for two flutes and continuo, is attributed to Vivaldi but is probably spurious (Talbot 2001c).
  • Jan Dismas Zelenka, six sonatas [scores], ZWV 181, composed around 1721–1722 (Zelenka & [1721–22]).

References

Further reading

  • Allsop, Peter. 1992. The Italian "Trio" Sonata: From Its Origins until Corelli. Oxford Monographs on Music. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-816229-4.
  • Apel, Willi. 1990. Italian Violin Music of the Seventeenth Century, edited by Thomas Binkley. Bloomington: Indiana University Press. ISBN 0-253-30683-3.
  • Defant, Christine. 1985. Kammermusik und Stylus phantasticus: Studien zu Dietrich Buxtehudes Triosonaten. Europäische Hochschulschriften / European University Studies / Études Universitaires Européennes. Frankfurt: Peter Lang. ISBN 9783820485141.
  • Hogwood, Christopher. 1979. The Trio Sonata. BBC Music Guides. London: British Broadcasting Corporation. ISBN 0-563-17095-6.
  • Kamien, Roger. 2008. Music an Appreciation, sixth brief edition. Boston: McGraw-Hill. ISBN 978-0073326375 (annotated instructor's edition); ISBN 9780073265452 (student edition)
  • Mangsen, Sandra. 2001. "Trio Sonata". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Schenk, Erich. 2005. Die Triosonate. Das Musikwerk, eine Beispielsammlung zur Musikgeschichte, Neuausgabe 20. Laaber: Laaber Verlag. ISBN 3-89007-623-8.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Trio_sonata&oldid=955420567"