A Si

THE SONATAS OF DOMENICO GABRIELLI (1651-1690)

IN SAN PETRONIO MSS G.I: 3-9

THESIS

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Sangtae Chang, B.M.

Denton, Texas

December, 1986

Chang, Sangtae, The Sonatas of Domenico Gabrielli (1651-1690)

in San Petronio MSS G.I: 3-9. Master of Music (Musicology), December,

1986, 184 pp., 3 figures, 15 examples, bibliography, 65 titles,

critical notes and transcriptions.

Domenico Gabrielli's seven trumpet sonatas are among seventeenth-

century trumpet repertoire predominant in the instrumental tradition

of the basilica San Petronio, which flourished roughly from the

election of Maurizio Cazzati as maestro di cappella in 1657 until

the dissolution of the orchestra of the church in 1695. Fostered

by numerous occasions for performance, the Bolognese trumpet works

tend to exhibit a uniform musical style imposed by musical academies.

After a discussion of the probable cause of the termination of the

instrumental tradition and of the role of musical academies, this

paper will be primarily concerned with formal aspects of fast move-

ments of Gabrielli's sonatas. Despite the fact that the predominant

organizing principle of the fast movements appears to be textural,

a step toward ritornello form is taken in some of the movements, in

which tutti and solo sections are independently developed. In

particular, the recurrence of identical material in tutti confirming

different keys, the thematic relation between tutti and solo, and

the symmetrical and balanced tonal plan are unmistakable seeds of

full ritornello form. The text is followed by critical notes and

transcriptions of the seven sonatas.

TABLE OF CONTENTS

LIST OF FIGURES .. 0. .6 . ..0 . .. .. .. . . . .0..*.

LIST OF EXAMPLES,.......... 0........

CHAPTER

I. DOMENICO GABRIELLI AND BOLOGNA . . . . . . .

II. THE TRUMPET SONATAS: GENERAL CHARACTERISTICS.

III. THE TRUMPET SONATAS: FORM ,..,. . . .

BIBLIOGRAPHY................ . ........ .........

CRITICAL NOTES AND TRANSCRIPTIONS . . . . . . . . . .

Sonata Con Tromba (G.I: 3)Sonata Con Tromba e Instromenti (G.I: 4)Sonata a 6 Con Tromba (G.I: 5)Sonata a 6 Con Tromba (G.I: 6)Sonata a Due Trombe (G.I: 7)Sonata a sei con Tromba (G.I: 8)Sonata Con Tromba (G.I: 8)Sonata a 4.5. Con Tromba (G.I: 9)

Pageiv

V

. . . . 1

. . . . 11

. . . . 18

. . . . 38

. . . . 43

iii

. . . .

LIST OF FIGURES

Figure Page

1. Manuscript parts . . . . . g- - 13

2. External features .* ........ *- . .. 16

3. The tonal plan of the first fast movements of

the three sonatas ..&..... ... . .* .. e - - --* 26

iv

LIST OF EXAMPLES

Examp?le

1. The openings of Sonata Con Tromba (G.I: 3)Sonata a 4.5. Con Tromba (G.I: 9) . . . . .

2. The Alternation of closed and open periods. . . .

3. Sonata Con Tromba e Instromenti (G.I: 4), thefirst Allegro, mm. 4-5 . . . ... . .. . . .0

4. Sonata Con Tromba (G.I: 3), the last Presto, mm.

5. Sonata a sei con Tromba (G.I: 8), the firstPresto, mm. 10-11.... ..... .* . . . .*.*

6. Sonata a 6 Con Tromba (G.I: 5), the firstAllegro, m. 14......a...*..... . . . . .

7. The Corelli clash. . . ......... . . ..

8. Sonata Con Tromba (G.I: 3), the first

Allegro, mm. 3-4 . . . . . . . ........

9. Sonata a 6 Con Tromba (G.I: 6), the firstAllegro, mm. 1-2, Vn. I & II.... .....

10. Sonata a sei con Tromba (G.I: 8), the firstPresto, mm. 4-5. . . . . . . . . . . . . .a..

11. Sonata a sei con Tromba (G.I: 8), the firstPresto, mm. 16-21...... . . . . . . .*..0

12. Sonata a sei con Tromba (G.I: 8), the firstPresto, mm. 2-3...... . . ........ . . . .0

13. Sonata a sei con Tromba (G.I: 8), the firstPresto, mm. 7-9....... . . . . . .. .... ..

14. Sonata a 6 Con Tromba (G.I: 6), the firstAllegro, the imitative subject . . . . . ...

15. Sonata Con Tromba (G.I: 3), the firstAllegro, mm. 17-22, the intervallic cell .

12-19

Page

. 15

* 21

. 22

* 22

. 23

. 23

* 24

. 25

32

. . . . . 32

. . . . . 33

. . . . . 33

. . . . . 34

. . . . . 34

35

V

. . . .

. . . .

. . . .

. . . .

. . . .

. . . .

1

CHAPTER I

DOMENICO GABRIELLI AND BOLOGNA

Domenico Gabrielli was a well-known cello virtuoso and composer

in Bologna during the late seventeenth century. His works include

twelve operas, three oratorios, and numerous other vocal and

instrumental pieces. Among the first three composers to write solo

literature for the cello, he appears to have extensively used the

instrument in both vocal and instrumental music; in fact, he was the

first to write cello accompaniments to arias.2

The most authoritative information on Gabrielli can be found in

Die Musik in Geschichte und Gegenwart and The New Grove Dictionary of

3Music and Musicians, both of which are heavily indebted to the early

studies by Corrado Ricci and Francesco Vatieli.4 Most information in

the two standard references is in agreement except for the date of

birth of the composer; while Franz Giegling suggests that Gabrielli

1. Elizabeth Cowling, The Cello, 2nd revised ed. (New York: CScribner's Sons, 1983), 77.

2. Ibid., 72.

3. Franz Giegling, "Gabrielli, Domenico," Die Musik in Geschichte undGegenwart, 16 vols., ed. Friedrich Blume (Kassel: Bdrenreiter,1949-79), IV, 1211-12; John G. Suess, "Gabrielli, Domenico," The NewGrove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie(London: Macmillan, 1980), VII, 67.

4. Corrado Ricci, I testri di Bologna nei secoli XVII e XVIII (Bologna:Successori Monti, 1888); Francesco Vatieli, Arte e vita musicale aBologna (Bologna: Zanichelli, 1927).

2

5was born sometime in 1659, John G. Suess dates his birth more precisely

on April 15, 1651.6

Recognized as a cello virtuoso and composer, Gabrielli joined

the Accademia Filarmonica in 1676, of which he became president in 1683,

and served as a cellist in the basilica San Petronio from ca. 1680 until

his death in 1690. Most of his works, especially all his operas and

oratorios, were published during the last decade of his life. Pro-

bably his seven trumpet sonatas, subject of this study, belong to the

works of this period.

The seventeenth century instrumental music tradition of the

basilica San Petronio in Bologna was short-lived but rich. It

flourished roughly from the election of Maurizio Cazzati as maestro di

cappella in 1657 until the dissolution of the regular orchestra of the

church in 1695,7 leaving a vast repertoire currently preserved in manu-

scripts at the Archivio di San Petronio. In particular, the major

portion of the manuscripts comprises music for instrumental ensemble

with one or more trumpets, among the principal contributors of which are

Domenico Gabrielli (1651-1690), Giuseppe Maria Jacchini (ca. 1663-1727),

and Giuseppe Torelli (1658-1709).8

5. Giegling, op. cit., 1211.

6. Suess, loc. cit.

7. Anne Schnoebelen, The Concerted Mass at San Petronio in Bologna ca.1660-1730 (Ph.D. dissertation, The University of Illinois, 1966), 106.

8. The repertoire includes Gabrielli's seven, Jacchini's five, andTorelli's thirty-two complete works as well as five fragments.

3

Spanning the last half of the seventeenth century, the immense

production of trumpet works was made possible by numerous .occasions for

performance and a uniform musical style imposed on local musicians.

Intended for solemn religious occasions celebrated with grandeur in

Bologna,9 the trumpet works generally share a common structural

principle and textural details.

Nevertheless a question arises from the halt in the production

of trumpet works for San Petronio, which coincided with the dis-

solution of the regular orchestra of the church in 1695. It has been

suggested that the church's financial crisis, heretofore attributed to

10Pope Innocent XII's economic reforms, caused the disbandment of the

orchestra. Since Bologna has been known to maintain a politically

rather independent 11 and economically wealthy status among papal cities,12

this simple assumption needs to be examined.

9. Anne Schnoebelen, "Performance Practice at San Petronio in the

Baroque," Acta Musicologica XLI (1969), 42-6; Eugene J. Enrico, The

Orchestra at San Petronio in the Baroque Era (City of Washington:

Smithsonian Institution Press, 1975), 30-40. According to the lists

of the orchestra members trumpet players were never included among

the regular members but among those hired for special occasions.

10. Eugene J. Enrico, Giuseppe Torelli's Music for Instrumental Ensemble

with Trumpet (Ph.D. dissertation, The University of Michigan, 1970),

12.

11. Sandra Verarchi, "L'Ordinamento bolognese dei s~coli XVI-XVII,"

Archiginnasio LXXIV (1979), 181-426.

12. John G. Suess, "Observations on the Accademia Filarmonica of Bologna

in the 17th Century and the Rise of a Local Tradition in Instru-

mental Music," Quadrivium VIII (1967), 52.

4

The artistic environment of the trumpet works was stimulated by

the need of music for numerous solemn religious occasions and the pre-

dominant role of musical academies in the establishment of a uniform

style by emphasizing common principles in the works. Interestingly,

a similar environment evolved elsewhere in counterparts of music, art

and architecture. Since a complete renovation of the Vatican had been

13undertaken by Pope Julius II (1503-1513),3 Rome had become a major

patron of art and architecture. In particular, the peak of the

urbanization in the last half of the seventeenth century saw the

evolution of baroque classicism in art. Those who nurtured this

conservative trend were closely associated with academies and tended

to emphasize theoretical principles in their actual works. Perhaps

therein lies a Bolognese contribution; a group of Bolognese artists

who moved to Rome and founded one of the most influential academies

in the first half of the seventeenth century appears to have introduced

the intellectural approach to the creation of art, already undertaken

in Bologna, and thereby planted a seed of baroque classicism.

In order to provide insight into the termination of the instru-

mental music tradition of San Petronio an attempt will be made to

establish a historical hypothesis regardig the economic relation

between Bologna and Rome. Further, this chapter will examine the

artistic environments of San Petronio in Bologna and numerous monuments

in art and architecture in Rome to elucidate a common phenomenon shared

by music and art.

13. F. X. Murphy, "Rome," New Catholic En yclopedia, 16 vols. (NewYork: McGraw-Hall Book, 1967), XII, 653.

5

The Economic Relation between Bologna and Rome

Modern historians tend to ignore the seventeenth century Papal

State, for the Papacy had already begun to decline in spite of the

rigorous spirit of the Counter-Reformation. Since, compared with

other periods or regions, the seventeenth-century Papal State has never

been a major subject of scholarship, the overall picture of the relation

between Bologna and Rome must be conjectural. Taking into account

papal financial policy and the role of Bologna in it, however, we may

perceive a rather peculiar relation between the two cities.

Since the Renaissance period the Papal State had been primarily

financed by borrowing in a variety of ways including taxation as well

as the sale of venal offices and papal bonds; probably due to its

economic wealth Bologna served as a credit institution vital to papal

financial policy. 1 A unique relation between the two cities began

to emerge as the indebtedness of papal communes increased in the last

decade of the sixteenth century. Although the central government

exercised a direct control over communal finance, Bologna, among the

major recipients of papal funds, appears to have been exempt from the

intervention.15 In order to sustain credit the popes had no

alternative but to fund without restriction the communal debt of

Bologna, paradoxically leaving the city vulnerable to later papal

14. Peter Partner, "Papal Financial Policy in the Renaissance and

Counter-Reformation," Past & Present No. 88 (1980), 20-9.

15. Ibid.

6

demands. Thus, Pope Innocent XII's financial policy in effect around

1695, which aimed at balancing the papal budget by drastic reduction of

venal offices and bond issues,16 may have become crippling to Bologna,

attested by the dissolution of the regular orchestra at San Petronio.

The Artistic Environment

Throughout the seventeenth century the role of the academies

of art and music stood out in their influence on actual works as well

as theoretical principles. Those closely associated with the academy

established and imposed criteria for an acceptable and proper style,

producing a conservative or retrospective trend.

Among numerous artists gathered and granted generous patronage

in Rome, Andrea Sacchi (1599-1661), Alessandro Algardi (1598-1664),

Francesco Duquesnoy (1597-1643), and Nicolas Poussin (ca. 1594-1665)

tended to exhibit images and ideals of antiquity in their works. Prior

to the emergence of these masters, however, a careful study of the

antique, renaissance masterpieces, and living models had already been

undertaken by Bolognese artists in close association with the private

academy founded in the late sixteenth century by the Caracci--Agostino,

Annibale, and Lodovico.17 Nevertheless the influence of the Bolognese

16. Janet P.dTrevelyan, A Short History of the Italian People, reviseded. (London: George Allan & Unwin, 1956), 280-1.

17. Most information on the Baroque Classicism will be taken from oneof the most authoritive sources, Rudolf Wittkower, Art andArchitecture in Italy 1600-1750, 3rd ed. (Baltimore: Penguin Books,1975).

7

artists was felt more strongly in Rome than in Bologna. Annibale Caracci

and the young Bolognese artists who followed him to Rome subsequently

established the Caracci school, the fame of which may be seen in the

major commissions provided to them spanning 1608-1617.18

In theoretical disputes numerous academies rigorously upheld a

rational, classical view. In illustrating a historical theme, a

controversy took place in the Accademia di San Luca in 1630's, wherein

the classical view Sacchi insisted upon won a generous approval.9

Further taken up by Poussin, this view was finally codified and theorized

in the French Academy,20 later fostering Neo-Classicism at the turn of

the seventeenth century.

The Bolognese origin of classicism reflects the intellectual

surroundings prevalent in Bologna since the Middle Ages. The University

of Bologna, dated from 1088, was distinguished for the study of the

liberal arts, including music.2 1 Numerous Bolognese academies, whether

or not related to the University, manifest the intellectural surroundings

as well. For instance, active academic life can be discerned in not

18. Ibid., 78-80.

19. Ibid., 263-6.

20. Ibid., 266; Anthony Blunt, Art and Architecture in France 1500-1700

(Baltimore: Penguin Books, 1953), 227-8.

21. Nan Cooke Carpenter, Music in the Medieval and Renaissance

Universities (Norman: University of Oklahoma Press, 1958), 32.

8

only a number of private scientific academies but also much correspon-

dence between Bolognese intellects and the Royal Society of England.2 3

With respect to Bolognese musical academies, particular

attention has been given to the Accademia Filarmonica. Despite the

fact that most of the discussions on the academy rely primarily on its

constitutions,24 they reflect varied opinions about its actual

influence on music.

Anne Schnoebelen claims that the actual influence of the academy

"pertained to standards of performance in church music rather than

compositional procedure."25 Her argument can be summarized as follows:

first of all, only the examination compositions required for admission

to the order of composer were confined to the criteria imposed by the

academy; second of all, it can be inferred from the lowered requirements

for admission as composer of instrumental music that instrumental music

was composed almost free from the academy's control; finally, an

artificiality can be discerned in the difference between the ecclesias-

tical style imposed by the academy and the concerted instrumental style

hardly tolerated by the academy but broadly exploited by its members.2 6

22. Marta Cavazza, "Accademie scientifiche a Bologna," Quaderni storiciXVI (1981), 884-921.

23. Marta Cavazza, "Bologna and the Royal Society in the SeventeenthCentury," Notes and Records of the Royal Society of London XXXV(1980), 105-24.

24. Schnoebelen, The Concerted Mass, 26-31; Suess, "Observations," 51-62.

25. Schnoebelen, The Concerted Mass, 30.

26. Ibid., 29-30.

9

On the contrary, John G. Suess suggests that the influence of

the academy on compositional procedure was so enormous as to establish

a uniformity in Bolognese instrumental and church music. Accommodating

a majority number of Bolognese musicians, the academy fully exercised a

direct control over the musical taste of its members and the musical

community of Bologna:

The admission policies, the constant opportunity for

criticism by colleagues coupled with the constant necessity

to provide works for the exercises, the constant threat of

censors to eliminate works not considered to perpetuate the

virtues of music, and the power of the president to decide

finally what composition would be performed at annual musical

events all could tend to produce a codification of musical

style and a solid and rich tradition.2 7

Probably the two different views derived from a different inter-

pretation of the role of the weekly exercises, the power of the president

and censors, and the constitutions. Taking into account these elements,

however, we can hardly rule out the influence on compositional procedure

elsewhere besides in the examination pieces. Further, since the

constitutions of the academy implied the existence of certain criteria

of good instrumental music as well,2 8 the academy was more than likely

to exercise control over standards of compositional procedure of both

instrumental and church music.

Those elements discussed above in relation to the influence of

the academy reflect the establishment of certain criteria for an

27. Suess, "Observations," 58.

28. Schnoebelen, The Concerted Mass, 29. Chapter VII of the constitutionswas cited to show the attitude of the academy toward instrumentalmusic.

10

acceptable and proper musical style. The retrospective nature of the

fixed criteria becomes evident in controversies between the traditionalists

and the liberalists. Concerning the rules of counterpoint, a polemic

arose between Cazzati and Giulio Cesare Arresti in 1661, wherein the

traditional view Arresti strongly advocated predominated.2 9 Another

case can be seen in the controversy of 1685 between the traditional

Bolognese and the rather liberal Roman musicians concerning Arcangelo

Corelli's deliberate use of parallel fifths.30 Indeed, the conservatism

of the Bolognese, elucidated in the theoretical dispute between the two

opposite lines, served to shape a uniformity of musical style.

The role of the academy appears to have been prominent in the

establishment of a conservatism in both art and music. In particular,

a uniform style of the instrumental repertoire of San Petronio in

Bologna was to a great extent indebted to the academy, which firmly

stood on a traditional view in actual works as well as theoretical

principles. Predominant in the instrumental repertoire of San Petronio,

the trumpet works by those in close association with the Accademia

Filarmonica and the cappella musicale of the church manifest a musical

practice common to late seventeenth century Bologna.

29. Anne Schnoebelen, "Cazzati vs. Bologna: 1657-1671," The Musical

Quarterly LVII (1971), 34.

30. Suess, "Observations," 60-61.

11

CHAPTER II

THE TRUMPET SONATAS: GENERAL CHARACTERISTICS

In a study of Domenico Gabrielli's seven trumpet sonatas we

must overcome obstacles at the very beginning. The manuscripts G.I:

3-9, preserved in parts at the Archivio di San Petronio, bear no date.

Numerous ambiguous terms found on the parts, which may denote either

different or identical instruments, cloud an understanding of contemporary

performance practice. Nevertheless the arrangement and the key of move-

ments rather clearly delineate the sonatas.

Despite the fact that Gabrielli composed several works before he

became a cellist of the orchestra at San Petronio in ca. 1680, succeeding

Petronio Franceschini,2 his trumpet sonatas are less likely to belong to

those works. Since the members of the orchestra had customarily supplied

1. The catalogue system of the Archivio di San Petronio has beenchanged at the archivist's predilection. Sergio Paganelli arrangedGabrielli's sonatas under D.XI.3-9 (a capital letter "D" is thesymbol of instrumental music); a Roman numeral indicates the numberof the box containing the works; an Arabic numeral indicates theposition of the works in the box. Succeeding Paganelli, the presentarchivist Oscar Mischiati is restoring with slight modification theoriginal system found on the manuscripts. Whereas the organ titlepage of Gabrielli's sonatas bears L.1.G, Mischiati reads it backwardand devises a new system G.I: 3-9 for the seven sonatas: a capitalletter "G" indicates the initial of the composer; a Roman numeralindicates the box number; an Arabic numeral indicates the positionof the works in the box.

2. John G. Suess, "Gabrielli, Domenico," The New Grove Dictionary ofMusic and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan,1980), VII, 67. In 1676 Gabrielli was elected to the AccademiaFilarmonica, which required the submission of proper compositionsfor admission.

12

music as well, Gabrielli probably composed the sonatas after he began

to serve the church. Besides, considering the fact that all of his

published works appeared after 1680, the last decade of his life

(1680-1690) saw wide recognition of him beyond Bologna as a cello

virtuoso and composer.4 It may well be that the seven trumpet sonatas

are a product of late bloom.

Lack of standardized terminology, customary in the seventeenth

century, is evident in the sonatas, particularly in disproportionately

amplified bass parts (Figure 1).5 Different scribes tended to use

different terms for the same instrument, for instance, "alto viola" or

"alto violetta" in Sonata a 6 Con Tromba (Figure 1: G.I: 6).6 This may

be the case even with the separte parts for "basso" and "violoncello"

(elsewhere "basso viola," "violonzino," or "violone": Figure 1).7

3. The instrumental works preserved in manuscripts at the Archivio diSan Petronio were composed primarily by the members of the orchestraat the church.

4. Suess, loc. cit.

5. Eugene J. Enrico, The Orchestra at San Petronio in the Baroque Era(The City of Washington: Smithsonian Institution Press, 1975), 98.The extended bass was necessitated by the acoustics of the church.

6. David D. Boyden and Ann M. Woodward, "Viola," The New GroveDictionary of Musical Instruments, 3 vols., ed. Stanley Sadie(London: Macmillan, 1984), III, 755.

7. For detailed discussions on violone see Tharald Borgir, The Performanceof the Basso Continuo in Seventeenth-Century Italian Music (Ph.D.dissertation, The University of California, Berkeley, 1971), 135-53,his dissertation is published under the title, Italian Basso ContinuoPractice During the Baroque (Ann Arbor: UMI Press, 1986); Tharald,Borgir, "Biolone," The New Grove Dictionary of Musical Instruments,3 vols., ed. Stanley Sadie (London: Macmillan, 1984), III, 614-5;Stephen Bonta, "From Violone to Violoncello: A Question of Strings?"Journal of the American Musical Instrument Society III (1977), 64-99.

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That the two terms were written by different scribes may imply the

employment of an identical instrument violoncello.8 Nevertheless the

two terms appear to have been distinctively used: the "violoncello"

has rather independent music, though closely resembling the basso

continuo that is merely doubled by the "basso." Indeed, whether "basso"

and "violoncello" denote the same instrument is out of the question.

A standard order of movements can be observed from the constant

alternation of slow and fast movements in Gabrielli's seven trumpet

sonatas, a characteristic similar to the sonata da chiesa of the late

seventeenth century. Although two sonatas--Sonata Con Tromba (G.I: 3)

and Sonata a 4.5.Con Tromba (G.I: 9)--begin with an Allegro, the rule

that a slow movement precedes a fast movement may not be transgressed,

for longer note values distinguish the openings of both sonatas (Example

1) and may be considered analogous to a slow introduction. The brevity

of this section need not concern us because a rather short slow intro-

duction, for instance, the one measure Largo of Sonata a sei con Tromba

(G.I: 8), usually precedes the first Allegro (Figure 2).

8. Borgir, The Performance of the Basso Continuo, 89.

9. Manfred F. Bukofzer, Music in the Baroque Era (New York: W. W.Norton, 1947), 136-40; William S. Newman, The Sonata in the BaroqueEra, 4th ed. (New York: W. W. Norton, 1983), 71-3; Claude V.Palisca, Baroque Music, 2nd ed. (Englewood Cliffs, New Jersey:Prentice-Hall, 1981), 52-3.

15

Example 1. The openings of Sonata Con Tromba (G.I: 3) and Sonataa 4.5. Con Tromba (G.I: 9).

a. Sonata Con Tromba (G.I: 3), 1st movement, mm. 1-3.

Allegro

6 6 $ 6

b. Sonata a 4.5. Con Tromba (G.I: 9), 1st movement, mm. 1-3.

Allegro

Trumpet

Violin I

Violin II

Alto Viola

Tenor Viola

VioloncelloTromboneBasso ContinuoOrgan

al~e.. fJ .h. F-

--

7 66

Trumpet

Violin I

Violin II

Alto Viola

Violoncello

BassoTheorbo

711ni

16

Figure 2. External features.

Tempo Meter Key Length CommentG.I: 3 Allegro C D 40

Largo 3/2 b 22Allegro C D 29Largo C b 4Presto C D 17

G.I: 4 Grave C D 5 with trumpetAllegro C D 33Grave C D 9Allegro C D 27

G.I: 5 Grave C D 11 with trumpetAllegro C D 42Adagio 3/2 b 29Presto C D 29

G.I: 6 Grave C D 12Allegro C D 31Grave 3/2 b 27Presto C D 27Grave C D 5Presto C D 17

G.I: 7 Grave C D 11 with trumpetAllegro C D 40Grave C D 14Allegro 12/8 D 12Presto C D 5

G.I.: 8 Largo C D 1 with trumpetPresto C D 35Largo 3/4 b 39Presto C D 38

G.I: 9 Allegro C D 32Grave 3/4 D 43Presto C D 27Grave C D 7Presto C D 18

It is probable that the chosen keys for Gabrielli's trumpet

sonatas are confined to limited pitches that the Baroque trumpet can

produce; the harmonic series of the Baroque trumpet consist of C , ,

L,, .- flat, c 1, e, l, f-sharpI, , a , b-flat , b c210 D major

predominates all the fast movements with trumpet and some slow movements

17

with or without trumpet, whereas the dominant or, more often, the sub-

mediant key is exploited in the other slow movements without trumpet

(Figure 2): A major in the second Grave of Sonata Con Tromba e Instro-

menti (G.I: 4); b minor in the first Largo of Sonata Con Tromba (G.I:

3) and the second slow movement of Sonata a 6 Con Tromba (G.I: 6), and

Sonata a sei con Tromba (G.I: 8).

10. Edward H. Tarr, "Trumpet," The New Grove Dictionary of MusicalInstruments, 3 vols., ed. Stanley Sadie (London: Macmillan, 1984),III, 647. The compass of the Baroque trumpet was much extended tothe sixteenth partial in the works of Petronio Franceschini,Domenico Gabrielli, and Giuseppe Torelli. Hereafter the followingsystem of naming pitches is used:

A4

C CC

18

CHAPTER III

THE TRUMPET SONATAS: FORM

Domenico Gabrielli's seven trumpet sonatas are characterized by

the constant alternation of slow and fast movements and strong preference

for D major and common time. Besides tempo indication, however, no

other external feature, including key and meter, distinguishes fast

movements from slow movements. Nonetheless thematic and textural

principles govern the fast movements of Gabrielli's sonatas, and the

juxtaposition of two distinct sonorities--the strings and the trumpet--

contributes to producing tutti and solo. This chapter will examine the

way in which the alternation of tutti and solo is carried out in the

fast movements and attempt to put it into historical perspective in

terms of "ritornello."

The recurrence of tutti as a primary means of unification is not

rare in early Baroque music. Closely related to the role of a literal

refrain, one of the earliest instances can be found in the application

of the choral "Alleluia" refrain in Giovanni Gabrielli's motets to the

instrumental reprise in his canzonas and sonatas.1 Despite the fact

that pioneering opera composers--for instance, Jacopo Peri (1561-1633),

Giulio Caccini (ca. 1545-1618), and Claudio Monteverdi (1567-1643)--

utilized in their operas both choral and instrumental ritornellos, it

1. James P. Fairleigh, "Italian Prototypes of the Baroque Ritornello,"Bach XIV/3 (1983), 4.

19

was not until the emergence of Venetian opera that the instrumental

ritornello began to serve a large structural basis by exploiting related

key areas and manipulating common materials in both tutti and solo

sections.2

The ritornello form that appears to have fully developed in the

Venetian concerto has been traced to ritornello arias of the late

seventeenth century. John E. Solie, taking into account views of

Arnold Schering,3 Arthur Hutchings,4 and Walter Kolneder,5 on the

relation between aria and concerto, establishes this historical

hypothesis:

. . . arias containing ritornellos, common in late-seventeenth-century Italian opera, in some way inspired the early composersof concertos; later, however, the concerto, having enjoyed anindependent stylistic development, exerted a considerableinfluence upon the aria.6

Concerning ritornello as a structural basis of the concerto,

several scholars, albeit with some variation, agree on a general tonal

2. Arnold Schering, Geschichte des Instrumentalkonzerts bis auf dieGegenwart, 2nd ed. (Leipzig: Breitkopf & Hartel, 1927), 27.

3. Ibid., 86.

4. Arthur Hutchings, The Baroque Concerto, 3rd ed. (London: Faberand Faber, 1978), 47.

5. Walter Kolneder, "Vivaldis Aria-Concerto," Deutches Jahrbuch derMusikwissenschaft IX (1964), 17.

6. John E. Solie, "Aria Structure and Ritornello Form in the Musicof Albinoni," The Musical Quarterly LXIII (1977), 33.

20

plan and thematic relation between tutti and solo: the appearance of

tutti in the tonic or related keys outlines the tonal plan of concerto;

solo sections serve for modulation as well as virtuosic passage work;

both tutti and solo section often rely on common materials.7

Unfortunately, however, this generalization is not especially helpful

in tracing ritornello elements in earlier works, such as the Bolognese

trumpet concerto.

In this respect, Michael Talbot's analysis of fast movements

in early eighteenth century concertos becomes suggestive.8 Primary

formal determinants considered are the construction of musical periods

consisting of an antecedent and a consequent, and the disposition of

these periods. In particular, the coordination of two distinct periods--

a closed period that begins and concludes in the same key and a modulatory

open period--with tutti and solo textures produces an extensive structure

rare in early Baroque music in which the two kinds of periods are in-

discriminately mixed. Assigning the closed period to tutti, the open

to solo sections, Talbot devises an ideal ritornello design (Example 2)

which in many respects conforms to the ritornello employed by Antonio

7. Schering, op. cit., 72; Michael Talbot, "The Concerto Allegro in theEarly Eighteenth Century," Music & Letters LII (1971), 12-3; ArthurHutchings, "Ritornello," The New Grove Dictionary of Music andMusicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980),XVI, 58; Claude V. Palisca, Baroque Music, 2nd ed. (Englewood Cliffs,New Jersey: Prentice-Hall, 1981), 104.

8. Talbot, op. cit., 8-18, 159-72.

21

Example 2. The alternation of closed and open periods.9

V

vi

tutti solo tutti solo tutti solo tutti

horizontal line: closed periodcurved line: open period

Vivaldi and his followers.1 0 In comparison with these works, the

Bolognese trumpet repertoire seems rudimentary.1 1

The coordination of the closed and open periods with tutti and

solo texture and the tonal scheme, which constitute the core of the ideal

ritornello Talbot formulates, are scarecely discernible in most of the

fast movements of Gabrielli's trumpet sonatas. Rapid interchange

between tutti and solo sections prevails at the subphrase level, creating

an immediate contrast. Besides the textural contrast, the instrumental

exchange of distinctive materials (Example 3) and the repetition of the

9. The example is a slight modification of the original present inIbid., 14.

10. Talbot, op. cit., 12-4.

11. Ibid., 160.

22

Example 3. Sonata Con Tromba e Instromenti (G.I: 4), the firstAllegro, mm. 4-5.

Tr.

Vn. I

same phrase or segment (Example 4) suggest thematic and dynamic contrast

respectively. Nevertheless tutti and solo sections neither suffice

independently to establish a firm key area, nor provide room for thematic

manipulation; even the last movements of two sonatas--Sonata a 6 Con

Tromba (G.I: 5) and Sonata a Due Trombe (G.I: 7)--exploit solely the

tonic key, D major. Except for a few instances, the predominent

organizing principle of Gabrielli's trumpet sonatas becomes textural.

Example 4. Sonata Con Tromba (G.I: 3), the last Presto, mm. 12-19.

Tr.

AIALB

B.C

P

12As Talbot admits, however, frequent deviation of musical periods

leaves formal determinants open to diverse consideration. Phraseology

12. Ibid., 11.

23

is more likely to be determined by a distinct articulation, which helps

to clarify a tonal plan. In addition, we cannot ignore tutti and solo

sections that avail to secure a key area and exhibit thematic relations,

though they rarely conform to the periodic structure Talbot hypothesizes.

The Allegro movements of the trumpet sonatas by Gabrielli present

a clear tonal plan by deliberate use of a unique cadence. The 4-3

suspension formula often characterized by a dotted eighth and a sixteenth

note (Example 5) puncuates the arrival of a key throughout a movement;

Example 5. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 10-11.

4 3

less frequently a rather weak cadence spelled vii6-I (Example 6) is

utilized as well. That the constant use of a distinctive cadence aims

Example 6. Sonata a 6 Con Tromba (G.I: 5), the first Allegro, m. 14.

6$

24

at a clear presentation of tonal plan may be further supported by a

simultaneous use of the anticipation and the suspension formula, the

Corelli clash (Example 7).

Example 7. The Corelli clash.

a. Sonata Con Tromba (G.I: 3), the first Allegro, mm. 38-39.

b. Sonata a Due Trombe (G.I: 7), the first Allegro, mm. 18-19.

Among the seven trumpet sonatas the first fast movements of

Sonata Con Tromba (G.I: 3), Sonata a 6 Con Tromba (G.I: 6), and

Sonata a sei con Tromba (G.I: 8) most obviously show ritornello

characteristics: recurrence of identical material in tutti, thematic

25

relations between tutti and solo, and presentation of a clear tonal plan

(Figure3 .) in which related keys are often introduced by solo and

confirmed by tutti.

Materials drawn from the opening tutti are discriminately

exploited in the Allegro of Sonata Con Tromba (G.I: 3). A stepwise

descent of the first violin (Example 8: a) and a figuration of the basso

continuo (Example 8: b) recur in the second (mm. 12-17) and the fifth

(mm. 29-31) tutti. In the second tutti, the figuration b preceding a

in the first violin appears in imitation between the first and the second

violin doubled a third lower by the basso continuo; a and b are

simultaneously used in the first and the second violin doubled a third

lower by the basso continuo of the fifth tutti. In addition, an

Example 8. Sonata Con Tromba (G.I: 3), the first Allegro, mm. 3-4.

a,

b

intervallic play comprising two stepwise descents a fifth apart between

the first and the second violin in the opening tutti is also discernible

in the second, fourth, and fifth tutti.

The opening material of the first Allegro of Sonata a 6 Con

Tromba (G.I: 6) recurs in the second (mm. 11-16) and the last (mm. 22-

31) tutti with alteration. Apart from the polyphonic treatment of the

U)

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a mm. 3-5, Vn. I

a mm. 14-17, Vn. I

a3: mm. 24-25, Tr.

a mm. 25-27, Vn. I

A A h - ---.7# __ a a l --

b : mm. 3-4, B.C.; b2:mm. 7-8, Tr.

cm: mm. 17-22,-Tr.

c2 mm. 24-25, Tr.

c 3 mm. 31-36, Tr.

x: m. 3, Vn. I

z mm. 1-2, Vn. I; z mm. 36-37, Vn. I

28

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a rran. 1-2, Vn. II

2

a : m. 24, Vn. I

a 3: m. 28, Tr.

4a : m. 30, Vn. II

b: mm. 16-17, Tr.

c: mm. 18-22, Tr.

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a & x : mm. 2-3, Vn. I

A

x

a2 & x2 mm. 4-5, Tr.

3 2

3

a : m. 5, Vn. I

a -mm. 7-9, Tr. a5 mm. 91 i

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a : m. 16, Vn. I

a : mm. 28-29, Tr.

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32

subject (Example 9) in the first and second tutti, a homophonic treat-

ment of the subject (mm. 22-24), then a variation of the subject (mm.

25-28), also in imitation, provide an effective culmination to the

movement.

Example 9. Sonata a 6 Con Tromba (G.I: 6), the first Allegro,mm. 1-2, Vn. I & II.

The first Presto of Sonata a sei con Tromba (G.I: 8) offers an

interesting example of manipulating the close of the opening tutti.

The first and second violin (mm. 16-21) exhibit rhythmic characteristics

of the trumpet and the strings in the opening tutti (Example 10) as well

as sequential intervalic play of a fourth (Example 11), which will

be further discussed in relation to the solo section.

Example 10. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 4-5.

I I

33

Example 11. Sonata a sei con Tromba (G.I: 8), the first Presto,mm. 16-21.

Vn. I

This combination of the trumpet and the strings, from which the

rhythmic motives are derived, consistently appears at the end of the

second (mm. 11-12) and the fourth (mm. 27-28) tutti, serving as a

literal refrain.

Interestingly the trumpet solo passages of the first Presto of

Sonata a sei con Tromba (G.I: 8) that Hutchings dismisses as being

archaic in relation to the eighteenth century concertol3 manifest a

close relation to the opening tutti. The opening material of the first

violin (Example 12) expands in the first solo (mm. 7-9); thereafter

the means of expansion is consistently applied to the rest of the soli.

Example 12. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 2-3.

13. Hutchings, The Baroque Concerto, 81.

AA& Ak dft AL

A AIL97 CA AIL

:Vn. -:1/,& A.I.

a 40 a 19L 4e 1 .1 AIL

I&A, I r- 14 P wwo

34

The overall shape of the first solo (Example 13), similar to that of

the opening material, comprises a downward leap from e to a in

opposition to the upward leap from e to a of the opening, another

leap from a to d and passage work from d to a . An intervallic cell

(Example 12: motive x), significant to the construction of the first

solo, further serves as motto, followed by Fortspinnung in the rest of

the soli.

Example 13. Sonata a sei con Tromba (G.I: 8), the first Presto, mm. 7-9.

The relation between tutti and solo is less complex in the first

Allegro of Sonata a 6 Con Tromba (G.I: 6). Virtuosic solo passages

(mm. 4-11; mm. 18-22) based on Fortspinnung stem from the imitative

subject of the opening tutti which, later in variation (mm. 25-26),

begins to accelerate the last tutti (Example 14).

Example 14. Sonata a 6 Con Tromba (G.I: 6), the first Allegro, theimitative subject.

1

Vn. II

25

Vn. I

28

Tr.IKL I I m Pr

0414 4 ki- 1 11149 - - -IbQ

35

Solo passages in the Allegro of Sonata Con Tromba (G.I: 3) may

be categorized largely into two types. The first solo (mm. 7-13) begins

with the basso continuo figuration b of the opening tutti (see Example

8) and develops with a simple intervallic sequence relying on the

repeated b in the basso continuo4 An upward leap of a fourth (m. 3:

the first violin) in the opening tutti, which relates the first half

phrase of the first violin to the rest, is also utilized in the second

solo (mm. 17-22). The intervalic cell x (Example 15) that begins the

second solo links at m. 19 the first half phrase to the rest, both of

which outlines the stepwise descent a (see Example 8); the motive x

becomes auxiliary at m. 20. Later the second solo, the last half of

which reappears at mm. 27-29, is much elaborated in the last solo (mm.

31-36).

Example 15. Sonata Con Tromba (G.I: 3), the first Allegro, mm. 17-22,

the intervallic cell.

I rW& If FS 0'F-

The alternation of tutti and solo that forms a scaffold for the

three movements produces a symmetrical and balanced tonal plan,14 also

14. The result confirms Berger's notion of balanced form of the instru-mental music at San Petronio. See Berger, op. cit., 355.

36

frequent in Torelli's trumpet works.15 Whereas the tonic and the

dominant keys establish the outer frame, the submediant key, albeit

proportionately less extended, occupies the central portion. Besides

the overall tonal scheme similar to that of Albinoni's ritornello arias

and concertos,16 the combination of a stable and a modulatory section

(cf. Sonata a sei con Tromba, G.I: 8, the first Presto, mm. 11-27)

reveals an up-to-date solution to a large-scale form as Talbot

hypothesizes in connection with ritornello form.17 Sufficient to

establish individual key areas, tutti and solo sections of the movements

cease rapid exchange of fragments at the subphrase level. Particularly

solo figurations that usually expand tutti ideas suggest a way of

soloistic development, various options of which are well noted else-

where.18 Apart from being textural the organizing principle begins to

transform into tonal and thematic, whereby a prototype of solo concerto

is nourished.

The characteristics briefly observed in the selected movements

of Gabrielli's sonatas seem to formulate the ritornello design of solo

15. Eugene J. Enrico, Giuseppe Torelli's Music for Instrumental Ensemble

with Trumpet (Ph.D. dissertation, The University of Michigan, 1970),

163-6.

16. Solie, op. cit., 43..

17. Talbot, op. cit., 12-4.

18. Johann J. Quantz, On Playing the Flute, trans. Edward R. Reilly

(New York: Shirmer Books, 1985), 311-2.

37

concerto. The recurrence of identical material in tutti confirming

different keys, the thematic relation between tutti and solo, and the

symmetrical and balanced tonal plan containing up-to-date features

cannot be dismissed with respect to the development of ritornello form.

Although a full development of periodic structure, a diverse mani-

pulation of tutti, and a more complex tonal plan awaited the emergence

of the Venetian concerto, some elements found in Gabrielli's trumpet

sonatas are unmistakable seeds of full ritornello form.

38

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Vatieli, Francesco. Arte e vita musicale a Bologna. Bologna: Zanichelli,1927.

Verarchi, Sandra. "L'Ordinamento bolognese dei scoli XVI-XVII,"Archiginnasio LXXIV (1979), 181-426.

Watts, Sanford E. The Stylistic Features of the Bolognese Concerto.Ph.D. dissertation, Indiana University, 1964.

Wittkower, Rudolf. Art and Architecture in Italy 1600-1750, 3rd ed.Baltimore: Penguin Books, 1975.

43

CRITICAL NOTES

Manuscript Source: Archivio di San Petronio in Bologna, Italy,

MSS G.I: 3-9.

Since the catalogue system of the Archivio di San Petronio

has been changed at the archivist's predilection, the current system

devised by the present archivist Oscar Mischiati and the old system

devised by the former archivist Sergio Paganelli are compared to avoid

any confusion.

Mischiati Paganelli

Sonata Con Tromba G.I: 3 D.XI.6

Sonata Con Tromba e

Instromenti G.I: 4 D.XI.4

Sonata a 6 Con Tromba G.I: 5 D.XI.7

Sonata a 6 Con Tromba G.I: 6 D.XI.8Sonata a Due Trombe G.I: 7 D.XI.9

Sonata a sei con Tromba G.I: 8 D.XI.3

Sonata Con Tromba G.I: 8 D.XI.3

Sonata a 4.5. Con Tromba G.I: 9 D.XI.5

The full title of the sonatas appears with the identification

of composer on the organ title page except for two sonatas--Sonata a

6 Con Tromba (G.I: 6) and Sonata a 4.5. Con Tromba (G.I: 9)--lacking

the organ title page; the other parts usually bear the full title at

the top of the first page.

Despite the fact that two versions of G.I: 8 are musically

identical, the inclusion of tenor viola only in Sonata Con Tromba may

suggest that this sonata was composed earlier than Sonata a sei con

Tromba; the lack of the original manuscript number L.1.G on the organ

44

title page of the latter sonata may further support this assumption.

The abandonment of five-part texture, however, cannot be a strong

basis for the chronology of the sonatas, for the textural dis-

tinction does not always correspond with stylistic development.

Modern Editions

Gabrielli, Domenico. Sonata No. 2 in D for Trumpet, Strings and

Continuo, ed. Edward H. Tarr. London: Musica Rara, 1968.

edition of G.I: 4figured bass realized

Gabrielli, Domenico. Sonata D.XI.4 in D for Trumpet, Strings and

Basso Continuo, ed. Robert P. Block. London: Musica Rara,1978.

the manuscript number given in the edition is not correct; infact, it is the edition of Sonata Con Tromba (G.I: 8/D.XI.3).

figured bass realized

Gabrielli, Domenico. Sonata D.XI.7 in D for Trumpet, Strings andBasso Continuo, ed. Robert P. Block. London: Musica Rara,1979.

edition of G.I: 5figured bass realized

Gabrielli, Domenico. Sonata D.XI.8 in D for Trumpet, Strings andBasso Continuo, ed. Robert P. Block. London: Musica Rara,1979.

edition of G.I: 6figured bass realized

Gabrielli, Domenico. Sonata D.XI.5 in D for Trumpet, Strings andBasso Continuo, ed. Robert P. Block. London: Musica Rara,1978.

edition of G.I: 9figured bass realized

Gabrielli, Domenico. 6 Sonatas, 2 vols., ed. Roger Voisin. New York:International, 1967.

reduction for trumpet and pianoSonata a Due Trombe (G.I: 7/D.XI.9) excluded

45

Editorial Policy

1. The indicated tempo follows the majority of the manuscript parts.

2. Unusual terms, such as "basso viola," "violonzino, ""violone,"

are kept in the original form.

3. Instrumental identification placed in square brackets indicates

that a specific indication is not given in the manuscript part.

4. Editorially supplied passages, dynmaic signs, accidentals are

placed in square brackets.

5. Editorially supplied slurs are indicated by dotted curved lines.

6. The basso continuo instruments are generally notated on the same

line; whenever any of the instruments contains rather independent

music, though closely resembling the basso continuo line, it is

notated separately.

7. The figured bass, if reinforced by additional organ or theorbo

parts, follows the organ part found immediately succeeding the

organ title page; variations in additional organ or theorbo parts

are indicated in square brackets with the abbreviation T (theorbo)

or 02 (another organ).

Sonata Con Tromba (G.I: 3)

Manuscript Parts

Trumpet 1Violin 1 2Violin II 2Alto Viola 1Tenor Viola 1Violoncello 5Trombone I

46

Basso ContinuoOrgan

II

1st Movement: Allegro

16 Organ: the first beat is read G-sharp in the MS.

30 Tenor Viola: the first beat and the first half of the second

beat are read as a dotted quarter note in the MS.

3rd Movement: Allegro

24 Organ: the first beat is read G in the MS.

4th Movement: Largo-Presto

3 Organ: the first beat is read D in the MS.

Alto Viola: the first beat is read g in the MS.

Sonata Con Tromba e Instromenti (G.I: 4)

Manuscript Parts

Trumpet 1Violin I 1Violin II 2Alto Violetta 2Contralto Viola IViolonzino 1Basso 1Contrabasso 1Organ 2

2nd Movement: Allegro

26 Alto Violetta and Contralto Viola:

second beat is read g in the MS.

31 Alto Violetta and Contralto Viola:

beat is read & in the MS.

the last half of the

the first half of the last

1. This part does not bear figures.

47

3rd Movement: Grave

8 Violin II: the last half of the last beat is read a in the MS.

9 Violin I: the entire measure is read b in the MS.

4th Movement: Allegro

6 Violin II: the last half of the last measure is read . in

the MS.

11 Organ b: the first half of the first beat is read G in the MS.

ViolinII: the last half of the second beat is read . in the MS.

18 Violin II: the last half of the second beat is read g in the MS.

Violin I: the last note is read g in the MS.

23 Violin II: the last half of the last beat is read g in the MS.

Sonata a 6 Con Tromba (G.I: 5)

Manuscript Parts

Trumpet 1

Violin I 2Violin II 2Alto Viola 1Alto Violetta ITenor Violetta 1Basso Viola 1Basso 2[Theorbo] 1

Organ I

2nd Movement: Allegro

24 Figured Bass: the first beat is read 76 in the MS.

3rd Movement: Adagio

27 Tenor Viola: the last beat is read E in the MS.

4th Movement: Presto

15 Tenor Viola: the third and fourth beats are read 'f

in the MS.

48

26 Basso Continuo: the last beat is read C in the MS.

Sonata a 6 Con Tromba (G.I: 6)

Manuscript Parts

Trumpet IViolin I 1Violin II 2Alto Viola ITenor Viola 1Violoncello 2Contrabasso 2Theorbo 1Organ 2

2nd Movement: Allegro

24 Organ: the second beat is read A-A 1 in the MS.

5th Movement: Grave

2 Tenor Viola: the first half of the first beat is read f-sharp

in the MS.

Sonata a Due Trombe (G.I: 7)

Manuscript Parts

Trumpet 1 1Trumpet II 1Violin I ITenor Viola 2Violoncello IContrabasso 2Organ 1

2nd Movement: Allegro

10 Trumpet I: the last beat is read in the MS.

32 Violin I: the second beat is read g in the MS.

49

4th Movement: Allegro-Presto

1 Trumpet: the third beat is read as a quarter note in the MS.

11 Tenor Viola: the last note of the second beat and the first

note of the third beat are read d-e in the MS.

Sonata a sei con Tromba (G.I: 8)

Manuscript Parts

Trumpet 1Violin 1 2Violin II 2Alto Viola 1Violoncello IViolone IContrabasso 2Organ 1

3rd Movement: Presto e staccato

37 Trumpet: the dynamic sign is read forte in the MS.

Sonata Con Tromba (G.I: 8)

Manuscript Parts

TrumpetViolin IViolin IIAlto ViolaTenor ViolaVioloncelloTheorboOrgan

1st Movement: Largo-Presto

36 Theorbo & Organ: the

MS.

1111111I

final note is read as a half note in the

50

3rd Movement: Presto e staccato

19 Organ: the last beat is read G in the MS.-1

32 Violin I: the first note of the first beat is read a1 in the

MS.

Sonata a 4.5. Con Tromba (G.I: 9)

Manuscript Parts

Trumpet 1Violin I 1Violin II 1Alto Viola 2Violoncello 3Basso 1Theorbo 1

1st Movement: Allegro

28 Theorbo: the last beat is read F in the MS.

2nd Movement: Grave

43 Violin I & II: the measure is read a half note and a quarter

rest in the MS.

3rd Movement: Presto

1 Violoncello: the first and second beats are read '

in the MS.

4th Movement: Grave-Presto

13 Figured Bass: the first beat and the first half of the second

beat are read 2 in the MS.

51

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