The ornamentation of four early eighteenth-centuryItalian oboe concerti found in "Concerti a Cinque... Libro

primo" of Jeanne Roger (Amsterdam, ca. 1714-1717)

Item Type text; Dissertation-Reproduction (electronic)

Authors Scarnati, Rebecca Kemper, 1957-

Publisher The University of Arizona.

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"THE ORNAMENTATION OF FOUR EARLY EIGHTEENTH-CENTURY ITALIAN OBOE CONCERTI FOUND IN CONCERTIA CINQUE... UBRO PRIMO OF

JEANNE ROGER (AMSTERDAM, CA. 1714-17)."

by

Rebecca Kemper Scamati

Copyright © Rebecca Kemper Scaraati 1996

A Dcx:uinent Submitted to the Faculty of the

SCHOOL OF MUSIC AND DANCE

In Partial Fulfillment of the Requirements

for the Degree of

DOCTOR OF MUSICAL ARTS

WITH A MAJOR IN PERFORMANCE

In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 9 6

UMI Number: 9706155

Copyright 1996 by Scamati, Rebecca Kemper

All rights reserved.

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2

THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have

read the document prepared by Rebecca Ifemper Scamati

entitled Ornamentation of Ftoiir Early Eighteenth-Century Italian

Oboe Cbncerti Found in Goncerti a Cinque.. .Libro Primo of

Jeanne Roger (Amsterdam, ca. 1714-17)."

and recommend that it be accepted as fulfilling the requirements

for the Degree of Doctor of Musical Arts

Pr^f. Warren 'SutRerl and Date

— 4 —S ^ 3 - 4

beth Ervin

Date

Date

uate

Dace

Final approval and acceptance of this document is contingent upon che

candidace's submission of che final copy of che documenc co che

Graduate College.

I hereby certify chat I have read this document prepared under my

direction and recommend chat it be accepted as fulfilling the

reauiremenc.

Directo: Dace

3

STATEMENT BY AUTHOR

This document has been submitted in partial ftilfiUment of requirements for an

advanced degree at The University of Arizona and is deposited in the University Library

to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable widiout special permission,

provided that accurate acknowledgment of source is made. Requests for permission for

extended quotation from or reproduction of this manuscript in whole or in part may be

granted by the copyright holder.

SIGNED

4

TABLE OF CONTENTS

L LIST OF ILLUSTRATIONS 6

II. ABSTRACT 10

m. CHAPTER I: INTRODUCTION 12

Giuseppe Valentini 14

Giuseppe Sammartini 15

Alessandro Marcello 16

History of Marcello's Concerto 18

The Publisher and Publication 20

IV. CHAPTER n: THE BAROQUE OBOE 21

V. CHAPTER m: EXAMINATION OF EXAMPLES OF FTALL^N AND

ITALIANATE ORNAMENTATION 30

VL CHAPTER IV: THE ORNAMENTATION OF THE CONCERTI 89

The Ornamentation of Sammartini's Concerto I, Adagios 89

The ornamentation of Marcello's Concerto II, Adagio 99

The Ornamentation of Valentini's Concerto HI. Largo 112

The Ornamentation of Valentini's Concerto IV, Largo 120

5

TABLE OF CONTENTS—Cozzn'nMe^/

VIL CHAPTER V: CONCLUSION 127

Vm. APPENDIX A: PERMISSIONS 129

DC. APPENDIX B: SCORES OF THE CONCERTI 132

Concerto I by Giuseppe Sammartini 133

Concert II by Alessandro Marcello 156

Concerto III by Giuseppe Valentini 179

Concerto IV by Giuseppe Valentini 205

X. REFERENCES 227

6

UST OF ILLUSTRATIONS

FIGURE 2-1, Fingerings for c#" and d#" 24

FIGURE 2-2, Fingerings for bb", c'", c#"', and d'" 25

FIGURE 2-3, Fingerings for a', b', bb', and c" 25

FIGURE 2-4, Fingerings for f, f#, e, g#, and g 26

FIGURE 2-5, Fingerings for bb", c'", c#"', and d'" 27

FIGURE 3-1, measure 1-4 of Corelli's Sonata II, movement 4 36

FIGURE 3-2, measure 16-18 of Corelli's Sonata III, movement 3 37

FIGURE 3-3a, measure 14 from Corelli's Sonata IX, movement 1 38

FIGURE 3-3b, measure 20 from Corelli's Sonata IX, movement 1 38

FIGURE 3-4a, measure 3 from Corelli's Sonata IV, movement 1 39

FIGURE 3-4b, measure 15 from Corelli's Sonata IV, movement 1 40

FIGURE 3-5a, measures 6-7 from two Vivaldi concerti 41

FIGURE 3-5b, measure 1 from Concerto for Flute in C Major 42

FIGURE 3-6, measures 38-40 of Sanmiartini's Sonata 5 in Gfor oboe,

movement II 43

FIGURE 3-7, measures 23 and 24 of the Marcello Concerto in d minor,

movement II with Bach's ornaments 43

FIGURE 3-8, measure 3-4 of Telemann's Sonata in D Major, movement 1 44

FIGURE 3-9, measure 1-3 of Babell's Sonata II, movement U 45

FIGURE 3-10, measure 13-16 of Corelli's Sonata II, movement 1 46

FIGURE 3-11, measure 10-14 of Corelli's Sonata IV, movement IV 47

FIGURE 3-12, measures 1-4 from Corelli's Sonate IX, movement 1 48

FIGURE 3-13, measure 13-16 of Babell's Sonata X, movement HI 48

7

LIST OF ILLUSTRATIONS - Continued

FIGURE 3-14a, measure 3-6 of Telemarm's Sonata in A Major, movement 1 49

FIGURE 3-14b, measure 1-4 of Telemann's Sonata in D Major, movement 1 50

FIGURE 3-15, measure 5-8 of Corelli's Sonata II, movement 4 51

FIGURE 3-16, measures 4-7 of the Marceilo Concerto in d minor,

movement II with Bach's ornaments 52

FIGURE 3-17, measure 11-12 of Corelli's Sonata II, movement 1 53

FIGURE 3-18, measure 1 of Corelli's Sonata V, movement 1 54

FIGURE 3-19, measure 6 of Corelli's Sonata V, movement 1 55

FIGURE 3-20, measures 6-8 of Corelli's Sonata IV, movement 1 56

FIGURE 3-2la, measures 38-39 of Sarrmiartini's Sonata 5 in G for oboe,

movement II 57

FIGURE 3-2lb, measures 44-46 of Sammartini's Sonata 5 in G for oboe,

movement II 57

FIGURE 3-22, measures 1-6 of Babell's Sonata I, movement 1 58

FIGURE 3-23a, measure 6 from two Vivaldi concerti 58

FIGURE 3-23b, measures 1-3 from Concerto for Flute in C Major 59

FIGURE 3-24, measures 1-3 from Corelli's Sonate IX, movement 1 60

FIGURE 3-25, measure 1-3 of Telemann's Sonata in G Minor, movement 1 61

FIGURE 3-26, measures 32-33 of the Marceilo Concerto in d minor,

movement II with Bach's ornaments 62

FIGURE 3-27, measures 1-2 of Corelli's Sonata IV, movement 1 63

FIGURE 3-28a, measure 2 from Corelli's Sonate IX, movement 1 64

FIGURE 3-28b, measure 1-4 of Telemarm's Sonata in D Major, movement 1 65

8

UST OF ILLUSTRATIONS - Continued

FIGURE 3-29, measure 40-42 of Telemann's Sonata in E Minor, movement 1 66

FIGURE 3-30, measure 6-7 of Corelli's Sonata V, movement 1 67

FIGURE 3-31, measures 15-19 from Corelli's Sonate IX, movement 1 68

FIGURE 3-32, measure 1-4 of Telemann's Sonata in E Major, movement 1 69

FIGURE 3-33, measure 13 of Babeil's Sonata II, movement H 70

FIGURE 3-34, measures 5-7 of Corelli's Sonata IV, movement 1 72

FIGURE 3-35, measures 4-11 of the Marcello Concerto in d minor,

movement II with Bach's ornaments 74

FIGURE 3-36, measures 10-11 from Sonata II, movement II 75

FIGURE 3-37, measures 15-18 from Corelli's Sonate IX, movement 1 76

FIGURE 3-38, measures 38-40 of Sammartini's Sonata 5 in Gfor oboe,

movement II 76

FIGURE 3-39, measure 3 of Telemann's Sonata in A Major, movement 1 77

FIGURE 3-40, measures 34-35 of Telemann's Sonata in A Major, movement I.... 78

FIGURE 3-41, measure 39-42 of Telemann's Sonata in E Major, movement 1 79

FIGURE 3-42, measure 7 of Corelli's Sonata IV, movement 1 80

FIGURE 3-43, measures 24-27 of Corelli's Sonata I, movement 4 80

FIGURE 3-44, measure 7 of Corelli's Sonata IV, movement 1 81

FIGURE 3-45, the last measure of Corelli's Sonata IV, movement 1 82

FIGURE 3-46, measure 2 of Corelli's Sonata IV, movement 1 83

FIGURE 3-47, measure 11-12 of Corelli's Sonata TV, movement 1 84

FIGURE 3-48, measure 14-15 of Telemann's Sonata in B Minor, movement I.... 85

9

LIST OF ILLUSTRATIONS - Continued

FIGURE 4-1, Concerto I, Adagios by Giuseppe Sammartini, with ornaments 93

FIGURE 4-la. Fingering for g" and bb" 99

FIGURE 4-2, Concerto II, Adagio by Alessandro Marcello, with ornaments 105

FIGURE 4-3, Concerto III, Largo by Giuseppe Valentini, with ornaments 116

FIGURE 4-4, Concerto IV, Largo by Giuseppe Valentini, with ornaments 123

FIGURE 5-1. Bach examples from movements I and IE 128

10

ABSTRACT

This study presents new editions of four Baroque oboe concerti with ornaments

added to the slow movements. The four concerti by three Italian composers were

published in Concerti a Cinque Con Violini, Oboe, Violetta, Violoncello e Basso

Continuo, Del Signori G. Valentini, A. Vivaldi, T, Albinoni, F. M. Veracini, G. St.

Martin, A. Marcello, G. Rampin, A. Predieri. Libro Primo. No. 432 (Amsterdam:

Jeanne Roger, ca. 1714-17). Scores have been created from the Roger print in a

computer-generated edition with the original solo line on top, ornaments created in this

study for the slow movements written out on the staff below, and followed by four

additional staves containing the two violin, viola, and continuo parts from the print.

The smdy focuses on creating ornaments for Concerto / in F major by Giuseppe

Sammartini, Concerto // in D minor by Alessandro Marcello, and Concerti III and /V,

both in C major, by Giuseppe Valentini.

Since no treatises on early eighteenth-century Italian ornamentation are extant,

the selection of ornaments for the concerti of the Roger print were guided by the

characteristics and technical limitations of a reproduction baroque oboe, as well as music

of early eighteenth-century Italian and Italian-influenced composers whose works were

published with ornaments.

Chapter I introduces the topic, composers, and publisher. The history and

technical limitations of the baroque oboe are discussed in Chapter n. Chapter EH

examines published Italian and Italianate ornamentation. Chapter FV discusses the

methods and rationale employed to omament each of the slow movements of the four

concerti. Chapter V summarizes the paper. The appendices include fiill scores of each

11

of the concerti. The slow movement of each concerto includes both the unomamented

and omamenled versions of Ihe soio line.

12

I: INTRODUCTION

This study presents new editions of four Baroque oboe concerti with ornaments

added to the slow movements. The four concerti by three Italian composers were

published in Concerti a Cinque Con Violini, Oboe, Violetta, Violoncello e Basso

Continuo, Del Signori G. Valentini, A. Vivaldi, T. Albinoni, F. M. Veracini, G. St.

Martin, A. Marcello, G. Rampin, A. Predieri. Libro Primo. No. 432 (Amsterdam;

Jeanne Roger, ca. 1714-17). Other works in this publication are concerti for violin and

strings and will not be addressed in this study. Scores have been created from the

Roger print in a computer-generated edition with the original solo line on top, omaments

created in this study for the slow movements written out on the staff below, and

followed by four additional staves containing the two violin, viola, and continuo parts

from the print. The study focuses on creating omaments for Concerto / in F major by

Giuseppe Sammartini, Concerto II in D minor by Alessandro Marcello, and Concerti III

and IV, both in C major, by Giuseppe Valentini. •

Since no treatises on early eighteenth-century Italian ornamentation are extant,-

the selection of omaments for the concerti of the Roger print were guided by the

characteristics and technical limitations of a reproduction baroque oboe, as well as music

of early eighteenth-century Italian and Italian-influenced composers whose works were

published with omaments.^ The published works of Italian composers such as

'Note: The numbering of the titles are as they appear in the Roger print. ^Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music: With Special

Emphasis on J.S. Bach, (Princeton: E*rinceton University Press, 1978) 29 and 98. ^Julia Carolyn Combs, "Six Sonatas by Giuseppe Sammartini, (Sibley Manuscript S. 189)

with Critical Commentary and a Performing Edition of Sonata Five," diss.. North Texas State

13

Arcangelo Corelli—^Vaientini's teacher—and Francesco Geminiani—a colleague and

contemporary of Sammartim, Marceilo, and Valentini—have served as models of

ornamentation. In addidon, written-out ornaments in the Italian style by non-Italian

composers of the period, such as those in J. S. Bach's harpsichord transcription of the

Marceilo Concerto, have also been considered.

Of the four concerti, only the Marceilo example is currently published in modem

editions. The performer on a modem oboe finds that ornaments in these editions of the

Marceilo are based either on Richard Laushmann's 1924 edition or are derived from J.

S. Bach's harpsichord arrangement of the concerto. When supplying ornamentation, all

editions fail to take into account the baroque oboe's characteristics and limitations. Of

the other three concerti. Concerto IV hy Valentini has never been published in a modem

edition and none of the others are currendy in print. Published editions of the other two

concerti are from the 1950s and 1960s and are not ornamented. Through this study,

appropriately omamented editions of the four concerti provide a model of ornamentation

for modem oboists not experienced with early eighteenth-century Italian baroque

ornamentation.

University, 1985,2, finds that there are no early eighteenth-century Italian treatises on ornamentation. German treatises of the time by Johann Mattheson, Johann Joachim Quantz, and Carl Philipp Emanuel Bach, never discuss what Italians are doing with ornamentation. Mattheson was concerned with the theory and practice of German music in 1713. not Italy, and actively encouraged Germans to take jobs held by Italian musicians, see George J. Buelow, "Mattheson, Johann," ed. Stanley Sadie, The New Grove Dictionary of Music and Musicians, vol. 11 (London: Macmillan, 1980) 834. Quantz's 1752 treatise On Playing the Flute dates some forty years after the concerti were published and discusses Italian ornamentation ("artificial graces," p. 162) by way of demonstrating a superior French practice. Quantz states that "in the Italian style in former times no embellishments at all were set down, and everything was left to the caprice of the performer..." (p. 163). Quantz remains useful as a guide to French woodwind practice, see Johann Joachim Quantz, On Playing the Flute, trans, by Edward Reilly, 2d ed. (Schirmer: New York. 1985) 162-3. Likewise, C.P.E. Bach's 1753 treatise Essay on the True Art of Playing Keyboard Instruments, also dates some forty years after the concerti were published. Bach praises the reserve of French and German ornamentation that is not in "excess" (p. 79) and never directly discusses Italian ornamentation, see C.P.E. Bach, Essay on the True art of Plying Keyboard Instruments, trans, by William J. Mitchell (W.W. Norton: New York, 1949) 79.

14

Giuseppe Vaientini

In viewing the four concerti, we will first start with the background of each of

the three composers and then discuss any relevant historical information concerning the

concerti. Of the three composers, the least known is Giuseppe Vaientini. Little is

certain except for his stay in Rome between 1701 and 1735 during which he wrote the

two concerti in this study. In the publication of his first set of works in 1701 he stated

that he was "hardly twenty years old," which would make his birth c 1680,*^ and the

word "fiorentino" next to his name tells us that he was probably from Florence.^

Vaientini was a student of Arcangelo Corelli and worked as a violinist in Rome until

1735 when it is thought that he returned to Florence.^ His composition and violin

playing were criticized by rival Francesco Geminiani, also a student of Corelli, who

accused Vaientini of causing Corelli's death presumably with his poor compositions and

bad performances on the violin.^ Bumey, too, criticized Vaientini saying the neglect of

his works was "without any loss to the public or injustice to the author."^ However,

the opinions of his rival and an English contemporary do not reflect the quality of the

two concerti of this study.

Talbot, "Giuseppe Vaientini" The New Grove Dictionary of Music and Musicians, 6ih ed., 20 vols. ed. Stanley Sadie (London: Macmiilan, 1980) XXI, 496.

^Talbot, p496 ^Talbot, p496. ^ Marc Pincherle, Corelli His Life, His Work, (W.W. Norton: New York, 1956) 40. ^Talbot, p 496.

15

Giuseppe Sammartini

The life of Giuseppe Sammartini is more documented than that of Valentini. He

lived much of his later life in England during which time historians such as Charles

Bumey and John Hawkins wrote about him. He was the older brother of the famous

symphonic composer Giovanni Battista Sammartini, whose life is also well-

documented. The brothers were bora in Milan of a French father, Alexis Saint-Martin,

and an Italian mother, Girolama de Frederici.^ In fact the title page and score of the

Sammartini concerto in the Jean Roger print lists the name of the composer as Giuseppe

St. Martin and not Sammartini. Giuseppe was bora in 1695, indicating that the Roger

print presents a very early work and is in fact the earliest of his known works. All of

the members of the Sammartini family were oboists, although Giuseppe gained the most

renown. After hearing him play in Milan in 1726, Quantz said that Sammartini was the

only good wind player in the opera orchestra, and, following a visit to Venice,

compared him to violinists Vivaldi and Modonis.'® Sammartini is perhaps better known

today as Handel's oboist, moving to London around 1728 where he played in Handel's

orchestra.' ^ A number of Handel's autographed manuscripts have Sammartini's name

on them.^2 From 1736 until his death in 1750, Sammartini worked in the employ of

Frederick, Prince of Wales.Hawkins stated that Sammartini was the "greatest

(oboist) that the world had ever known."Sammartini maintained an overwhehning

influence on English oboe playing for many generations after his death.

^Bathia Churgin, "Sammartini, Giuseppe," The New Grove Dictionary of Music and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London: Macmillan, 1980) XVI, 457.

'^Churgin, 457. Churgin, 457.

l^Churgin, 457 '^Churgin. 457. ''^Churgin, 457

16

Alessandro Marceiio

As with Giuseppe Sammartini, Alessandro Marceiio was the older brother of a

more famous composer, Benedetto Marceiio. Alessandro was bom in 1660 to the

Venetian nobleman Agostino Marceiio and his wife, Paolina Capello.^® His musical

gifts probably came from his mother, who, though from a less affluent family than the

MarceUo family, was known to be talented in the arts.'^ Upon the death of his father in

1707, Alessandro acted as head of his family.^® Hg ^as also very involved with

politics throughout his life as a member of the Great Council of the Most Serene

Republic of Venice.'^ In fact, Alessandro's life was not dedicated exclusively to music.

In addition to music, he was interested in politics, poetry, mechanical invention, and

painting.20 He was a member of the Venetian branch of the Rome-based secret society

called the Arcadia. Not much is known about this society except that they had members

all over the Italian peninsula and encouraged intellectual achievement, especially in

music.-' His association with the Arcadia gave Marceiio access not only to new ideas,

but also to composers and performers from all over Europe. Marcello's Arcadian name

was Eterio Stinfalico and he usually used this name on publications of his works.22

The use of this name may have been the reason for some of the confusion over the

'^Michael Talbot, "Alessandro Marceiio." The New Grove Dictionary of Music and Musicians, 6th ed., 20 vols., ed. Stanley Sadie (London: Macmillan, 1980) JQ, 647.

'^Eleanor Selfridge-Field. The Music of Benedetto and Alessandro Marceiio: A Thematic Catalogue with Commentary on the Composers. Repertor/. and Sources. (Clarendon Press: Oxford, 1990) 3.

'^Selfridge-Field, 3. ' Selfridge-Field, 3. '^Selfridge-Field, 3. ^®Selfhdge-Field, 3.

Selfridge-Field, 6. ^^Selfridge-Field, 7.

17

authorship of the D Minor Concerto. In the Roger print his name is listed as Alessandro

Marceilo instead of Eterio Stinfaiico which is used in other publications."

^Selfridge-Field, 7.

18

History of Marceiio's Concerto

Of the history of the four concert! in the Roger publication, that surrounding

Marcello's concerto has been most controversial. Both the composer and the key of the

piece have been mistakenly identified for more than 200 years. Bach originally included

his Marcello transcription in a collection of XVI Concern nach A. Vivaldi.^^

Nineteenth-century historians continued this error. When the model for Bach's

transcription was found, the name Marcello appeared as the composer, but it was

assumed to be the work of Alessandro's more famous younger brother, Benedetto.^

Not only was Benedetto more famous than his older brother, but Alessandro usually

used his Arcadian name in his pubUcations. Not until 1950 was Alessandro's name

finally attached to the Concerto, through Frank Walker's discovery of the c. 1714-17

Jeanne Roger print housed in the British Library.26 However, music historians

continued to mis-attribute the work as late as 1967.27

Substantiating the original key of the Concerto has also generated much

confusion. There are two pubUshed versions of the work, one in C minor and another

in d minor.28 There is a statement found in the print of the C minor version that the

work is notated in transposed Dorian with two flats, so that the original untransposed

key appears to have been D minor. In addition, C minor is a difficult key to play on the

Venetian baroque oboe. Finally, there are a number of mistakes in the C minor version.

One of the explanations for the existence of the c minor version is that it was transposed

2'^Jaines A. Hobbs, "Marcello's Concerto in D Minor for Oboe. Strings, and Basso Continuo: A View of its origin and use in J.S. Bach's Conceno HI for Solo Harpsichord, BWV 974," Journal of the International Double Reed Societv 10 (1982): 1.

25Hobbs 1-2. ^^Frank Walker, "A Little Bach Discovery," Music and Letters 31 (1950): 184. ^^Norman Carrell, Sac/i r/ie fiorrowcr (London: Allen and Unwin, 1967): 246. 28Hobbs 3.

19

to c for the B'' oboe.^^ However, modem baroque oboist and historian Bmce Haynes

believes that the concerto was transposed to C minor because of tlie high pitch used in

Venice which was closer to the modem bt-3® Local variation in pitch was not unusual at

this time: for example, in France the pitch standard for "a" was often the equivalent of

today's al' or while in Germany it was close to

29Hobbs 3.

^^ruce Haynes, "Johann Sebastian Bach's Pitch Standards: The Woodwind Perspective" Journal of the American Musical Instrument Society, 1985, 110.

^'Haynes, 59. ^^Haynes, 67.

20

The Publisher and Publication

Jeanne Roger, publisher of the four concerti, was the daughter and heir of the

printer Estienne Roger.33 Estienne Roger began publishing in Amsterdana in 1697.3'^

In 1716 Estienne Roger willed the publishing business to his daughter Jeanne and

started imprinting her name on the publications until his death in 1722.35 She followed

him in death only a few months Iater.36 The publication of the concerti was thought to

have been between 1714-1717, but if Estienne did not use his daughter's name as an

imprint until 1716, then the later date would appear to be the more probable one.

However, the Rogers did not date their publications and the plate numbers on their

publications are not in any order. 3^

33Samuel F. Pogue, "Esiienne Roger" The New Grove Dictionary of Music and Musicians. 6th ed.. 20 vols., ed. Stanley Sadie (London; Macmillan, 1980) XVI. 99.

34pogue, 99. 35pogue, 99. 36pogue, 99. 37pogue, 100.

21

: iim. I»AR«JVI*-'£ OBW£'

The characteristics and technical problenas encountered when playing the

baroque oboe would have greatly affected the choice of ornaments used in any oboe

concerto of the period. To gain a complete understanding of the instrument used at the

beginning of the eighteenth century, one must start with the history of the development

of the baroque oboe. Until the middle of the seventeenth century, double reed

instruments were rather crude by today's standards. Around 1660 three families in

Paris began working on the shawm, converting it into what has become known as the

baroque oboe. These three families, the Philidors, the Chedevilles, and the Hotteterres

were members of the wind ensembles of the Grand Ecurie du Roi^^ 39 and evenmally

played for Lully's operas. Lully's operas-ballets were the first that frequently included

the oboe/shawm.''® The word hautbois was used by the French to mean shawm or oboe

so the use of the word hautbois is not a clue to when the oboe was developed.*^* Bruce

Haynes has shown in his smdy of art works of the 1660s to 1700s that the oboe

evolved from the shawm over a period of twenty to thirty years T^e first oboe-like

instruments appeared in the art of the early 1650s.'^3 xhe likely date of the baroque

oboe's final development is probably in the early 1680s. The publication of the first

technical description of the instrument by Banolomeo Bismantova, Regole.. .del

^^Rebecca Harris-Warrick, "A Few Thoughts on Lully's hautbois," Early Music. XVIII No. 1. February 1990: 102.

3^Philip Bate, "Oboe," The New Grove Dictionary of Music and Musicians, 6th ed., vol. 13, ed. Stanley Sadie (London: Macmillan, 1980) 465.

^®Bruce Haynes, "Lully and the Rise of the Oboe as Seen in Works of Art," Early Music. XVI No. 3, August 1988: 324.

'^^Haynes, "Lully." 326. "^^Haynes. "Lully," 328, 330. ^^Haynes, "Lully," 326.

22

Oboe, dates from 1688 and an application made by J. C. Denner and J. Schell in

Nuremberg in 1696 asked for permission to build the new French musical instrunienls

developed about twelve years earlier.'*^

The oboe made its way to Italy by 1692, where it was used in the operas of

Carlo Francesco Pollarolo and Giacomo Perti. It was introduced into the orchestra of

the chapel of San Marco in Venice in 1698."*^ The first oboists in Italy were from

France and Germany.'*^ In fact Giuseppe Sammartini's father, Alexis Saint-Martin,

was probably one of the oboists responsible for bringing the instrument to Italy

(Giuseppe was bom in Milan in 1695, so his French father must have arrived in Milan

prior to his birth).

The instrument which arrived in Italy differed greatly from the loud, unrefined

sound of the shawm. The baroque oboe had no pirouette (the cupped top found on

some shawms) thus allowing the oboist to play with the lips directly on the reed, giving

more control over sound, dynamics, and intonation. The oboe also came in three

sections with swellings along the bore, unlike the shawm which was in one straight,

although sUghtly conical, piece.'^ The oboe could play two octaves chromatically with

the exception of the c#'. The oboe also had a smaller bore and tone holes than the

shawm and two or three keys (one or two keys for e''—the second being a duplicate key

appearing only on the earlier baroque oboes—and one for c' sometimes referred to as

the "great key") where as the shawm had none.'^^ There were only two vent-holes on

-"Haynes. "Lully." 330, 331. Alfredo Bemardini. "The Oboe in the Venetian Republic, 1692-1797." Early Music, XVI

No. 3, August 1988: 374. •^Bemardini, 374. "^^Janet K. Page, "The Hautboy in London's Musical Life," Early Music, XVI No. 3. August

1988: 362. ^^^Haynes. "Lully," 325-6. 49Haynes, "Lully." 326.

the oboe, while the shawm had five. The finger-holes on the oboe were positioned

lower on the instnmient than on the shawm and the oboe also had a beil lip at tlie

bottom.50 This oboe, the two- and three-keyed instrument, remained unchanged until

1760 when a few modest alterations were made.^' Exact details of the instrument used

in Italy at the beginning of the eighteenth century are unknown, since no instructional

materials appeared in Italy before the treatise by Vincenzo Paneraj of Florence in

1770.52 The lack of earlier treatises and instructional material was mainly due to the fact

that the oboe was not successfiil in amateur circles,^^ probably due to the technical

difficulties of the instrument and the need for reeds.

Although the baroque oboe could fully play chromatic pitches from c' to d'"

(with the omission of c#'), the fingerings were often complicated. Bruce Haynes

explains that with only eight holes, some of the semitones can only be obtained "by

using 'cross-fmgerings,' i.e. lowering an open-fingered note by closing holes further

down the bore."^'^ These cross-fingerings have a darker, more veiled tone quality and

special fingerings, which then further affect the tone quality, must also be used for some

trills.55 Higher pitches are produced by overblowing and tightening the embouchure

which also changes the tone quality by making it brighter. While a change of tone color

might be intentionally called for by a composer's choice of pitches, one would not want

the changes in tone to be random. The fingering problems make some keys much easier

to play on the baroque oboe than others. Keys with up to three sharps and flats are

^^aynes, "Lully." 326. Eric Halfpenny. "The French Hautboy: A Technical Survey, Part I," The Galpin Societv

Journal 6 (1953): 26-21. ^^Bemardini, 376. ^^Bemardini, 376. ^'^Bruce Haynes, "Tonality and the Baroque Oboe," Early Music 7 (1979): 355. ^^Haynes, "Tonality and the Baroque Oboe," 355.

generally recognized as the outer limits of the instrument. Haynes has demonstrated that

a preference exists in the literature for keys with no accidentals to two nats.^®

Even so, some finger combinations are impossible to execute while others are

simply climisy. Many of the trills that can be played on the baroque oboe require special

fingerings. The fingering from c#" to d#" is one example of an impossible

combination. The keys used to play these two notes are both played with the right hand

fifth finger and, because of the distance between the two keys, playing these two notes

consecutively is impossible without inserting another note between them. This

fingering problem also emphasizes the difficulty of playing in tonalities with four sharps

or four flats.

Example 2-1

cr dr

o e

Sinfiilar fingering combinations occur in the upper range of the instmment

involving the same E'' and C keys of the oboe. Pitches b''", c'", and c#'" all use the

E'' key, while d'" uses the C key. This situation makes it difficult to reach the d'" in

^^Haynes, "Tonality and the Baroque Oboe," 355.

any diatonic scale. The usual alternative is to leave the c key off for the d'"; however,

this results in an even sharper and brighter tone on a pitch that is already quite bright.

Example 2-2

bb" c'" c#'" d'"

• O o e • • • • OO • • • • •• oo • • o O • o o O !• !• la []•

Many fingerings are simply quite clumsy to execute. Fingering combinations as

simple as b' or b'^' to c", or a' to b^'' are difficult to play without creating extraneous

pitches. As can be seen in example 2-3, the performer must lift one or two fingers

while putting down a different finger, which often results in other pitches being heard in

between.

Example 2-3

b' bb'

• • • o • o o • oo oo •• oo oo oo oo oo O O O O

oS oS qS QS

26

This same problem occurs in bolh octaves when going from f or frf to e (one finger

coming up while another goes down, or, in the case of f#, the finger sliding half-way

off a finger-hole). The alternative fingering for f# to e is also a cross-fingering

problem, but at least it eliminates the even more difficult half-hole (while creating a

brighter and sharper sound).57 similar half-hole is used in both octaves to produce g#

or a'', which makes going to g or b^ difficult.

Example 2-4

f f^ e g# g • • • • • • • • • • •• •• •• •• •• o« •• oo oo o O • O O • • , o , O , O On In On On On

High-note fingerings look complicated because more holes must be covered, but they

are no more comphcated than the cross-fingerings of b' and b^' to c". In fact c'" to

c#'" is easier to play in this upper register, not only because fewer fingers move, but

one is not moving over the "break" of the instrument.

a fast tempo the pitch would go by quickly so that the change of sound would be less obvious, but in a slower passage this sound would be too noticeable to use.

27

Example 2-5 bb" c'" c#'" d'"

• o o e • # • • 00

oo • • o O • o o O

0'

The break of the instrument and leaps over the break are difficult to control. The

break comes between c" and c#" (one finger down to all fingers down). Not only are

more fingers involved, but there must also be a change in the air stream and

embouchure. The air stream must be intensified and the embouchure slightly tightened.

The intensity and tightening are increased as the pitches rise. Large leaps over the break

are quite difficult to control, especially descending ones. Leaps using g" and higher

will often create extraneous notes and sag in pitch as the upper note drops to a lower

one. Tonguing these leaps greatly improves the chance of success.

Other technical problems occur when playing trills. The cross fingerings

discussed above make trilling between these notes impossible with standard fingerings.

Alternate fingerings are used, but these alternate fingerings are usually out of tune and

change the color of the notes. For example, to trill from b' to c" one plays b' and adds

one of the lower two fingers in the right hand (the finger added depends on the

particular instmment being used). The result is a slightly dulled b' and a sharp and

bright c". Another bad cross-fingering trill is e to f. Although easy to play by simply

lifting the second finger in the right hand, the resulting f is very sharp. In fact, the f is

so sharp that the e to m trill can be piayed using the same fingering by playing with

more reed in the mouth. There are also problems with trills such as b'' to a^, d''" to c".

ail other cross-fingering combinations, and over the break trills. In fact the fingerings

one chooses for these trills depends entirely on the instrument being used and even

instruments constructed by the same maker may require different fingerings.

Although there were acknowledged intonation problems such as those found in

the lower register of the baroque oboe, players were expected to use their ears to play in

tune.58 Players were expected to detect a difference between enharmonic notes like g#

and a''. Intonation also varied not only from country to country, but also from church to

church in the same city. For example, the organ at San Marco in Venice is tuned higher

than other organs in the city.5' In addition, there were two acknowledged pitch levels

in Germany {Chor-ton or "choir pitch" and the other Cammer-ton or "chamber pitch")^

Cammer-ton was lower than Chor-ton by anywhere from a whole step to a minor

third.^'

In addition to the tuning problem there was the added problem of temperament,

which in the eighteenth century, was closer to just or mean-tone intonation.®^ "This

temperament meant that there was a difference between enharmonic tones, with flats

^®Eric Halfpenny. "The French Hautboy: A Technical Survey Part I," The Galpin Society, No. VI, July 1953: 31-32.

^^ruce Haynes. "Bach's Pitch Standards: The Woodwind Perspective," Journal of the American Musical Instrument Society, XI, 1985: 109.

®®Mary Cyr, Performing Baroque Music, (Portland: Amadeus Press, 1992) 61. ^'Cyr, 61. ^^Bruce Haynes, "Beyond Temperament: Non-keyboard Intonation in the 17th and 18th

Centuries," Early Music XDC no. 3 August 1991: 358.

sounding higher than sharps.^^ jn fact, harpsichords were developed with split keys so

that these differences could be distinguished.^ Fingering charts for the baroque oboe

also support this tuning system. In Eric Halfpenny's collection of six different baroque

oboe fingering charts, one sees fingering differences for the g#'s and a'^'s, a#' and b''',

and f#" and gb".65 When playing keyboard instruments without split keys, ensemble

nining was a matter of debate.^ Generally, when the keyboard was a solo instrument

in an ensemble such as in a trio or solo sonata, the other instruments tuned to the fixed

semitones of the keyboard. However, when the keyboard was part of the continuo as in

an orchestral work, then the group mned to the temperament of the oboe.^^

^^Haynes, "Beyond Temperament," 358. ^Haynes, "Beyond Temperament," 362. ^^Halfpenny, 52-53. ^^Haynes, "Beyond Temperament," 362. ^^Haynes, "Beyond Temperament," 362.

30

r^tr A tlT'T70 TTT

Examination of Examples of Italian and Italianate Ornamentation

One of the problems facing any study of early eighteenth-century Italian

ornamentation is the complete lack of contemporary treatises on the subjecL^^ As a

result one must depend upon the written-out ornamentation of performers and

composers of the period. We shall be looking at both Italian and Italianate (non-Italian

composers recognized by their contemporaries as writing in an Italian style) examples

from the period. Examination of these examples based upon contemporary performance

practice allows us to observe the patterns of pitches used in ornamentation, the rhythmic

placement of omaments, the use of ornaments added to melodic lines that use

sequences, repeated single-note and multiple-note repeated melodic patterns, and the

relationship of omaments to the harmony and ±e accompaniment.

Italian examples of ornamentation will be found in the Corelli Op. 5 Sonatas of

cl710®^, the Geminiani ornamentation of Corelli's Op.5 #9 Sonata,''^ the Pez

anonymous ornamentation of the Corelli Op. 5 M Sonata J ^ Vivaldi's ornamentation of

^^Frederick Neumann. Omamemation in Baroque and Post-Baroque Music: with Special Emphasis on J.S. Bach, (Princeton: Princeton University Press, 1978) 29, 98.

^^Arcangelo Corelli, Sonate a Violino e Violone o Cimbalo, Opera Quinta, (Amsterdam: Estienne Roger, 1710).

^®John Hawkins, A General History of the Science and Practice of Music, vol. II (London: Novello, 1853) 904-905.

^'Christophor Pez, A Second Collection of Sonatas for Two Flutes and a Bass...to which is added some Excellent Solo's out of the First Part ofCorelli's Fifth Opera, Artfully transpos'd and fitted to a Flute and a Bass yet Continu'd in the same Key they were Compos'd in, the Whole Fairly Engraven, .(London: I. Walch and Joseph Hare), Archives of the Cathedral Library, Durham, England (microfilm, Cornell University).

31

two Flute Concertp"^ and Sammartini's ornaments from his Sonata #5 in G?^ The

itaiianaie examples wiii inciude J. S. Bach's ornamentation of the Marcello Concerto

Telemann's omamentation of his Twelve Methodical Sonatas,''^ and William Babell's

Op. 12 Solos for a Violin, Hoboy or German Flute... with proper Graces adapted to

each Adagio by 'y Author.

EsUenne Roger published the Corelli Op. 5 Sonatas with ornaments some ten

years after ±e composer's death. The title page stated that the written-out omaments

were by Corelli {Sonate a Violino e Violone o Cimbalo Di Arcangelo Corelli Da

Fusignano Opera Quinta Parte Primua Triosieme Edition ou I'on a joint les agreemens

des Adagio de cet ouvrage, compose-, par Mr. A. Corelli comme il les joue. [Sonata for

Violin and Cello or Cembalo, by Arcangelo Corelli from Fusignano, Op. 5, Part One,

third edition which joins to it the free ornamentation of the Adagios of this work,

composed by Mr. A. Corelli as he plays them.] A Amsterdam: Chez Estienne Roger

[and] Marchand Libraire, [1710]). However, that assertion was questioned by Roger

North, a contemporary English observer, who believed that the publication was a

fraud."'"' Many view the omaments as too lavish, presenting too many passagi with too

many notes in each of the passagi."^^ This controversy aside, the omaments stUl

^^Betty Bang Mather, Free Ornamentation in Woodwind Music 1700-1775: An Anthology with Introduction, (New York: McGinnis and Marx, 1976) 26-29.

^^Giuseppe Sanunartini, Sonatas. 7 Sonatas a Oboe Solo Con il Basso, 18 Sonatas a Flutes Traviersier con il Basso, I Sonata a Solo con il Basso, ca. 1760, (Rochester Sibley Library, Eastman School of Music, Catalog No. S. 178. Manuscript No. 189).

Bach. Concerto in D Minor. BWV 974, V/xi (Kassel: Barenreiter. 1954). '^Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso

Continuo, (Kassel: Barenreiter, 1965). William Babell, Op. 12 Solos for a Violin, Hoboy or German Flute with a Bassfxgur'd for

the Harpsicord with proper Graces adapted to each Adagio by y Author, (London: L Walch and Joseph Hare). Facsimile edition (Basel: Musica/Mark A. Meadow).

^^Neumann, 557-8. ^^Neumann, 557-8.

32

represent performance practice from the beginning of the eighteenth century and the

resulting ornamentation of the slow movements from the first six of the twelve sonatas

of Op. 5.79

One of Corelli's pupils, Francesco Geminiani, used fewer ornaments in his

ornamentation of Sonata IX from the Op. 5 of Corelli. This ornamented version

appears in John Hawkins' A General History of the Science and Practice of Music as

an example of how Geminiani played the sonata.^^ However, this version may reflect

the ornamentation practices and taste from mid-eighteenth century England where the

use of ornaments was more reserved than in Italy As a student of Corelli, Geminiani

would certainly have had insight into how these Sonatas should best have been

ornamented.

Another example of an ornamented Corelli Sonata is by an anonymous Italian

recorder player dating from c. 1707. Commonly referred to as Pez Anonymous,^^ t]jjs

version appeared in a collection by the British compiler Christopher Pez.®^ xhis version

provides insight into a wind player's style of ornamentation at the beginning of the

eighteenth century.

The first Vivaldi example comes from two pieces which use the same melodic

and harmonic material for thirteen measures, one ornamented and the other

unoraamented. The unomamented version comes from Concerto "Tempesta di mare"

^^Neumann, 572. ®®Hawldns, 904-907. ®'Neumann, p558. ®^Pez, 6. ®^Pez. 6.

33

for fluie, oboe, bassoons, strings, and basso continuo.^ The ornamented version

comes nx)m the second movement of the first conceno found in Sei Concerti a fiautu

traverso, violino primo e secondo, alto viola, organo, e violoncello. Opus 10.^^ The

ornamentation was published in 1729, providing another source of Italian ornaments

from the beginning of the eighteenth century. Although the ornamentation was not

written by a flutist, the concerti were composed for the flute.^^ The same is true of the

second Vivaldi example taken from the second movement of the Concerto perflauto in

C. This unomamented version is extracted by Betty Bang Mather.®^ This version is

undated, but came from the first half of the eighteenth century.

The final Italian example comes from Sammartini himself. In the second

movement of the Sonata for Oboe and Basso Continuo, No. 5 in G, Sanmiartini wrote

some omaments.88 He did not ornament the entire movement, only selected measures.

Sonata Mo. 5 not only provides sample ornaments written by an Italian composer of the

early eighteenth century, but one who was also a baroque oboist. The work was not

published until 1760, after the composer's death,and may reflect the influence of his

mid-century stay in London. However, since it is the only example of ornamentation

written by an Italian oboist of the period, we must at least include it as a part of a survey

of Italian omamentation practice.

^Bang Mather, 146. ^^Bang Mather, 146. '^^Bang Mather, 146. ®^Bang Mather, 147. ®^Sammartini. ^^Sammanini.

34

Three additional examples present Italian-influenced ornamentation from the

early part of tlie eighteenth century. The QKt example is J. S. Bach's transcription of

the Marcello Concerto, which will in turn be ornamented as a part of this smdy. As

mentioned in the Introduction, Bach originally included his Marcello transcription in a

collection of XVI Concern nach A. Vivaldi and that added to the confusion about the

authorship of the original concerto.^ Bach gives a complete ornamentation of the

adagio with no changes in the harmony, but while his omamentation is a littie stilted

compared to most Italian examples of omamentation, it is still definitely in the Italian

style. Bach's version dates from the same period as the Roger publication under

consideration, c. 1717.

The Twelve Methodical Sonatas for Flute or Violin and Basso continuo by

Georg Philipp Telemaim contain the composer's omaments for all of the slow

movements. As in those in the Bach transcription, the omamentation is more stilted

than that of Italian contemporaries, but the Twelve Methodical Sonatas do represent a

large body of ornamentation from the period, c. 1728, and they were composed for a

woodwind instrument.

The final examples of Italianate omamentation are found in William Babell's

Twelve Solos for a Violin, Hoboy or German Flute with a Bass figur'dfor the

Harpsicord with Proper Graces Adapter to each Adagio by y Author. William Babell (c.

1690-1723) was an English keyboardist and composer, who was considered by

'^James A. Hobbs, "Marcello's Conceno in D Minor for Oboe, Strings, and Basso Continuo: A View of its origin and use in J.S. Bach's Concerto HI for Solo Harpsichord, BWV 974," Journal of the International Double Reed Society 10 (1982): 1.

'^Bang Mather, 147.

35

Mattheson to have been a better organist than Handel.'^ xhe ornamentation, in the

Sonatas is recognized as Itaiian-infiuenced and was published c.l725.^- The Twelve

Solos represent a collection of works conceived for the oboe, although Babell's

experience with harpsichord and violin clearly influenced his choice of ornaments as

will be discussed below.

In looking at these examples of Italian and Italianate ornamentation from the

eighteenth century, one readily sees that these works provide the rhythmic placement of

omaments. Two rhythmic aspects of the composition which seem to influence the

placement of ornaments are the length of the note (its duration) and the complexity of the

rhythm. Throughout the examples, long notes maintain at least some, if not all, of their

length. If an ornament is added to a long note, it is usually placed on the last part of the

duration, although occasional omaments at the beginning of a long note do occur. The

rhythmic placement of omaments at the close of the duration is particularly true with

dotted and tied notes, but is also found in half notes and quarter notes. In the

ornamentation by Corelli of his Sonatas, one can find examples of this in every Sonata.

In measure 1-4 of the fourth movement Adagio of Sonata II, we see an example with

omaments at the end of both even and dotted note values (see example 3-1).

92 Gerald Gifford, "Babell, William." The New Grove Dictionary of Music and Musicians, 6th ed.. 20 vols., ed. Stanley Sadie (London; Macmillan, 1980), I, 768-9.

'^Gifford, 769.

36

arvia.pl

Omiail Via Pi. (iTOn

3

\ l , . . , T r-•

3

^ # P' * If » f * L %> • r^- - -

i 1 "• !

1

'•I' r • • 'J - . . • —0 - .1* --a* » • 1

Example 3-1, measures 1-4 of Corelli's Sonata 11, movement 4. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.^'^ The top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

An example of ornamentation at the end of a tied note is seen in the third movement

adagio of Sonata III in measures 16-18 (see example 3-2).

Arcangelo Corelli Sonate a violino e violone a cimbalo (Amsterdam: Estienne Roger, 1710), facsimile from Archivum musicum, vol. 21 (Florence: Studie per deizioni Scelte, 1979) 18.

37

Example 3-2, measures 16-18 of Corelli's Sonata III, movement 3. From Arcangelo Corelli's Senate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimileThe top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

There are many examples of ornaments placed at die end of longer notes in every slow

movement of the Corelli Sonatas.

The first slow movement of the Geminiani omamentation has very few longer

notes. The few that do occur are left without ornaments as in measures 14 and 20 (see

example 3-3a & b).

95Corelli 26.

38

CoceUi ongxnal

Gcmmiam omamcniition

Basso Conumio

Example 3-3a, measure 14 from Corelli's Sonate IX, movement I. The top part is the Corelli original (1700)^^, the second line is Geminiani's ornamentation^^, the third line in the basso continuo (1700).

Corelli original

Geminiani omamentacion

Basso Continuo

Example 3-3b, measure 20 from Corelli's Sonate IX, movement I. The lop part is the Corelli original (1700)^^, the second line is Geminiani's ornamentation^^, the third line in the basso continuo (1700).

'^Corelli, 49. ^^Hawkins, 904-905. ^^Corelli, 49. ^^Hawkins, 904-905.

39

In the Pez Anonymous, we find that a dotted note and an even note value in

measure 3 are ornamented (see example 3-4a), but the main notes are still the longest

value in the ornament. A tied note omamentation occurs in measure 15 (see example 3-

4b) with the ornament starting just after the tied part of the note value. It is interesting to

observe the ornamented and unomamented versions of the Corelli compiled together

with the Pez. The Corelli ornamentation contains ornaments at the same points as Pez.

Example 3-4a, measure 3 of Corelli's Sonata IV, movement I. The top line is the original unomamented Iine(17(X)), the second line is Corelli's omamentation( 1710)^0®, the third line is Pez Anonymous (1707).'0^

lOOcorelli, 32. 'OlPez, 6.

40

Aoeo. Ore. (ITOT)

6 6 5 3 4 4

Example 3-4b, measure 15 of Corelli's Sonata [V, movement I. The top line is the original unomamented line(1700), the second line is Corelli's omamentation(1710)'02, the third line is Pez Anonymous (1707).

lO^Corelli, 32. ^®^Pez, 6.

41

Both of the Vivaldi Concern show the rhythmic placement of ornaments as

discussed so far. In measure 6 and 7 of the Op. lO/I, we see tied and dotted notes with

the omaments beginning at the end of the long values (see example 3-5a). A similar

example using a tied note is seen in the first measure of the Vivaldi Flute Concerto (see

example 3-5b).

Copyright © 1976 by McGirmis and Marx Music Publishers. Used by permission of the publisher.

Example 3-5a, measures 6-7 from two Vivaldi concerti. The top line is from Concerto "Tempesta di mare," the second line is from Sei Concerti a flauto traverso, opus 10, No. 1, and the third line is the basso continuo to both.^^

'®^Mather, 28.

42

Copyright © 1976 by McGinnis and Marx Music Publishers. Used by permission of the publisher.

Example 3-5b, measures 1-7 from Concerto for Flute in C Major. The top line is Vivaldi's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts.

Even Sammartini's short example of ornamentation contains ornaments coming out of a

longer note value as seen in measures 38-40 (see example 3-6).

'O^Mather, 30.

Example 3-6, measures 38-40 of Sammartini's Sonata 5 in G for oboe, movement

The Italianate examples continue to confirm ttiis rhythmic placement of

ornaments. In the Bach, seen here in a version with the original Marcello line

combined with the Bach, measures 23 and 24 show both dotted notes and a

dotted and tied note with ornaments at the end of the durations (see example 3-

7).

ViotuD

Example 3-7, measures 23 and 24 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed firom the Roger print, the second line is the Bach's Harpsichord ornamentation from BWV974.'07

^^^Sammartini. •O'Bach, 17-18.

44

As with the Corelli ornamentation, the rhythmic placement of ornaments at the

end of long durations happen so often in all of ihe 12 Sonatas of Telemann and the 12

Sonatas of Babell that only one example for each composer needs to be presented. The

D Major Sonata of Telemann contains a good example of the tied and dotted

combination in measures 3 and 4 of the first movement, with the ornaments being

placed at the end of the long note (see example 3-8).

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-8, measures 3-4 of Telemann's Sonata in D Major, movement I. The first line is Telemaim's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo. ^8

Since the Babell does not include an unomamented version, one must make some

educated observations. A clear example of a tied and, possibly dotted, rhythm comes in

lOSTelemann, 18.

45

the third movement of the Second Sonata. In the first two and a half measures, the

ornaments start at the end of the iong note (see example 3-9).

Example 3-9, measures 1-3 of Babell's Sonata 11. movement

Another instance of rhythmically-influenced placement of ornaments occurs

when the original piece contains a hemiola, a syncopated pattern, or some similar or

more unusual rhythm. The rhythmic integrity of the hemiola or syncopation is always

maintained, either by leaving it completely unoraamented or by adding ornaments which

serve to emphasize the rhythmic pattern. Examples of this treatment of syncopation can

be found in the works with omamentation by Corelli and Geminiani. One clear example

is found in the Corelli omamentation of the first movement of the Sonata II in measures

13-16 (see example 3-10). Here the syncopation is almost completely unomamented.

The two one-note and then two-note ornaments are both placed on eighth notes and the

longer syncopated quarter notes are undisturbed.

lO^Babell. 9.

46

CORIU 0(8.(1710)

ORim UaoRL (1700)

BsaoCoauflBO

4 3 3 2

Example 3-10, measures 13-16 of Corelli's Sonata II, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile. I'O The top line is Corelli's ornamentation (1710), the second is the original unomamented line (17(X)), and the third line is the condnuo.

The fourth movement of Corelli's Sonata IV is another similar example. In measure 11

the syncopation is ornamented with single-note graces and in measure 13 there are no

ornaments (see example 3-11).

llOCorelli, 13.

47

Example 3-11, measures 10-14 of Corelli's Sonata FV, movement IV. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.'^' The top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

The only other examples of syncopation among the Italian composers occur in

the Geminiani where, in the first two measures, a syncopated pattern is found in the

second half of each of the measures (see example 3-12). Although Geminiani used

'' 'Corelli. 38.

48

more ornaments on syncopations than the ornamentation written by Corelli, he still

maintained the eighth-quarter-eighth-note pattern, although with a different group of

ornaments in each measure.

Example 3-12, measures 1-2 firom Corelli's Sonate IX, movement I. The top part is the Corelli original (1700)'i2^ the second line is Geminiani's ornamentation'the third line in the basso continuo (1700).

In the Italianate examples we find a good example of a hemiola without

ornamentation in the third movement of Babell's Sonata X in measures 14 and 15 (see

example 3-13). Almost all measures throughout the movement contain some small

ornamentation, but m these measures, with the two-against-three hemiola, there are no

ornaments.

Example 3-13, measures 13-16 of Babell's Sonata X, movement

•'^Corelli, 49. ''^Hawkins, 904. 11'^Babell. 42.

49

There are two sonatas which use a syncopated theme in the Twelve Methodical

Sonatas of Teiemann. In the first movement of the A Major Sonata in measures 4 and 5

the pattem appears for the first time (see example 3-I4a). As Geminiani did, Teiemann

used many ornaments and he also maintains the integrity of the syncopation. The D

Minor Sonata contains even more examples of a syncopated rhythm being ornamented

while maintaining the integrity of this important rhythmic pattem (see example 3-I4b).

Reprinted, by permission, of publisher from Georg Philipp Teiemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-14a, measures 3-6 of Telemaim's Sonata in A Major, movement I. The firet line is Telemann's original melody, the second line is Telemaim's ornamentat ion, and the third l ine is the basso c o n t i n u o . i '5

^Teiemann, 6.

50

6 6 , 6 6 6 6 S ^5 Reprinted, by permission, of publisher from Georg Philipp Telemaim, Twelve Methodical Sonatas for Flute or Violin and Basso Continue, © 1965 Barenreiter Music Corporation.

Example 3-14b, measures 1-4 of Telemann's Sonata in D Major, movement I. The first line is Telemaim's original melody, the second line is Telemaim's ornamentation, and the third line is the basso conunuo.'

The conclusions drawn from these examples are that the Italian and Italianate

baroque performers and composers of the eighteenth century maintained the rhythmic

integrity of hemiolas and syncopations and that the longer note values maintained their

important agogic accent by keeping most, if not all, of their original length.

''^elemann, 60.

51

There are two general types of ornaments: the first consists of one- and two-

note graces—passing tones, neighboring tones, and appoggiatura:s—and ihe second

consists of more than two notes, called passagi. The passagi can include turns,

improvised passages, and combinations of trills and turns called groppo}^"^

Ornamental passing tones occur most often between an interval of a third, as can

be seen in measures 6 and 7 of the fourth movement of Corelli's ornamentation of

Sonata II. In this same example in measure 5, we can observe the use of an ornamental

neighbor tone used to break the pattern of a repeated pitch (see example 3-15).

Example 3-15, measures 5-8 of Corelli's Sonata //, movement 4. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.'The top line is Corelli's omamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

In measure 6 of the Bach ornamentation of the Marcello Concerto, the third is

not filled in with a passing tone, but instead an ornamental neighbor tone is sounded

between the repeated notes (see example 3-16).

' '^Frederick Neumann. 471. 'ISCorelli 18.

52

Example 3-16, measures 4-7 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed from the Roger print, the second Une is the Bach's Harpsichord ornamentation from BWV974.119

In the same Bach example there is an appoggiatura used to omament the third beat.

Likewise, Coreili uses appoggiaturas in measures 11 and 12 in the first movement of

Sonata II (see example 3-17).

ll^Bach, 17-18.

53

Ongaul Melody

Example 3-17, measures 11-12 of Corelli's Sonata II, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam; Estienne Roger, 1710) in facsimile. ^0 jhe top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

Small graces are common throughout all of the works, but the examples cited above

demonstrate the manner in which diey are used.

Passagi are not so easily defined as the smaller-note graces, since most were

completely improvised or used to maintain the feel of improvisation. The Corelli

ornamentation uses a few examples of passagi known as groppo. An example is found

120coreIIi. 13.

54

at the beginning of Sonata V where Corelli uses a trill in combination with a turn (see

example 3-18).

OcipBii Mclotfy (iTOO)

Example 3-18, measure 1 of Corelli's Sonata V, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.The top line is Corelli's ornamentation (1710), the second is the original unomamented line (17(X)), and the third line is the continuo.

The majority of the ornaments used in the Corelli and the other examples of

ornamentation are not so easily defined. Many involve scales, trills, turns, and

arpeggios in some combination. We find scales, trills, and turns in measure 6 of the

first movement of Corelli's Sonata V, where he combines ail three in this one measure

(see example 3-19).

121Corelli, 42.

55

Example 3-19, measure 6 of Corelli's Sonata V, movement I. From Aicangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estiemie Roger, 1710) in facsimile.i22 xhe top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

^^^Corelli, 42.

56

More arpeggiated ornaments are used in measures 6-8 of the Pez ornamentation,

while in the Coreiii there are more of the other patterns (see example 3-20).

6 7 4 3 I

Example 20, measures 6-8 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(I700), the second line is Corelli's ornamentation (1710)'23^ the third line is Pez Anonymous (1707).^24

This use of arpeggios in the Pez ornamentation could be due to awkward

fingerings of scale passages for the recorder. In the Sammartini we see both scales and

figtires involving both a leap and a neighbor tone. These particular scales work well on

the baroque oboe, whereas when an is called for by the harmony, a more arpeggiated

figure is used to avoid the to e cross-fingering and sUde (see example 3-21).

123corelli, 32. 124pez, 6.

57

Example 3-21a, measures 38-39 of Sammartini's Sonata 5 in G for oboe, movement 11.^^

Example 3-21b, measures 44-46 of Sammartini's Sonata 5 in G for oboe, movement

The Babell, although published for a wind or string instrument, contains more

of the scale-type ornaments. This is probably due to Babell's background as a violinist

and not a wind player.'27 All of the movements of the Babell contain such scale-type

omaments, and one example of many can be found in measures 1-6 in the first

movement of the Sonata I (see example 3-22).

'^^Sammartini. '^^Sammartini. 127Gerald Gifford, 768.

58

Example 3-22, measures 1-6 of Babell's Sonata I, movement I.'28

The remaining two Italian composers, Vivaldi and Geminiani, demonstrate two

different approaches to ornamentation. In the Vivaldi Concern we see scales and turns

with occasional leaps as in measure 6 of Op. 10 and measure I and 2 of the Flute

Concerto (see example 3-23a and 3-23b).

Basso conanuo

Copyright © 1976 by McGiimis and Marx Music Publishers. Used by permission of the publisher.

Example 3-23a, measure 6 from two Vivaldi concerti. The top line is from Concerto "Tempesta di mare," the second line is from Sei Concerti a flauto traverso, opus 10, No. 1, and the third line is the basso continuo to both.'29

'28Babell, 1. l29Mather, 28.

59

OHVUfled ndooy. Mjilie

Copyright © 1976 by McGinnis and Marx Music Publishers. Used by permission of the publisher.

Example 3-23b, measures 1-3 from Concerto for Flute in C Major. The top line is Vivaldi's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts.

Unlike other violin ornamentation, the Geminiani makes use of frequent leaps

and arpeggios as in m. 1 and 2 (see example 3-24).

'^OMather. 30.

60

Example 3-24, measures 1-3 from Corelli's Sonate IX, movement I. The top part is the Corelli original (1700)'3i, the second line is Geminiani's ornamentationthe third line in the basso continuo (1700).

One explanation for this change in the Geminiani violin ornamentation might be

that it was written later in the century. One can also observe a more precise transcription

of the ornament's rhythm in the Geminiani. This can also be seen in the Vivaldi and

Sammartini examples above. The Telemann Sonatas also reflect this change. Telemann

uses scales and arpeggios, just as the other examples for wind instruments do, but the

rhythms of the omaments are carefully placed as in the first three measures of the Sonata

in G Minor, (see example 3-25).

131Corelli. 49. '^^Hawkins, 904.

61

6 6 6 7 6 tf

6 5 I 6 6 | 4 • 4 2

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-25, measures 1-3 of Telemann's Sonata in G Minor, movement I. The first line is Telemann's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo

The Bach ornamentation also has carefully transcribed ornamental rhythms, yet

still uses scalar passages, trills, and arpeggiated patterns as in measures 32 (see example

3-26).

^^^Telemann, 1.

62

Example 3-26, measures 32-33 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed from the Roger print, the second line is the Bach's Harpsichord ornamentation from BWV974.i^

In all of the examples of more precise rhythmic transcription, composers still

achieve a feeling of improvisation with their rhythms—they were just no longer leaving

the improvisatory "feel" entirely up to the performer. Perhaps a more important

observation is the use of combinations of scales, turns, trills, and arpeggios to make up

the passagi with an increased use of arpeggios in the wind ornamentations.

Another factor in ornamentation is the melodic frequency of the omamentation.

Where are the greatest number of ornaments placed? What is the frequency of

omamentadon when there are repeated notes? How are melodic sequences treated? We

have already observed that many of the passagi are placed at the end of long tones and

134Bach. 17-18.

63

one- and two-note graces are sometimes place between thirds, repeated notes, and

consecutive notes. Certainly in the Coreiii and Fez the greatest number of omaments

occur nearer the end of a beat, or cover the entire beat as can be seen in measures 1-2 in

the first movement of Sonata /V(see example 3-27).

Corctb'i 1700 adcxiy

Cotdb OtB. skL (1710)

Pex Aooa ORL (1707)

6 7 7 « I

Example 3-27, measures 1-2 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second Une is Corelli's ornamentation (1710)'35, the third line is Fez Anonymous (1707) and the fourth line is the Basso Continuo.'36

In later examples like the Geminiani and Telemann, the passagi and graces are

spread over entire beats, as in measure 2 of the Geminiani (see example 3-28a) and the

first four measures of the Telemann Sonata in D Minor (see example 3-28b).

'^^Corelli, 32. 136pez. 6.

Example 3-28a, measure 2 from Corelli's Sonate IX, movement I. The top part is the Coreili original (1700)'^"^, the second line is Geminiani's ornamentationthe third line in the basso continuo 1700.

'^^Corelli, 49. '^^Hawkins, 904.

65

I I « 1 I « » « I

Reprinted, by permission, of publisher from Georg Philipp Telemarm, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-28b, measures 1-4 of Telemann's Sonata in D Major, movement I. The first line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.i^^

We can also gain valuable information by observing the way composers and

performers ornamented sequences, repeated single-note and multiple-note repeated

melodic patterns. Repeated single-note and multiple-note patterns are handled in three

'^^Telemann, 60.

66

ways. Occasionally they are left unomamented, but more often they are ornamented

using a repeated pattern of ornamentation in sequence, or they become progressively

more or elaborately ornamented with each occurrence. One of the few instances of an

unomamented repeated-note pattem is found in the third movement of Telemarm's

Sonata in E Minor measure 41. The explanation for this rare lack of ornamentation

probably has more to do with the harmonic activity which will be discussed later (see

example 3-29).

Tcksaoe'i oxiody

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continue, © 1965 Barenreiter Music Corporation.

Example 3-29, measures 40-42 of Telemann's Sonata in E Minor, movement I. The first line is Telemarm's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.^'^

In the first movement of Corelli's Sonata V measures 6 and 7, there is a

sequential figure which contains repeated notes. Oddly enough, the first occurrence is

highly ornamented, although it maintains the repeated b, while the second occurrence in

measure 7 is marked by the near absence of ornaments. Again, this may be due to the

harmonies (see example 3-30).

l^Ofelemann, 13.

67

Ca(cltlOm.(l7IO)

CorttUoniBMi md.

— 0 —- ! - • A 1 , ^ 1

?

1 u- ^ 1 " w-j ,

Example 3-30, measures 6-7 of Corelli's Sonata V, movement I. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam; Estienne Roger, 1710) in facsimile.*^! The top line is Corelli's ornamentation (1710), the second is the original unoraamented line (1700), and the third line is the continuo.

More often, repeated notes are either ornamented progressively with more

ornamentation occurring with each successive repetition, or they are ornamented

throughout. The Geminiani contains examples of both within the four measures of bars

15-18 (see example 3-31).

I'^^Corelli, 42.

68

r 7 I

Example 3-31, measures 15-19 from Corelli's Sonate IX, movement I. The top part is the Corelli original (1700) *^2 the second line is Geminiani's ornamentation'^3, the third line in the basso continuo (1700).

In the first movement of Telemann's Sonata in E Major measures 1 and 4, a

repeated e is ornamented in the same or a similar manner with each successive

statement. However, when the melodic pattern in measure 1 is repeated in measure 4,

the ornamentation in measure 4 differs both melodically and rhythmically from that

found in measure 1 (see example 3-32).

•'^^Corelli. 49. ''^^Hawkins. 904.

69

6 7 6 7 5 6 6

6 0 3 7 6 4

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-32, measures 1-4 of Telemann's Sonata in E Major, movement I. The first line is Telemann's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo.''^

In measure 13 of the first movement of Babell's Sonata II, a three-note pattem

is repeated, but with ornaments applied to the second occurrence (see example 3-33).

1''^Telemann, 48.

Copyright © 1976 by McGinnis and Marx Music Publishers. Used by permission of the publisher.

Example 3-33, measure 13 from Sonata II, movement n. The top line is Babell's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts.

Most composers and performers chose to ornament sequences in one of three

ways: either progressively using more ornaments with each occurrence, changing the

ornaments with each occurrence, or using the same omament each time. Sequences are

so common in the works of this period that we need not examine them exhaustively, but

we can make general comments by observing some of the more typical treatments of

ornamental sequences.

The ornamentation by Pez and Corelli of the Sonata IV has two sequential

patterns in measures 5-7 (see example 3-34). The first sequence (Sequence I) is

repeated once in measures 5-6 and a different, second sequence (Sequence II) is

repeated once within measure 7. The second statement of the first sequence (measure 6)

is transposed up one step from the original (measure 5) and closes on a half cadence in

F major. The opening of the sequence in the fifth measure is ornamented by adding

•-^^Mather. 27.

71

upper neighbor and passing tones and changing the rhythm to a dotted pattern. The

second statement of the sequence (measure 6) is immediately ornamented with Iwo

sixteenths and a groppo, all equaling the duration of the original eighth note upbeat,

This second statement continues in free ornamentation to point up the half cadence. The

cascade of sixteenth notes moving to thirty-second notes creates a forward momentimi

absent from the choppy original sequential statement. We observe that there is an

increase in both the rhythmic activity and the occurrence of ornamentation as we move

through the repeated sections of the sequence. This increase in ornamental activity

seems to balance the repetition of the sequence itself.

The pattern of increasing ornamental activity as we move through a sequence is

again played out in the very next measure of the Corelli. In measure 7 of Example 3-34,

the 1710 edition's omamented line reproduces the original 1700 edition's rhythm of a

quarter note tied to three sixteenth notes without adding any ornamentation. The second

statement of this sequence then erupts in a flurry of thirty-second notes in free

ornamentation (see the third into the fourth beat of measure 7 in Example 3-34). Again,

there is an increase in ornamental activity as we move through sequential repetition.

•'^Neumann 289.

72

CoRib on. (I7t0)

Example 34, measures 5-7 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710)''^'', the third line is Pez Anonymous (1707) and the fourth line is the Basso Continue.

A second ornamented version of the CoreLli found in Pez Anonymous uses less

ornamentation than the 1710 Corelli edition. Pez Anonymous, nevertheless, increases

the frequency of ornamental activity as sequences are repeated. In example 3-34,

the second statement of the first sequence is again more florid (measures 5-6) as it

moves to the half cadence. The second sequence (measure 7) of Pez Anonymous opens

like the 1710 Corelli, restating the 1700 Corelli without omamentation. The second

I'^'^Corelli, 32. 148pez, 6. I'^^zaslaw, 6.

73

statement of the sequence in Pez Anonymous, like the 1710 Corelli, features a rhythmic

flourish. However, Pez Anonymous ornaments with six thirty-second notes, ratiier

than the ten of Corelli. Pez Anonymous remains somewhat more circumspect, yet

follows the general principle that ornamental activity increases as one moves through a

sequence.

Bach, in his arrangement of the Marcello Concerto (BWV 974), ornamented the

opening sequence in a very modest way (see example 3-35).The first statement of

the sequence is augmented by only a single pitch and a mordent on the final note. The

second and third statements of the sequence feature the same rhythm. However, the

rhythm in the third statement of the sequence (measure 8) in effect doubles the tempo by

shifting the notational level and doubling the occurrence of the motive. While this

increase in rhythmic activity seems quite characteristic of the Italian style, the

mathematical doubling of compositional activity seems much too rigorous and not as

free as the working models of Italian performers discussed above. The fourth statement

(measure 10) further increases the flow of ornamentation, to continuous thirty-second

notes. Even the north German Bach when imitating the Italian style increases the

frequency of ornamentation as he moves through the sequence's repetitions.

'^®Johann Sebastian Bach, Complete Keyboard Transcriptions of Concertos by Baroque (New York; Dover, 1987): 17-18.

Example 3-35, measures 4-11 of the Marcello Concerto in d minor, movement II with Bach's ornaments. The top line and bottom four lines are transcribed firom the Roger print, the second line is the Bach's Harpsichord ornamentation fi"om BWV974.15'

151 Bach, 17-18.

75

The Babell presenb; a fonn of omamenlal practice half-way between the

Corelli/Pez and the Bach. In the first movement of Babell's Sonata IV measures 10 and

11, we find three statements of a scalar sequence. The second of the three statements is

the most highly ornamented, but all three of the omaments are placed at the end of

sequential statements (see example 3-36).

OveUtoriLiniO)

Pcz Aooo. an. (1707)

Reprinted, by permission, of McGinnis and Marx.

Example 3-36, measures 10-11 from Sonata II, movement II. The top line is Babell's melody, the second line is Betty Bang Mather's simplification of the melody, and the third line is a reduction of the orchestral parts. ^52

The earlier Geminiani example of ornamented repeated notes is also part of a

sequence and demonstrates a technique more closely allied with the other ItaUan

examples where one omaments more and differently with each successive statement (see

example 3-37). In measures 15 and 16 there are two statements of a sequence. In the

first sequence, most of the ornamentation, a neighbor tone group, appears at the end of

the sequence. In the second statement (measures 15 into 16), the ornamentation starts

widi the first notes of the sequence and closes with a new ornament based upon an

152Mather. 23.

76

arpeggiation of the harmony. In the next two measures (17 and 18), ±ere is ano±er

sequence. The beginnings of both statements remain unomamented, while their close is

ornamented. However, Geminiani does use a different ornament for each sequence's

close.

*}

f i . l

. - f L .

7 7 I

Example 3-37, measures 15-18 from Corelli's Sonate IX, movement I. The top part is the Corelli original (nOO)^^^, the second line is Geminiani's ornamentation the third line in the basso continuo (1700).

There are no sequences used in the Vivaldi examples. Sammartini uses the same

ornamental patterns in what was probably a sequence in measure 38-40 (see example 3-

38).

Example 3-38, measures 38-40 of Sanunartini's Sonata 5 in G for oboe, movement

153corelli, 49. '^'^Hawkins, 904. ^^^Sammanini.

77

Likewise, the Teiemann Sonatas, which contain many sequences, are all treated in the

same manner. ^Tiatever ornamental figure is used in the first statement of the sequence

is maintained throughout all subsequent statements. For example, this can be seen in

the first movement of Sonata in A Minor measure 3. The ornamentation of the first

sequence of beats one and two is the same as the second sequence on beats three and

four (see example 3-39).

6 6 la 7 s <

Reprinted, by permission, of publisher from Georg Philipp Teiemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continue, © 1965 Barenreiter Music Corporation.

Example 3-39, measure 3 of Telemann's Sonata in A Major, movement I. The firet line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.^^®

Telemann's only exception to this rule is found in the first movement of Sonata

in A Minor measures 34 and 35. There are four statements of a sequence, each one-half

measure long. Although the ornaments are the same for each pair in each measure, the

two measures use different ornaments (see example 3-40).

'^^elemann, 6.

78

It:

iia(&

k 7-6 6 6

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-40, measures 34-35 of Telemann's Sonata in A Minor, movement I. The first line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.'^^

Clearly composers do ornament sequences, although German ornamentation—

along with Sammartini—was much more stilted, demonstrating little or no change in the

figures used to ornament a given sequence. The Italians and Babell (an early example of

ornamentation) use variations in the ornamenting of sequential statements and very often

increase the ornamental activity with each subsequent sequential statement.

As noted earlier harmonies can not only have an effect upon the choice of notes

used in ornaments, but harmonies can also have an effect on the composer's or

performer's decision whether to and how much to ornament. In the first movement of

Telemann's Sonata in E Minor measure 41 referred to earlier, there is very complicated

harmonic motion: measure 41 is in E major (rV6-ii-IV6/4) in the middle of a section

clearly in E minor (measures 39-40 and 42). As a result, no ornaments are added which

may detract from this unusual harmonic event (see example 3-41).

'^^Telemann, 26.

79

6 I e 1 6 IS ^6 6 • • 4 5

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Baienreiter Music Corporation.

Example 3-41, measures 39-42 of Telemann's Sonata in E Major, movement I. The first line is Telemaim's original melody, the second line is Telemaim's ornamentation, and the third line is the basso continuo. ^^8

A similar situation occurs in the first movement of Corelli's Sonata V measure 7

of example 3-42. The harmony becomes more complicated in measure 7 with the use of

the WlfV. Consequently, no ornament is used. An extended example of a complicated

harmony with few ornaments occurs in measures 24-27 of the fourth movement of

CoreUi's Sonata I. Here a series of secondary dominants are used to modulate from D

major back to B minor (see example 3-43).

ISSTelemann. 13.

80

6 6 tf

Example 3-42, measure 7 of Corelli's Sonata IV, movement 1. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),159 ttuj-d line is Pez Anonymous (1707) and the fourth line is the Basso Continuo.'^o

CoreiliotiL(t7lOt

Example 3-43, measures 24-27 of Corelli's Sonata /, movement 4. From Arcangelo Corelli's Sonate a violino e violone o cimbalo (Amsterdam: Estienne Roger, 1710) in facsimile.i®^ The top line is Corelli's ornamentation (1710), the second is the original unomamented line (1700), and the third line is the continuo.

159corelU, 32. l<50pez, 6. l^lCorelli, 9.

81

In passages which used chromatic or unusual harmonies, the composer or performer of

the day used very little ornamentation. In general one should avoid omanientalion

whenever the interests of the harmonic progression are paramount.

Clearly, harmonies also effect the choice of notes used in omaments. In an

arpeggio or leap, the notes are derived from the chord. That is not to say that notes

outside of the chord are never used, but non-chord tones usually appear as passing,

neighbor, or escape tones, or as appoggiaturas. For example, the Pez ornamentation in

measure 6, beat two and measure 7, beat 4 uses leaps and apeggios with notes derived

from the chord. In the second example, one non-chord tone is added (d"), which

functions as a passing lone (see example 3-44).

6 6 6

Example 3-44, measure 7 of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),'^2 the third line is Pez Anonymous (1707)1^^ and the fourth line is the Basso Continuo.

Often the most significant harmonic events in any given work occur at the

cadences. Final cadences, appearing at the end of movements and at the end of large

•62corelli, 32. '^^Pez, 6.

82

sections within a movement, have a very definite pattern of ornamentation. In a final

cadence, the last note of the cadence on the tonic chord is left untouched, while the

penultimate note or beat on the dominant chord contains a trill. In fact, this was such an

accepted omamentation in final cadences that the markings for the trill were often

omitted with the assumption that the performer would include the trill. An example of

each type of final cadence can be seen in the final bar of the Pez and Corelli

ornamentations. The Corelli omamentation marks the trill, while the Pez omamentation

omits it. Both would be performed with a final trill (see example 3-45).

Ongioat meiody

Corelli om. (1710)

Pez AnofL oro. (1707)

Example 3-45, the last measure of Corelli's Sonata IV, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),'^ the third line is Pez Anonymous (1707)1^5 and the fourth line is the Basso Continuo.

Internal cadences, found at the ends of phrases, also often used the final cadence

formula for omamentation, although variations of the trill might be used. This is again

observed in the Corelli and Pez in measure two, where the Corelli uses the typical final

cadential formula, while Pez uses a different ornament, featuring an escape tone and a

passing tone. These observations demonstrate that when ornamenting an internal

'^Corelli, 32. '•SSpez, 6..

83

cadence, place the ornament on the penultimate part of the beat and avoid ornamenting

the Cnal note of the cadence (see example 3-46).

6 7 7 a t

Example 3-46, measure 2 of Corelli's Sonata /V, movement I. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),^^^ the third line is Pez Anonymous (1707)'^"' and the fourth line is the Basso Continuo.

The accompaniment can also play a role in the choice and placement of

ornamentation. In general, when the accompaniment is simple more omaments are

used. Conversely, when the accompaniment is more complicated, or plays a melodic

role, fewer or no omaments are used. For example, in measures 11 and 12 of the Pez

and Corelli ornamentation, the continuo has a moving line on the fourth beat of measure

11 and on the second beat of measure 12. Both examples place the omaments after the

motion in the continuo is completed (see example 3-47).

'66coreIIi. 32. '^^Pez, 6.

84

Example 3-47, measures 11-12 of Corelli's Sonata IV, movement 1. The top line is the original unomamented line(1700), the second line is Corelli's ornamentation (1710),'^^ the third line is Pez Anonymous (1707)'^^ and the fourth line is the Basso Continue.

Another clear example is found in the first movement of Telemann's Sonata in b Minor,

in measure 14. The continuo has a melodic line for the entire bar and, although the

melodic line is simply a repeated note, Telemaim calls only for simple graces on beats

one and three (see example 3-48).

168Coreili, 33. 6.

85

Tdaani laekidy

Banoi

Reprinted, by permission, of publisher from Georg Philipp Telemann, Twelve Methodical Sonatas for Flute or Violin and Basso Continuo, © 1965 Barenreiter Music Corporation.

Example 3-48, measures 14-15 of Telemann's Sonata in B Minor, movement I. The first line is Telemann's original melody, the second line is Telemann's ornamentation, and the third line is the basso continuo.

Observation of the pattems used in ornamentation, the rhythmic placement of

ornaments, the addition of ornaments to sequences, repeated single-note and multiple-

note melodic pattems, and the relationship of ornamentation to the harmony and

accompaniment help modem performers of early-eighteenth-century Italian music make

informed, appropriate decisions about ornamenting slow movements.

^^^elemann, 37.

86

Tempos

Tempo is another element of music which can affect ornamentation. Opinions

on exactly how to determine the tempo of a movement vary in the writings of

eighteenth-century theorists. Most seem to agree that the meter (time sign) determines

the tempo and the words adagio or allegro (time words) modify that tempo. The

German theorist Johann Philipp Kimberger—a contemporary of C. P. E. Bach, but an

advocate for the then "older" style of J. S. Bach dating from earUer in the century—said

that a tempo (sometimes referred to as tempo ordinario) "is determined by the meter and

by the longer and shorter note values" and that time words modify the tempo.i"^'

Kimberger then went a step further, outlining a system of time signs and time words in

his writings.

Concerning die 3/4 meter of the second movement of the Marcello Concerto,

Kimberger states that "its natural tempo is that of a minuet" and time words like allegro

and adagio determine how the performer is to modify the tempo. In the case of the

second movement of the Marcello Concerto, the time word adagio would mean that the

minuet tempo would be slowed. The Sammartini and Valentini Concerti are written in

4/4 meter. Kimberger says that there are two types of 4/4: one that he calls "small 4/4

time" is "lively" and "lighter" and the other, "large 4/4 time," he describes as

"weighty." In the case of the slow movements of the Sammartini and Valentini we

'^'johann Philipp Kimberger, The Art of Strict Musical Composition, trans, by David Beach (New Haven: Yale University Press, 1982) 377.

^^^Kimberger, 377. ^'^Kimberger, 396. '''^Kimberger, 390 and 391.

87

are clearly using the "large 4/4 time." The time words adagio in the Sammartini and

largo in the Valentini further confirm the slow tempo.

J. J. Quantz—reflecting a later eighteenth-century francophile galant asthetic—

had a slightly different concept in determining tempo, asserting that meter determined

which note received the pulse. The pulse was the heart beat and the time words

determined whether the tempo of a movement was slower or faster than the pulse.

Thus, an allegro would be faster while an adagio or largo would be slower. In fact,

Quantz classifies both time words as "slow and melancholy."Further, the German

composer Georg Muffat, writing in the late 1690s, said that the Italians "are accustomed

to proceed much more slowly than we do in the directions Adagio, Grave, Largo, etc.,

so slowly sometimes that one can scarcely wait for them."'^^ While no Italian

theoretical treatises survive, three German sources all confirm one another in

determining tempos for the four concerto slow movements.

The fast movements of the concerti use common time words like allegro and

presto. However, one movement uses an unusual lime word. To find the movement's

tempo we can use the eighteenth-century system of meter signature determining the

tempo and time word modifying that tempo. The last movement of Valentini's Concerto

HI is marked affettuoso. The meter of the movement is 3/8, which is normally played

at a faster tempo. Closer examination of the harmonic motion shows that harmonies

move at the rate of one chord per measure, reinforcing the belief that this movement is

l^SQuantz, 283. ^^^Quanlz, 231. 177pj.eface to his Florilegium Secundum, quoted in Peter Le Huray, Authenticity in

Performance: Eighteenth-Century Case Studies (Cambridge: Cambridge UP, 1990): 25.

88

performed "in one." In fact the form and style of the piece indicate that this movement

is a correnie, a fast Itaiian dance.However, the time word affettuoso modifies the

faster tempo, so that this movement is a slower version of the corrente.

I'^^Mary Cyr, Performing Baroque Music (Amadeus: Portland, 1992) 43.

89

CHAPTER IV: THE ORNAMENTATION OF THE CONCERTI

The Ornamentation of Sammartini's Concerto I, Adagios

The Concerto I in F Major by Giuseppe Sammartini contains two slow

movements, both marked adagio and in common time. The harmonic rtiythm moves at

the rate of one chord per quarter note in both, although the first movement of Concerto I

occasionally moves at the eighth note. A slow four or faster eight should be the tempo

of the movements. In both movements the oboe part doubles the first violin part except

for a few measures in each movement when the oboe plays alone with the continuo. In

addition, the second violin part often plays in counterpoint to the upper parts as in

measures 3 through 5, making ornamentation in the mtti sections even more

inappropriate. In the sections of the movements that are doubled, little ornamentation

should be used except for a few trills and graces. Passagi should be restricted to the

solo areas of the movements.

The solo sections of the first movement start with the upbeat to measure 6

through the third beat of measure 9, and later in measures 13 and 14. In the first solo

section, the pick-up to measure 6 through the third beat of measure 9, the longer

rhythmic lengths are the dotted quarter and quarter notes, so ornaments on these

rhythmic lengths are restricted to the ends of the notes or kept simple like the

ornamented examples discussed earlier, (see the Corelli discussion, for example).

Another factor influencing the placement of ornamentation is the complexity of the

harmonies. At the end of measure 7 going into measure 8 there is a modulation from F

major to C major.

90

Measure 7

Beats: i oc ^ oc d

F Major I 16 V6

C Major:

4 &

iu7 vi7 Y7/V

ii7 V7

Measure 8

Beats: 1 & 2& 3 & 4 &

F Major V V/IV IV6 viio6A^ V

C Major I VI viio6 I

To avoid detracting from tiie modulation, the ornaments in the last two beats of measure

7 and first half of measure 8 will be kept to a minimum.

The cadential ornaments are the most obvious ones to add, as in measure 9

where a trill is added to the second beat. The b to c trill requires a fake fingering, but

that is unavoidable in this case. (The second section of ornamentation in measures 13

and 14 does not cadence until after the strings return with the accompaniment, so

cadential ornaments will not apply). Another important aspect of measures 6-9 is the

dotted sixteenth- and thirty-second note rhythm found on beats three and four of

measure 8. The ornaments used need to maintain the integrity of the rhythm.

Finally, the baroque oboe is taken into account, avoiding forked fingerings

wherever possible. In the first omament on beat three of measure 5, a shde to beat four

is used. On beat four of measure 5, to avoid the e to f forked-fingering, the ornament

starts with an a" and slides down to the e" which is separated from the f' with an

91

articulation. A simple lower neighbor tone is used on the second half of beat one in

measure 6, which aiso avoids the forked fingering. Tne forked fingering is nol avoided

moving to beat two in measure 6, but again, by articulating the figure, the problem is

minimized. The second half of beat two in measure 6 contains a leap to c", a member

of the F major chord in the harmony. The leap is followed by a slide to the g" above.

A similar figure is used on the second half of beat three, leaping down to the f and

sliding up to the b". A more complicated passagi follows, avoiding one possible

forked fingering at the end of the ornament by moving from e" to g". Articulating

helps avoid spurious sounds created by the forked-fingering of the fourth and fifth notes

of the ornament.

In measure 7 the dotted quarter is ornamented with a groppo, so common in the

Corelli ornamentation. The notes in this groppo work particularly well on the baroque

oboe. The only ornament m the second half of the measure where the modulation

occurs is a slide on the second half of beat three from c" to f. The trills in measure 8

are original to the Roger print. One might wish to include a Nachschlag, a lower

neighbor, at the end of some of the trills. Only a few notes are added to beats three and

four of measure 8 and beat one of measure 9 because of the rhythm as discussed above.

The arpeggiated figured in the second half of beat one of measure 8 is added in

preparation of the authentic cadence.

The second solo section involves only six and a half beats in measures 13 and

14. Measure 13 is made up entirely of quarter notes requiring only simple ornaments

with slides, leaps to chord tones, and trills. The trill on beat three was chosen to avoid

the f#" to e" fingering problem on the baroque oboe. The most extensive

92

ornamentation occurs on beats one and two of measure 14 where the melody is more

active. To avoid the impossible c'" to d'" fingering, a leap was used from a" to d'"

since the a" is in the chord and does not use the right hand little finger. Tonguing the

d'" will help the response of the note.

The second adagio of the concerto is a short third movement of only fourteen

measures. There is one four-measure solo section in the middle of the movement. The

harmonies in this section make the ornaments more of a challenge. The d#"s and c#"s

of measure 7 restrict possible choices because the only way to play d#" to c#" is to use

a ttill fmgering which is out-of-time and produces a poor tone quality. On beat one of

measure 7 there is a leap to the chord tone a', followed by a sUde to a trill on a d#" on

beat two. A Nachschlag cannot be used at the end of the trill because of the c#"

fingering problem. Beat three of measure 7 has a leap to the b' chord tone followed by

a neighbor tone. Beat four has a neighbor tone followed by a turn. Measure 8 no

longer contains a d#" so the d" neighbor tone from c#" on beat one does not cause a

fingering problem.

Beats two and three in measure 8 have the longest duration of the four

measures, so the ornamentation of the d" is kept simple by arpeggiating three notes

from the chord at the end of the half-note. With a cadence in d minor on beat one of

measure 9, a trill is used on the dominant chord found on the fourth beat of measure 8.

Following the cadence on beat one, beat two of measure 9 has a short groppo before the

mtti section begins.

93

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99

The Oruamentaiion of Marcello's Concerto II, Adagio

The adagio second movement of the Concerto II in d minor by Alessandro

Maicello is the largest-scale slow movement of the four concerti. It contains no turn

sections and requires a great deal of ornamentation. The accompaniment is a repeated

eighth-note figure providing the harmony under a simple skeletal melody.

Bach's oraamentation of this movement works well on the harpsichord, but

there are problems when using these keyboard ornaments for the original oboe concerto.

Many of the ornaments are difficult to play on the baroque oboe. For example on the

third beat of measure 6, Bach wrote g" to b''". This fingering is particularly unwieldy

on the baroque oboe, with a fmger coming up in the left hand while others come down

in the right hand, (see example 4-1 a)

Example 4-la

bb"

OO OO o •

o n

Another problem with the Bach ornamentation is that he still uses a more conservative

German style even though he was influenced by the Italians. This is clearly seen in his

100

ornamentation of the sequences in measures 6 through 10. Although the pattern

changes in each measure, within the sequential measiires he uses the same rtiythmic and

melodic groupings—something almost never found in the Italian sources examined

earher. However, he is not consistent with this treatment of sequences, as can be seen

in the next sequence (measures 11 through 12). This sequence is stated three times and

always starts on the second sixteenth note of each second beat. Here Bach uses a

slightly different omamentation each time.

Another sign of the mixed German and Italian omamentation is Bach's use of the

symbol of the mordent. The Italians did not use any symbols for mordents until the

middle of the eighteenth century; until then their practice was to write out the

ornament.So while one might be inspired by Bach's omamentation, one should not

be restricted by it when composing one's own ornaments.

The first eight bars of the solo line, measures 4-11, consist of four two-measure

statements of a sequence. The first statement of the sequence is kept simple. In fact,

the Bach omamentation worics well here except for the mordent in measure 5. The

second statement of the sequence in measures 6 and 7 uses a few more ornaments with

two neighboring tones in measure 6 and a lower neighbor figure in measure 7 (the

Italian version of the mordent). In the third statement of the sequence in measure 8 and

9, ornamental activity increases. Although a cross fingering is created from e" to f,

the slow tempo should minimize the problem. In the final statement of the sequence,

measures 10 and 11, the most ornaments are added. The faster part of the ornament

avoids the use of forked-fingerings, although when it slows on beat three the e" to f is

'^'Neumann. 166.

101

used. The mordent suggested by Bach in measure 11 is not practical here where the e"

to f' moves more quickly.

A similar procedure is used in the next three measures which each contain a

statement of a sequence. Each of the three statements of this sequence starts on the

second sixteenth note of the second beat The first statement of the sequence in measure

11 is unomamented except for the slow, written-out mordent on the first beat of

measure 12. The second statement of the sequence adds a few more ornaments, but

they are still slow-moving with a slide, upper neighbor figure, and a suspension. The

third statement of the sequence in measure 13 is the most highly-ornamented with a

scale pattern followed by a suspension on the down-beat of measure 14.

The next four bars, measures 15-18, appear to be the start of yet another

sequence. However, at the end of measure 17 the figure takes a different turn and acts

as a bridge to the sequences of measures 19-21. These measures also have a more

complicated harmonic progression with a circle of fifths/secondary dominant sequence

in measures 14-16 (V7/vi to V7/ii to ii7) and a V6/iii to iii in measures 17 and 18. Any

ornaments added to these measures should avoid covering the harmonies; in fact, the

ornaments should emphasize the harmony. Since die first three measures start as a

sequence, the ornamentation of measure 15 is kept simple and the only ornaments are

chord tones. The ornament on the first beat of measure 16 echoes the d minor seventh

chord by using the c" and a'. Choosing these two notes also avoids the cross-fingering

of c" to b'. Measure 17 is the beginning of a second statement of a sequence and

should receive more ornaments. However, with the exception of one passing tone, all

ornaments are chord tones because of the complicated harmony. The use of chord tones

102

also helps eliminate any problems with gWs (which requires a half-hole fingering).

Approaching and leaving the g^s from above further eliminate the haif-hoie problem

which exists when coming from below the g#'s. Measure 18 is no longer part of a

sequence and is kept simple with only an elongation of the lower neighbor on the third

beat.

Measures 19-21 represent yet another sequence with three statements. Unlike

earlier sequences, this one contains a longer tied note which must be taken into account.

The sequence actually starts with the third beat of measure 18. Ornaments are avoided

on each of the tied notes, with only a few notes being added at the ends of the quarter-

tied-to-eighth-note durations. In the first statement the ornaments that Bach wrote are

usable on the baroque oboe; however, the mordent on the third beat is written-out in

keeping with the Italian tradition. The omamentation of the second statement of the

sequence is also similar to Bach's, although personal taste changed the g" on the

second sixteenth of the first beat of measure 20 to an a". The Bach omamentation in

the third statement of the sequence m measure 21 does not work as well with the back

and forth motion from c" to b' and e" to f'. Instead, the e" to f motion is limited to

one occurrence and the movement from c" to b' is slowed and articulated, making the

cross-fingering easier to play.

Measure 22 is a transitional measure from the sequence to the cadence of

measures 23 and 24. More omamentation is required in measure 22 because it contains

no long durations and a simple harmonic progression from vi to FV. The omamentation

Bach uses loses a feeling of improvisation and with all of the b'''s, creates fingering

problems on the baroque oboe. To avoid the b^ problem on the first beat, d" to a" is

103

used. On the second beat a scale would be effective, but the b^* to c and the e" to f'

move too quickiy to be performed on a Baroque oboe. An arpeggiated figure is used

which is easier to finger quickly. The third beat starts slowly while the e" to f is

played, and then the ornamental activity can easily progress, giving the passage a more

unprovisatory feel. The next two measures move to a cadence and modulation. A

hemiola, typically used at cadences, is established with the dotted quarter- and eighth-

note figure starting in measure 23. The ornaments must not detract from the hemiola

and the dotted quarter note must maintain its duration. Measure 23 is left

unomamented, except for the appoggiatura on the first beat. A tum is added to the first

beat of measure 24, playing it slowly to minimize die e" to f problem. Because of the

cadence, tradition dictates that the second beat of measure 24 be a trill which resolves to

the f. Unlike most cadences, it immediately moves to a brief section in B'' major. To

avoid the abruptaess of this modulation, an ornamental figure similar to Bach's is used.

The next four measures again contain dotted-quarter notes which need to

maintain some length. In measures 25 and 26, ornaments similar to Bach's are used,

but the rhythmic motion is slowed so that any fingering problems are overcome. The

ornamentation of measure 27 is also similar to Bach's; however. Bach uses a faster-

moving ornament. Fingering problems of the baroque oboe must be taken into account,

like the e" to f#" thirty-second notes at the end of the second beat as ornamented by

Bach.

Measure 28 has the important role of re-establishing the key of D minor with its

dominant-seven chord. To emphasize it, this chord, is arpeggiated in the ornamentation

at the beginning of the measure. The third beat of this measure is left alone to avoid the

104

f' to e" problem, and in measure 29 the same problem is avoided with the leap of a

third from g" to e". On the second beat of measure 29 a trill is dictated because the

second violin part, playing in unison with the solo part at this point, also uses one. The

long tone of measure 30 is left alone until measure 31 where the Bach ornament is used

for the first two beats, but a more improvisitory-sounding ornament is added to the third

beat. The first beat of measure 32 is unomamented, with a mordent on the second beat,

and an arpeggio leading to measure 33.

The Bach ornamentation in measure 33 with all of its g#"s and f#"s is

unplayable on the baroque oboe. In its place an arpeggiated figtu^ is used which avoids

this problem. In measure 34 the Bach ornament is used, omitting the e" for fmgering

purposes. The second beat sounds a dominant chord before an authentic cadence

requiring a trill. However, since the second violin dictates a trill and its anticipation

(c#" trill to d"), the same is used in the oboe part.

105

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The Ornamentation of Valentini's Concerto III, Largo

The slow movements of the two Valentini concerti are both entitled Largo.

These slow movements need to be ornamented just as the adagios in the Marcello and

Sammartini concerti. In ornamenting the second movement of Concerto III we find a

problem not seen in either the Marcello or Sammartini. This movement is a duet

between the oboe and the first violin. When the two instruments play in parallel thirds,

the ornamentation must, for reasons of ensemble, be limited to one- and two-note graces

and trills, as in measures 1-4. In other secdons where the violin is independent, more

ornaments are possible in the oboe pan, as in measures 5-8. Only the last six bars are

tutti although even then the accompaniment provides only the harmony under a skeletal

melody.

The first four measures of the piece are unomamented except for one

neighboring tone in measure 4. This was done not only because the violin plays in

thirds with the oboe, but because one should establish the main theme at the beginning

of a movement. From the third beat in measures 4 through the downbeat in measure 9,

the two parts are juxtaposed with the violin moving while the oboe part holds long

tones. A few more ornaments are possible, although again they are restricted to graces,

slides, turns and arpeggios. The arpeggio on the end of the third beat in measure 4

serves to connect passages when the violin is not playing. The placement of other

ornaments in measure 4-9 comes at the end of the tied notes, or in places where there is

more activity in the oboe part (see for example measure 8). The violin part in measure 8

is also less important as a melodic line, so more ornaments are possible in the oboe line.

The fourth beat of measure 8 is the dominant chord of a cadence ending on the first beat

113

of measure 9. A trill is, therefore, necessary on the last beat of measure 8. In measures

9 and 10, the violin and the oboe are again in thirds and are unomamented except for llie

trill at the cadence on the fourth beat of measure 10.

In measures 11 and 12 there are four statements of a two-beat sequence. In the

first statement of the sequence—the second half of the first beat through the first half of

the third beat in measure 11—only one passing tone is used. In the second statement of

the sequence—the second half of the third beat of measure 11 through the first half of

the first beat of measure 12—a groppo is written on the fourth beat. In the third

statement of the sequence at the beginning of measure 12, a similar ornament is used,

but the fourth statement also uses arpeggios to bring out the importance of the final

occurrence of the sequence.

From the second beat of measure 13 through the third beat of measure 14 there

is a rhj^thmic pattern which displaces the accent from beats one and three to beats two

and four. This pattern prepares the cadence on the fourth beat of measure 14 to the

downbeat of measure 15. In choosing ornaments, one must retain the rhythmic pattern.

However, since every other beat has the same rhythm as well as the same two pitches,

ornamentation is required. Passagi are added to the end of each dotted quarter note

which keep the dotted note long and also do not interfere with the violin part (which

moves before the ornament). Different passagi are used for each part of the dotted

quarter- and eighth-note pattern: lower neighbors with a turn; a leap with a scale and

arpeggio; and step-wise motion descending, then ascending that brings us to the trill on

the fourth beat for the cadence. The only fingering problems are e" to f' and the slide

to f#" on the first beat of measure 14. The e-f problem can be somewhat alleviated by

114

articulating the second half of the four beat in measure 11. However, there is no

solution in the second beat of measure 12 except to use a trill f fingering, but only if the

tempo is fast enough. The possible problem with the f#'s in measure 14 is averted by

avoiding the e, although a one-finger slide must still be used between the d' to the f#' on

the first beat.

Measures 15 and 16 are like measures 9 and 10 except a third higher and, as

before, the only ornament is the trill at the cadence. Measure 17 and 18 are the same as

the first two measures and are also left unomamented. The ornamentation in the third

and fourth beats of measure 19 and the first and second beats of measure 20 is more

restricted so as not to take away from the more active violin line. A turn and slide are

the only ornaments used imtil the violin stops on the third beat of measure 20. At that

point an arpeggio is added to connect the phrase in the oboe part to the next section

starting on the last beat of measure 20. This section starting on the fourth beat of

measure 20 and going through the downbeat of measure 23 contains the same melodic

and rhythmic patterns seen in measures 13 and 14. As with the earlier pattern, which

contains the same intervals a whole step higher, the passagi are placed at the end of the

pattern after the violin has played its notes. The cadence comes on the third beat after

the last statement of the pattern, unlike the first time when the cadence occurred

immediately after the pattern. This now allows for more ornamentation and announces

the entrance of the rest of the ensemble.

The last six measures are not at ail like the rest of the movement. There is no

violin duet with the oboe part, which is very skeletal, so ornamentation is needed. In

measure 23 the accompaniment is active so no omaments are added. In measures 24

115

and 25 the long notes maintain their importance with the only ornaments being an

arpeggio with a passmg tone on the fourth beat of measure 25. A simple slide from a'

to c" is added on the second beat of measure 26 where the melodic motion increases.

Another slide, this one back down, is used on the fourth beat. At the final cadence, the

suspension in the first violin part is not resolved until the second half of the measure so

the cadential trill in the oboe part is saved until the second half of measure 27, allowing

for a passagi in the first half of the measure.

Except for the occasional e" to f' and b' to c", most fingering problems were

avoided in this movement. The possible sliding and forked-fingering problems with the

g# in measures 6-8, the f# in measures 13 and 14, and again the g# in measures 19 and

22 are avoided because the composer placed the difficult notes for the oboe in the violin

part—thus eliminating the need for these pitches to be included in an ornament In the

case of the f# in measures 21 and 22, its use is avoided except for the downbeat of

measure 14 where the leap from the d' eliminates the forked part of the problem as

mentioned earlier. Potential problems with the g# in both measures 6-8 and measures

19-22 are averted by approaching most of the g#'s firom above.

116

(Cooceno QL VUemuui

ViolinoPnino

VioUno Secondo

Organo e Violoacdlo

117

(VUcnom. Cooceno 20. nvt. 22)

*>AUenufu bad a'

118

mvL 0)

119

(VticannL Cooceno UL mvL Q)

Ob.

Ont

Vte.1

VULU

Via.

B.C.

6 16 6 6 5 7

i^uno

\Piano)

7-6 iPtanol

'Vakniuu ngnmi bass bad 4/2

120

The Ornamentation of Valentini's Concerto IV, Largo

The second movement of Valentini's Concerto IV is also a Largo. However,

unlike the Concerto III, the oboe part is mdependent with only the continuo

accompanying it. The oboe does not play in the tuttis when all of the strings are

playing. The first statement by the oboe comes in measures 4-6, but since this is

repealed two measures later the first statement is not omamented except for a passing

tone and arpeggios on the first beat of measure 5 and the cadential trill on the fourth

beat. These two-and-one-half bars are repeated in measures 7 and 8, where the melody

then continues with several sequential pattems. A few more ornaments are added in the

second statement of the sequence, particularly on the fourth beat of measure 8 where a

leap to a chord tone e' is followed by an arpeggio. Although the arpeggio eliminates the

forked-fingerings, one slide from e' to g#' is unavoidable. On the second beat of

measure 9 the melody begins to change from the earlier melody line of measures 3 and 4

because of a change of key and the first sequence of measures 10 and 11. On the fourth

beat of measure 9, an ornamental grouping is created to connect two sections. A triplet

figure is used in anticipation of the figure Valentini uses in measure 18.

The first sequence in the oboe part starts in measure 10 and is made up of a

figure of two sixteenths- and a quarter-note tied to an eighth-note. There are four

repetitions of the sequence, the last being incomplete and closing with an eighth-note

instead of the tied quarter- and eighth-notes. Passagi are placed at the end of the longer

durations, avoiding the f# sliding problem. In the first statement of the sequence—the

second half of the first beat through the third beat of measure 10—a three-note ornament

is added to avoid the ^ problem by approaching and leaving the f# firom above. This

121

omameni also connects with the second statement of the sequence. In the second

statement—the second half of the third beat in measure 10 through the first beat of

measure 11—a longer group of ornaments placed higher in the tessitura are added. In

the third statement of the sequence—the second half of the first beat through the third

beat of measure 11—the ornament is added to the beginning of the sequence on the

sixteenths as a continuation of the ornament started in the second sequence. Lower

neighbor tones are used in triplets anticipating the rhythm of measure 18, and the

neighbor tones, helping to avoid the sUding problem of f#. The slide from to e" at

the end of measure II is unavoidable. If a c" was used, an augmented second would

be created, or if a c#" was used an impossible fingering to d#" would be created. The

&" to e" on the third beat of measure 12 is slower and is articulated so that the potential

problem is avoided.

The next entrance of the oboe is a four-beat sequence beginning on the first beat

of measure 16. The sequence is stated only one other time on the second beat of

measure 17. Ornaments are used on the last beat of each sequential statement with

arpeggios used on the first beat of measure 17. An arpeggiated figure combined with

neighbor tones in the second statement of the sequence appears on the first beat of

measure 18. The g" used in the arpeggiated figure of measure 18 makes it possible to

avoid the e" to f problem. In measure 18 we come to the afore-mentioned sixteenth-

note triplets. The rhythmic figure is very important, so the third beat of measure 18 is

unomamented. The ornamentation of the next beat maintains the triplet feel with a triplet

arpeggio, followed by a scale played as a sexmplet.

122

Measures 19 and 20 contain another sequential-like figure, as well as the

cadence. The sequence-iike figure appears first on the first and second beats of measure

19 and is unomamented. The second statement of the figure appears on the third and

fourth beats of measure 19 and is omamented, but with the longer duration (a dotted-

eighth note) remaining undisturbed. The final statement of the figure—the first and

second beats of measure 20—is highly omamented, with passagi connecting to the

cadential trill on the fourth beat of measure 20. Throughout these two measures, the g#

could present a problem, but by approaching the g# from above the slide is avoided.

The triplet is also used one last time on the second half of the second beat in measure

20.

123

Q. Largo

Oboe

OrnaroeniaDoo

\^linoPnmo

Viobno Secondo

OrgaDO e ViotooceUo

(Gmceno IV. N ieaum)

Dm.

Vln.1

Via.

B.C.

'Vaientim was r

124

Ob.

Cm.

VUl

VIILU

Via.

B.C

7 6 5 6 6 *

125

Ccnccitc f

Ob.

Om.

14

Vln. I

vu.

B.C.

126

127

CHAPTER V: CONCLUSION

The ornaments of any early eighteenth-century Italian baroque concerto or sonata

should be constantly evolving and changing—there is no single solution. However,

despite the lack of contemporary treatises outlining rules to guide ornamentation,

ornamented examples by Italian and Italianate composers and performers of the period

do give direction to the performers of today. In this study, the use of melodic and

rhythmic patterns and their relationship to the harmony and accompaniment were used to

develop models of ornamental practice. These results were cast through the possibilities

and limitations of the baroque oboe to create historically-informed modem performance

editions of the slow movements of four early eighteenth-century Italian oboe concerti.

When writing out ornaments one must keep in mind that they should sound

improvised—the models developed for ornamentation should just serve as a guide.

Performers must be willing to try all sorts of ornaments keeping in mind that the Italians

were often criticized for thek "tasteless" use of ornaments by writers like Quantz,

North, and even the Italian singer Tosi.^^® This criticism of early eighteenth-century

Italian omamentation was almost certainly a matter of taste and cultural difference.

Italian performers of the period would have used a great deal of omamentation, so we

should not feel restricted in the quantity of our own ornamentation.

'SOQuantz, 323. For North see Donnington. 94. For Tosi see Neumann, 553.

128

The eventual goal is to improvise ornamentation in whole or in part after carefixl

study of ±e movement. Within a beat, the rhythmic motion is expected to vary and

should be from slow to fast. Mordents and slides may be played quicker or slower with

the rest of the beat adjusting so that the pulse of the piece does not vary. Performers of

the period also added small ornaments and graces to fast movements, with even an

occasional passagi especially near the final cadence However, the speed of these

movements gready restricts the ornaments which can be added and there are also very

few examples of ornamented faster movements for us to study, By smdying and

pracdcing the ornamentation of slow movements, one will soon find that it is easy to

improvise the occasional ornament in a fast movement.

Example 5-1. Bach examples from movements I and in.i83

Movement I. measures 11-13.

ISlQuantt, 134. example is the Bach arrangement of the Marcello. Aside from the usual added trills at

cadences, Bach added a few passing tones, neighbor tones, appoggiaturas, mordants, and even a couple of notes of an arpeggio to the first and last movements (see Ex. 5-1. Bach examples from movements 1 and 3).

^SSsach, 15 and 21.

129

Movement in, measures 121-127.

Ultimately it is the combination of the study of ornamental practice from the

period, the restrictions of the baroque oboe, and personal taste that will determine the

choice of ornaments. In this study, appropriately ornamented editions of four concerti

should provide a model of ornamentation which might transfer to similar works for

modem oboists not experienced with early eighteenth-century Italian baroque

ornamental practice.

APPENDIX A: PERMISSIONS

^Barenreiter Baerenreiter Music Corporation u.s. office

224 King Street. Englewood, New Jersey 07631 Telephone 201.569.2898 Fax 201.559.7023

130

November 21.1995

Ms. Rebecca Kemper Scamati 2038 N. Navajo Dr. Ragstaff, AZ 86001

Dear Ms. Kemper Scamati:

This letter, when signed by both parties, shall constitute our agreement to your use of the musical excerpts from Georg Philipp Telemann's Zwdlf Metho<Ssche Sonaten edited by Max Seiffert (BA 2951) cited in your letter of November 15,1995 in your dissertation entitled The Ornamentation of Four Early Eighteenth-Century Italian Oboe Concerti Found in Concrti A Cinque...Ubro Primo of Jeanne Roger (Amsterdam, Ca. 1714-17)" to be filed at the University of Arizona and made available by UMI on a production-on-demand basis, provided that

1) Source of said examples be cited in accepted schoiarty style, together with the words •reprinted by pennission."

2) A reprint of the paper (or the pages on which the illustrations appear) be submitted to this office for archival purposes within 30 days of filing or publication.

No charge will be made for this use. We warrant that we have the right to grant this license.

Kindly sign both copies of this agreement and return them to this office. A fully executed copy hereof will be retumed to you for your files.

Sincerely.

BAERENREITER MUSIC CORPORATION

George Sturm ACCEPTED AND

f Scamati

fc&GIWNIS Ci MARX »JL(su:PLGi.s:-cr 2:GWgi123£!^11S

K«r Ywk. Maw Yc.tt 1C:C1

131

February 8, 1996

Ms. Rebecca Scarnaci

Box 6040

School of Performing Arcs

Northern Arizona University

Flagstaff, AZ 86011

Dear Ms. Scamati:

This is to extend permission to reprint excerpts from Mather & Lasocki's Free

Ornamentation in Woodwind Music as described in your letter of February 4,

1996. We request that the following credit appear;

Copyright O 1976 by McGinnis & Marx Music Publishers. Used by

permission of the publisher.

Best of luck with you dissertation.

Truly

Paul Sadowski

Owner McGinnis & Marx Music Publishers

APPENDIX B: SCORES OF THE CONCERTI

133

Concerto I 1. Adagio Guissepe Samnurtim

Oboe

Onumenunoo

Violuo Secoodo

Alto VtoU

Organo e Violoncello

6 9 6 9 6 9 6 9 7 6 6 7 7 6

Ob.

cm.

Vln.a

vu.

B.C

6 6 6 6 6 7 7 3

134

(Seamwiiei Coecer*>L ait»

Ob.

orn.

B.C

6 6 7 5 6 6 5 7 7 6

Ob.

^^r om.

I

Vln.1

Vln.U

B.C

4 t 6 7 7 6 6 5 6 7 7 6 6 6

135

Turn

ob.

Turn

om.

, Turn

Vto.1

rum

Tuai

VU.

B.C

S6* S5 6 5 5 6 5 6 6 6 7 5 5 7 6 6 8

ob.

orn.

Vln.l

B.C

6 6 4 6 6 7 6 6 6 4 6 6 a

•tbe sbarp wts placed nextto ihe wToag number

136

(SMBna. Cwnn L bm. t)

24

Ob.

orn.

Vlitl

24

Via.

B.C.

6 3 6 6 4

137

U. Allegro (Samnamm CoocenoD

Oboe

VtoUaoPhmo

VioUoo SecoiKk)

Alto VioU

Orgaoo e ViolooceUo

6 6 6 6 6 6

Ob.

VU.

B.C

138

(SannmAL Omcca L bvl t>

Solo

ob.

Vln.1

Vln-H

Via.

B.C

6 6 6 6 6 4 3 6 6 7 6 6

Turn ot>.

Via. I

Ttfm Vln.fl

Via.

B.C

6 6 6 6 5 6 6 4 6 ^6 6 6

ob.

Vln.n

via.

B.C

6 6 6 6 6 »

139

ob.

VlXLl

V1n.n

VU.

B.C

6 6 6 6 6 6

Via.

B.C.

6 6 6 6 6

ob

29

VllLfl

Via.

B.C.

6 6 6

140

(Ssfleeemai. CdecKriD L nvt. I)

32

Vln.1

VU.

LC.

6 6 6 6 5

35 Vln.1

B.C.

6 6 5 6 6 6 6 6

( 40

Vln.1

40

Vln.U

40

Via.

B.C

pr-^ 6 6 6 6 6 6 6 6 6 6 6 5

141

(SMoamoL Cnttno L mn. 0

m.

Ob.

VUuI

45

Via.

45

B.C

6 6 6 6 6 6 5 6 6 6 6 6 6 6 6 6 6 6

A Vln.1

50

BC.

6 6 6 3 6 6 3 4 4

142

m. Adagio (Sanunanxoi)

Oboe

OnuuDenODoo

t Violino Pnmo

Violini Secoodo

AJto Viola

Organo e Violoncello

6 7 7 7 6 6 6

Solo

Ob.

Om.

5

VIn.I

Vln.n

Via.

B,C.

5 <4 6 7 7 7

143

(Sammamni. Coocato L mvu Ml

Tutti

Tutti

!

Vln.1

Vln.n

Via.

B.C.

Tutti

Tutti

Tutti

6 Ii4 6 7 7 6 7 7 9 8 9 8 6 6 5

*was d' 10 e' in Sammartini

144

rv. Allegro (Sammamnx. Coaceno 0

Violino Pnmo

Violino Secondo

Alto VtoU

Or ano e VioIooceUo

t ,, _ , !> .» - •

I • '"VA=

t , f-. » - «. — €>

1 1 1 - j-i ! 1

1. . . U, ' vr ' ; i —: ! • 1 1 i '

^ 1 : . : ; I

i 1 1 1 1 . . i • " " V > 1 ' t 0 ' -

145

(SjnmniBv CaocaiD 1. avL (V>

Vln.1

vin.n

B.C.

6 6 6 7 7 7

SoUt

h •« Vln. I

VU.

B.C.

6 c 6 4 3

•wajc-uiSaranumni "wis g'tn Smmumni

146

(SasnarasL Coocmo L t\' *

Ob.

Vln-I

ZB

B.C

6 7 7 5 6 6 6 6 7 7 6 6 6 6

Vln.1

34

B.C

6 6 6

147

(Saaaacm. CoacenD L mn. IVi

Ob.

Vln.1

Via.

B.C.

6 6 6 6 6 6 6 6

48 Tuxxi

I 48 Tuttt

Vln.1

I Tutu

Vln.n

48 Turn

Via.

48

C.

6 6 6 7 6 4

148

Ob.

54

VULI

Vln.U

B.C.

6 7 5 4 6 6 6

Ob.

Vln.1

vin.n

VU.

B.C.

4 6 6 ^ 6 6 6 5 6 6 6 4

149

Ob.

Vln.1

VUlU

B.C

5 6 6 4

15 Vln.1

VU.

Soto

B.C

7 6 S 6 6 6 4 6

150

(SMmraSL CODCBHD Lnn. [Vt

Ob. -BP

Vln.1

Vln. n

Via.

B.C.

6 6 6 6 6 6 6 6

Turn

Ob.

Turn

Vln.1

r«m Vb.

Ifum B.C

6 6 6 6 4

151

iStfBOBRUu. CoooenD L avt [V't

Ob.

VIlLl

VU.

B.C

6 6 5

103

Ob

VllLl

103

Via II

103

VU.

103

B.C.

152

^3^ ^3^ 110

Ob.

110

Vln.1

VIilO

110

VU.

110 Soto

B.C.

7 7 7 6 6 4

153

iS*BB*08t. Ccaceno L bvl (V >

124 Turn

Ob.

124 Tuai

Vln.1

Tiun 124

vin.n

124 ITum

Via.

124 |7ian

4

*was d tn Sammartini

154

138

Ob.

138

Vln.r

138

138

VU.

138

B.C

6 6 6 6 6 7 6 6 6 6

Sola 145

Ob.

145

mi

145

Vln. II

145

145 ra. I.C

7 7 6 6 5

O B

mni ZSl

ZSl

ZSl

ZSl

•<0

SSI

156

Concerto n. in d minor L Andante e Spiccaio AlessandrD Maicello

Oixie

fS

Vioimo SecoofSo

Alto VtoU

Organo e VicJoncello

6 6

s\ Solo

Ob.

Via. I

Vln. D

VU.

B.C.

6 4-3 6 6 6

157

fMerHlft r«wcewn ft am l>

1 «1 ^ 1

1

i 9

«>

9 1

9 \ ,

^ * i L _ ^ ^

, ' t.r _ . .

\

- - - - * • ' ^ ' i ^m '' ' *

• r j w L I E > - • r '.^ "«J • —

4-3 4^6 ®}6 J 6 ® f6

Ob. Piano

Vln. I Piano

Vln. n

VU. Ptano

B.C

*MaxcdIo bas f

158

•MgcriV*. CcwT?** f "

6 6 6 6 6 6 6 6 6

Ob

Via. I

Font 20

Vln. a

Font

VU.

Font

B.C

**VtafCdlobuc''

159

5-6 9

7-6 t

160

<MjRello. Gaceno Q s«t 1)

Ob.

Vln. I

Via.

B.C.

6 6 5 6 6 5

Ob.

JL Vln. I

VU.

.C

7 7 7

161

(Macdla. CtacoiD 0 D 30 Ob.

30

Vln. (

Vln. n

Piano

Vli.

I Piano

B.C.

7 87 7 7

42

42

Vln. I

42

Vln. n

vu.

B.C.

'Maicdio (igured bass bad 6/4

162

OtfsssQs. CsBcsw 'I ST

Ob

46 Vto. I

Vln. a

46

B.C.

Ob.

Vln. I

Forte

VU.

Forrd

B.C

6 * t 4 » « «

« «

t

**Marcdlo ngured bass bad 7

163

164

iMkbUo. Conftno U an. 1) 60

60

Vln- I

Vln. a

60

B.C

165

n. Adagio (Marceilo. Cooceno 0. mvt ID

Oboe

Omameoicd vemoo

VtoliDO Pnmo

VioUoo Secoodo

Alto Viob

Organo e ViolooceUo

.J i i i

1

,--a

1 i j /w 1 1 ! !L 1 ,

!-• i 1 1—

1 .

1

j - 1 1 ^ 1 i I 1 ' .

i 9 9 , t t ; J J J J J J 1 1

i i i

7 J

Ob.

Vln.1

ViiuD

VU.

1

166

iMamiu. Looetno u. bvl lii

Ob.

Om.

Vto.1

Fone

Vln.n Fone

VU.

Fone

B.C

7

Ob. "BW

Om.

VULI

Piano

VIILU Piano

Ptano

C.

1

167

168

Ob.

Om.

VULI

VIXLO

VU.

B.C

Ob.

Om

Vla.1

Vln. n

Via.

B.C.

169

Ob.

Om.

Vln.1

34

Forte

Via.

Forte

34

B.C

6 7 6 5

Ob.

Gnu

! 40 VUlI

VULU

40

B.C

170

(Coaceno Q. A. MaiceUo)

ni. E^to

Oboe

Viobno Pnmo

VioUoo Secoodo

Orgaoo e VidociceUo

7

Ob.

via.

171

(M^cdkx Gaccrto II sm. Ulk

Ob.

Vln.1

Vlx

B.C

5 7 6 6 7 6

Vln.1

VULU

VU.

B.C.

6 6

172

iMacdlow CoBomo • sn. QD

I

Vln-I

VOn-II

Via.

.C

5 6

173

46 r4*-

(MvccUo. Coacmo U an. Ql)

! i ^

t ;

46 1 i ! ! 1

1

C

46

1 1 i i 1 1 ' ' 1 1 1 '

1 1 ! 1 1 1 K - - ' - - i " ' ' " " "

i '

i : , 1

! i : i 1 1 ' '

54

54

Vta.

54

B.C

7 7 7 7 7 6

174

<M«GdfexCoBCEnD D am. HI)

« 1 ,

0 0 1 . 1 - 1 1

1 1

I . i

^ ^ ^ ^ ^ ^ - X I _

V V

6 1

5 *

! 1 1 J ^

! 1 1 '

• W

6 . 6 , 6 4 J 6

Ob.

Via.

BC.

6 4 3 9 6

175

(Matdla. Coaceno U on. ID)

Ob.

Vln.1

B.C

8 6 5 9 9 8 6 8

Ob.

Vln.1

83

83 JUt.

B.C.

6 4

176

<Mafcdkx Caooeno U am. Ill) 90

Vla.1

90

90

Via.

90

B.C.

7 6 6 4 7 7

97

I

VliLl

97

B.C.

6 7 7 7 7 7

*Ctftppears in MarctUo

177

(Macdio. Coaceno tl nvt III)

VIiLf

Vltt.U

Via.

5 4 I

Ob.

VllLl

VULU

178

(Mmcib. Giacxno U sn. Qlt 119

119

119

119

119

I.C

127

127

127

Via.

B.C

"Mucello tus g'

179

Concerto m

ViobnoPnmo

Vioiioo Secoodo

Alio Viola

Orgaoo e VtoloQceUo

L Allegro

1

by GiusqTpe Valentuu

f j ^ ^

1

y 1 ^ ^

t

^ 0 0 a . 0 .

1

^ p # f

1 1

^ ^ ! 1

—i

1 !

' • — — —

1 !

— 0— .

6 6

Vln.1

B.C

180

tu.

Ot).

Vla.1

Vlafl

B.C

6

Vln.1

VU.

B.C.

u 6 *

181

Ob.

; :3 Vln.1

VU.

B.C

6 6

o5.

JLM.

vin.ll

Via.

B.C

6 6 6 6 4

182

(Vilranm. Coocena PL gw. R

Via. I

Vln.n

20

VU.

B.C

7 7 7

VllLl

VU.

BC

*Valentiu was a'

183

iQLi

Ob.

Vln.1

Vla.a

vu.

B.C

33

JLJL Vln.1

Vln.n

33

VU.

I.e.

7-16 7-6 7-6 7

*VaJentiai had g'

Vln.1

37

Via.

a.c

4 3 7 7

f I J l 0 f

«) •

4t

1

r* • m >

• i" 1

1 J • • J ^

j i A » ! A

j 1 !

•

1 - ^ - ' - . ; - r ' " * " « ' " * '

6 6 6 6

185

tIL

Ob.

VU.

B.C

w

48

Ob.

48

Vln.1

48

48

B.C

6 6

•>Alcmim nguftd btss bad 7 **V ieiuim wss f

186

DLi

OtL

Vln.1

vitt .n

via.

B.C

6 4

Piano

Vln.1

Piano

Piano

Via.

B.C

6

•••ViknnmwMC •VUemuiibadr

187

Ob.

Vln.!

60

Vli.

B.C

6 4 6 6

64

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190

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191

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192

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193

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r

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194

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195

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Vln.!I

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196

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46

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197

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57

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198

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90

90

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97

97

97

97

97

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201

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t03.

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103

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205

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All":?™ by Giimepe Valendm

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206

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(Vileaofu. Coaceno IV. mvt I)

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208

(\Ueniiiu. Concerto [V. mvt D

06.

24

Vla.1

24

24

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had a'

209

(VUentuu. Cooceno IV. mvL I)

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vu.

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210

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38

LC

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211

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43

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6 6 7 7 6 6 6 6

47

47

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212

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213

(Vyenam. Cooceno IV. mvt. I)

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59

Vta.1

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62 Vln.1

62

62

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62

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7 6 6 5-6 6 9 5

214

(Vtiemuu. Coocerto {V. mvL D

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68

68

VllLl

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68

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68

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3 4

215

Q. Largo

(Cooceno [V. >^iencini)

Oboe

Onuznenuuoa

Vtoiino Secoodo

Aito Viola

OrgJkoo e Vtoloocello

Ob.

Om.

Vln. I

VTILU

VU.

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216

Concern* fV mvt

217

218

Om.

Vln.1

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Om.

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VU.

24

1 24

Piano 24

Piano

Pumo 6 4

219

(>^ienaiu. Concerto IV. mvt UI)

ViobaoPnmo

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Orgino e Vralcmcello

'Valeoum was F

220

A^ntmu Conceno IV. mvt III)

VllLl

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Via I

Via.

B.C.

6 7 7

**Vaieniini was 3 quaner notes r

221

fv. '"vi TTT'

28 Vln.1

Via.

B.C

7 6 6 6 5 6 7 6

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36

36

B.C

7 6 6 6 7 6 7

222

r»Wntim. CucKctiu Tv. mvL tui

Vln-1

VU.

B.C

6 6 5 6 5 6 5 6 6

I V VllLt

B.C

7 6 6 6 4

'ViienumwisA

223

I Vucnimi. CuoLciiu VK m«i. mi

Ot>.

Vla.1

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B.C

6 9 6 9 8 9 8 6 6 6 i

«7

Vln.1

57

VU.

87

B.C

224

Ob.

via.1

Via.

B.C

6 6 7 7 4 6 6

Vlo.1

Vln. II

B.C.

6 6 6 6 6 6 87

'Valenont was r

225

rv mvt nr^

Ob.

VllLt

Via. II

B.C

Putno

Vliul

96

Via.

6 7 6 7 4 3 7 6

226

7 5

6 4

5 3

227

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