Guide Little Fantasia No. 3 - Piano

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The comparatively static influence of the old church modes was superseded by the more dramatic organizing principle of the major —minor key system with its use of contrast of keys. Although counterpoint continued to play a central role in musical structure for another hundred years and more, it became a counterpoint that took careful account of the implications of harmony and of chords within the framework of the major and minor keys.

In this context the continuo , or thorough bass , assumed primary importance. Composers who used a continuo part wrote out in full only the parts of the upper melody instruments. The accompaniment , which was the continuo part, was given in the form of a bass line, sometimes supplemented with numbers, or figures, to indicate main details of harmony, whence the term figured bass. The collaborating instrument improvised the harmonies indicated by the figures or implied by the other parts and so filled the gap between the treble and bass lines.

These sonatas a tre are early examples of the trio sonata that was the principal chamber-music form until about Use of the term trio for sonatas played by four instruments is only superficially paradoxical: although trio sonatas were played by four instruments, they were considered to be in three parts—two violins and continuo. Moreover, specific instrumentation at this period was largely a matter of choice and circumstance.

Flutes or oboes might play the violin parts, and if either harpsichord or cello or their substitutes were unavailable, the piece could be played with only one of them representing the continuo. But a complete continuo was preferred. Perhaps because a vigorous line of Italian composers of violin music followed him, he is commonly accorded the main credit for late 17th-century developments in sonata style. But his undeniably vital contribution should not distract attention from equally important work that was done during the same time outside Italy. This concentration gave the French school its preeminence as producer and influencer of the 18th-century dance suite.

The French, thus occupied with dance music, had little effect on the growth of the sonata da chiesa. But in Germany, where in Michael Praetorius published some of the earliest sonatas, the sonata developed from an originally close relation to the suite into a more ambitious blend.

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As it evolved it combined the suitelike multisectional structure of the sonata da camera with the contrapuntal workmanship and emotional intensity of the Italian sonata da chiesa form. One of the first contributors to this development of the Italian influence was the Austrian composer Johann Heinrich Schmelzer.

Fantasia No. 3 (Mozart)

During this period even pieces with dance titles began to lose their danceable character and became compositions meant only for listening. Meanwhile, the greatest member of this school, Heinrich Biber , published several sets of sonatas—some for violin and continuo , others in three, four, and five parts.

In these, from onward, he took a penchant for expressiveness to extremes of sometimes bizarre but often gripping profundity that contrast sharply with the bland, polished style of Corelli. The publication, for instance, is entitled Sonatae tam aris quam aulis servientes Sonatas for the Altar as Well as the Hall. And being himself, like Corelli, a violinist of extraordinary powers, Biber made a valuable contribution to the development of instrumental technique in a set of sonatas for unaccompanied violin in which the practice of scordatura adjustment of tuning to secure special effects is ingeniously exploited.

The English composers were achieving a comparable intensification of expression during the 17th century, though in their case the technical starting point was different.

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Fantasia No. 3 (Mozart) - Wikipedia

In accordance with the characteristic time-lag of the English in the adoption of new European musical methods, the English continued to work with polyphony in the Renaissance manner, while the Italians were perfecting monody and the Germans fruitfully uniting monody with their own contrapuntal tradition. English polyphony in the 17th century attained a remarkable level of technical finish and emotional grandeur. They and their predecessors, notably John Coperario, made a gradual transition from the string fantasia bequeathed by William Byrd and other composers during the reign of Elizabeth I and approached the new kind of musical form associated with the Baroque sonata; but they always stayed closer than their continental colleagues to the spirit of polyphony.

When Henry Purcell , in his three-part and four-part sonatas, submitted this rich English tradition to the belated impact of French and Italian influence, he produced a fusion of styles that was the highest point of musical inspiration yet reached by the emergent sonata form. The years from the end of the 17th century to the middle of the 18th represent a moment of equilibrium in the interaction of counterpoint and monody that had created the Baroque sonata.

The continuo device, as long as it endured, was a sign that the balance still held—and it did endure as long as the trio sonata kept its central position as a chamber-music medium. During the first half of the 18th century the later Italian violinists , most notably Vivaldi , were prolific creators of trio sonatas. Sometimes they leaned to a three-movement pattern fast—slow—fast , influenced by the direction the Italian operatic sinfonia , or overture , was taking.

More often the old four-movement pattern was preserved. In this well-tested shape too, Georg Philipp Telemann produced hundreds of examples that maintained a remarkably consistent standard of musical interest. George Frideric Handel , working for most of his life in England, composed some trio sonatas, and also some valuable sonatas for solo instrument with continuo. In France, Joseph Bodin de Boismortier and the violinist Jean-Marie Leclair, the Elder , cultivated both solo and trio genres with charm although with less profundity.

Yet even while the sonata with continuo flourished, the forces of tonality , or organization in terms of keys , developed intensely toward a use of key contrast that would eventually drive the trio sonata from the scene. The continuo itself was being undermined by the growth of interest in instrumental colour, and the figured bass could not long survive the tendency toward scoring for specific instruments and exhaustively detailed music notation.

By Johann Kuhnau had begun to publish some of the first sonatas for keyboard instrument alone, a number of them programmatic pieces on biblical subjects. He wrote a small number of trio sonatas after the traditional scheme, and also a few violin and flute sonatas with continuo; but at the same time he produced the first violin sonatas with obbligato harpsichord parts that is, obligatory and fully written out, rather than improvised , others for flute or viol with obbligato harpsichord, and three sonatas along with three partitas for unaccompanied violin.

These powers of key are the seed from which the Classical sonata form originated. But at this point the dualism engendered by tonal and thematic contrast had not yet supplanted the more continuous, unitary processes at work in a composition based on counterpoint.

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Nor was the consciousness of tonality any more advanced in the otherwise forward-looking work of Domenico Scarlatti. His harpsichord sonatas— movements survive, many designed to be played in pairs or in groups of three—are often original to the point of idiosyncrasy in expression. They introduced a valuable new flexibility in the treatment of binary form , and they had a powerful effect on the development of keyboard writing. But in formal terms they still belong in the old world of unity—even their strongest contrasts have an air of being suspended in time, quite unlike the far-ranging effects of conflict through time that are the basis of the Classical sonata.

A later generation of composers completed the transition from Baroque to Classical sonata. One of J. In some 70 harpsichord sonatas, and in other works for chamber ensembles and for orchestra , he placed a new stress on key contrast not only between but, more important, within movements. Correspondingly, he emphasized the art of transition.

In the development of sonata form in orchestral music, particular value attaches to the work of the Austrians Matthias Georg Monn and Georg Christoph Wagenseil and of the Italian Giovanni Battista Sammartini. All three played vital roles in shaping the symphony , which assumed an importance equal to that of the solo or small-ensemble sonata. Their symphonies further stressed the individual characterization of themes and, in particular, the use of the second subject to shape form.

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