6503576
Description
Mind Map by Annabell Louise Hutchings, updated more than 1 year ago
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Created by Annabell Louise Hutchings
over 7 years ago
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PURCELL'S SONATA FOR
TRUMPET AND STRINGS
Z850
- PURCELL'S CAREER
- HENRY PURCELL WAS BORN IN 1659 AND
WAS THE GREATEST ENGLISH COMPOSER OF
HIS GENERATION
- FROM AN EARLY AGE HE WAS
ABSORBED BY MUSIC: FIRST,
AS CHOIRBOY IN THE CHAPEL
ROYAL AND THEN, AFTER A
NUMBER OF OTHER
APPOINTMENTS, AS ORGANIST
IN WESTMINTER ABBEY
- CHAPEL ROYAL - THE KING' PERSONAL
CHAPEL WHERE PURCELL'S FATHER AND
UNCLE ALSO WORKED
- AROUND THIS TIME, PURCELL
BEGAN TO COMPOSE MUSIC
FOR THE KING AND HIS FAMILY
- HOLDING THE PRESTIGIOUS
TITLE OF
'COMPOSER-IN-ORDINARY FOR
THE KING'S VIOLINS' FROM
1677
- ALSO WROTE MUSIC FOR THEATRE
- ALSO WROTE MUSIC FOR THEATRE
- CHAPEL ROYAL - THE KING' PERSONAL
CHAPEL WHERE PURCELL'S FATHER AND
UNCLE ALSO WORKED
- 1682
- BECAME AN
ORGANIST AT THE
CHAPEL ROYAL
- THIS WAS FOLLOWED BY
FURTHER COURT
APPOINTMENTS
- THIS WAS FOLLOWED BY
FURTHER COURT
APPOINTMENTS
- BECAME AN
ORGANIST AT THE
CHAPEL ROYAL
- DEATH
- 1695
- BURIED IN WESTMINSTER ABBEY
- 1695
- PURCELL WAS
PARTICULARLY
INFLUENCED BY THE
NEW ITALIAN BAROQUE
STYLE, BUT HIS MUSIC
ALSO LOOKS BACK TO A
MORE CONSERVATIVE
ENGLISH TRADITION
- HENRY PURCELL WAS BORN IN 1659 AND
WAS THE GREATEST ENGLISH COMPOSER OF
HIS GENERATION
- THE SONATA Z850
- PERHAPS DATING FROM 1694
- VERY LITTLE KNOWN ABOUT
THE ORIGINS OF THIS PIECE
- FOUND IN A
MANUSCRIPT IN YORK
MINSTER LIBRARY
- FOUND IN A
MANUSCRIPT IN YORK
MINSTER LIBRARY
- VERY LITTLE KNOWN ABOUT
THE ORIGINS OF THIS PIECE
- PROBABLY WRITTEN FOR THE LONDON
THEATRE, WHERE A FINE TRADITION OF
TRUMPET PLAYING HAD DEVELOPED
- THE TITLE 'SONATA' HERE PROBABLY MEANS
NO MORE THAN 'A PIECE OF INSTRUMENTAL
MUSIC'
- PERHAPS DATING FROM 1694
- OVERALL STRUCTURE AND SCORING
- PURCELL'S PIECE, WHICH LIKE MANY CONCERTO-LIKE PIECES
WRITTEN BEFORE 1700 WAS GIVEN THE TITLE 'SONATA', LOOKS
FORWARD TO THE STYLE THAT WOULD BECOME ASSOCIATED
WITH THE SOLO CONCERTO WHERE SOLOIST AND STRINGS ARE
PITTED AGAINST ON OTHER
- ALSO LOOKS BACK TO AN OLDER TYPE OF
INSTRUMENTAL MUSIC, WHICH EMPHASISED
EQUALITY BETWEEN MEMBERS OF THE
ENSENBLE, I.E. WHERE THE SOLOIST IS MUCH
MORE OF AN EQUAL PARTNER IN THE MUSIC
WITH THE OTHER PLAYERS
- ALSO LOOKS BACK TO AN OLDER TYPE OF
INSTRUMENTAL MUSIC, WHICH EMPHASISED
EQUALITY BETWEEN MEMBERS OF THE
ENSENBLE, I.E. WHERE THE SOLOIST IS MUCH
MORE OF AN EQUAL PARTNER IN THE MUSIC
WITH THE OTHER PLAYERS
- THE MUSIC IS IN THREE MOVEMENTS
- THE MIDDLE MOVEMENT HAS A TEMPO MARKING
OF 'ADAGIO' BUT, NO DOUBT, THE OUTER
MOVEMENTS WERE PLAYED AT A FASTER TEMPO
WITH THE RESULT THAT THE WHOLE PIECE LOOKS
FORWARD TO THE FAST-SLOW-FAST PLAN
POPULARISED BY VIVALDI'S CONCERTOS
- THE MIDDLE MOVEMENT HAS A TEMPO MARKING
OF 'ADAGIO' BUT, NO DOUBT, THE OUTER
MOVEMENTS WERE PLAYED AT A FASTER TEMPO
WITH THE RESULT THAT THE WHOLE PIECE LOOKS
FORWARD TO THE FAST-SLOW-FAST PLAN
POPULARISED BY VIVALDI'S CONCERTOS
- THE SONATA WAS WRITTEN WITH
THE TRUMPET TAKING ON THE ROLE
OF A SOLO INSTRUMENT.
- INSTRUMENTS OF THE TIME
WERE NORMALLY TUNED IN
D; THERE WERE NO VALVES
ON THE BAROQUE TRUMPET
- THEREFORE THE PLAYER HAD TO
PRODUCE DIFFERENT PITCHES BY
OVER-BLOWING.
- PURCELL USES ONLY THE FOLLOWING
EIGHT NOTES IN HIS PIECE BECAUSE THESE
WER THE ONES THAT HIS TRUMPETER
COULD PLAY
- MIDDLE D
- A
- D
- E
- F
- G
- A
- B
- THE LIMITATIONS OF USING ONLY THESE EIGHT
NOTES HAS IMPORTANT CONSEQUENCES FOR
BOTH THE HARMONIC AND MELODIC STYLE OF
THE MUSIC
- HARMONICALLY
- PURCELL IS STUCK WITH THE NOTES OF D MAJOR. IN THE
SECONDE MOVEMENT, FOR INSTANCE, WHICH STARTS IN B
MINOR AND MOVES CHROMATICALLY TO D MAJOR, PURCELL
ONLY EMPLOYS THE STRINGS BECAUSE THE TRUMPET CAN NOT
PLAY, FOR EXAMPLE, A# THAT IS REQUIRED IN THE KEY OF B
MINOR
- PURCELL IS STUCK WITH THE NOTES OF D MAJOR. IN THE
SECONDE MOVEMENT, FOR INSTANCE, WHICH STARTS IN B
MINOR AND MOVES CHROMATICALLY TO D MAJOR, PURCELL
ONLY EMPLOYS THE STRINGS BECAUSE THE TRUMPET CAN NOT
PLAY, FOR EXAMPLE, A# THAT IS REQUIRED IN THE KEY OF B
MINOR
- MELODICALLY
- THE TRUMPET PART MAINLY MOVES CONJUNCTLY AROUND ITS TOP
SIX NOTES WHICH ARE THE FIRST SIX OF THE D MAJOR SCALE. AT
OTHER TIMES PURCELL USES A 'FANFARE' TYPE MUSICAL FIGURE
WHERE THE TRUMPET DARTS AROUND BETWEEN NOTES OF THE DA
MAJOR ARPEGGIO. THE STRING PARTS SHARE THE MELODIC STYLE OF
THE TRUMPET, SO ALL THE INSTRUMENTS CAN WORK TOGETHER WITH
THE SAME MATERIAL.
- THE TRUMPET PART MAINLY MOVES CONJUNCTLY AROUND ITS TOP
SIX NOTES WHICH ARE THE FIRST SIX OF THE D MAJOR SCALE. AT
OTHER TIMES PURCELL USES A 'FANFARE' TYPE MUSICAL FIGURE
WHERE THE TRUMPET DARTS AROUND BETWEEN NOTES OF THE DA
MAJOR ARPEGGIO. THE STRING PARTS SHARE THE MELODIC STYLE OF
THE TRUMPET, SO ALL THE INSTRUMENTS CAN WORK TOGETHER WITH
THE SAME MATERIAL.
- HARMONICALLY
- MIDDLE D
- PURCELL USES ONLY THE FOLLOWING
EIGHT NOTES IN HIS PIECE BECAUSE THESE
WER THE ONES THAT HIS TRUMPETER
COULD PLAY
- THEREFORE THE PLAYER HAD TO
PRODUCE DIFFERENT PITCHES BY
OVER-BLOWING.
- INSTRUMENTS OF THE TIME
WERE NORMALLY TUNED IN
D; THERE WERE NO VALVES
ON THE BAROQUE TRUMPET
- THE CONTINUO PART WAS PROBABLY PLAYED
BY A BASS VIOL OR BASS VIOLIN, WITH THE
ADDITION OF A THEORBO, HARPSICHORD OR
ORGAN, OR COMBINATION OF THESE
INSTRUMENTS.
- THE ORGAN MIGHT SEEM A SURPRISING
CHOICE FOR MUSIC THAT WASN'T
PERFORMED IN CHURCH, BUT IN FACT
SMALL CHAMBER ORGANS WERE USED IN
BOTH TAVERNS AND STATELY HOMES OF
THE TIME
- THE BASS VIOLIN WAS A PREDECESSOR
OF THE CELLO; IT WAS LARGER AND
SLIGHTLY LOWER THAN THE BAROQUE
CELLO, WHICH DID NOT BECOME
POPULAR IN ENGLAND UNTIL ABOUT
1700.
- AN ALTERNATIVE INSTRUMENT WAS THE BASS VIOL, WHICH WAS HELD
LIKE THE CELLO BUT HAD SIX STRINGS AND FRETS. THERE IS NO EVIDENCE
THE DOUBLE BASS WAS USED FOR PURCELL'S MUSIC
- THE ORGAN MIGHT SEEM A SURPRISING
CHOICE FOR MUSIC THAT WASN'T
PERFORMED IN CHURCH, BUT IN FACT
SMALL CHAMBER ORGANS WERE USED IN
BOTH TAVERNS AND STATELY HOMES OF
THE TIME
- PURCELL'S PIECE, WHICH LIKE MANY CONCERTO-LIKE PIECES
WRITTEN BEFORE 1700 WAS GIVEN THE TITLE 'SONATA', LOOKS
FORWARD TO THE STYLE THAT WOULD BECOME ASSOCIATED
WITH THE SOLO CONCERTO WHERE SOLOIST AND STRINGS ARE
PITTED AGAINST ON OTHER
- ANALYSIS
- FIRST MOVEMENT
- APART FROM PERHAPS THE
FIRST IDEA WITH ITS
FANFARE-LIKE CALL, NONE OF
THE MELODIES ARE
PARTICULARLY STRIKING;
PURCELL WAS WRITING IN A
FAIRLY NEUTRAL, 'GENERIC'
WAY FOR INSTRUMENTS -
THERE IS NO DIFFERENCE
BETWEEN HIS VIOLIN AND
TRUMPET PARTS, FOR
INSTANCE
- FIRST IDEA
- 1. STARTS WITH JUST TRUMPET AND CONTINUO AND ENDS WITH A PERFECT CADENCE IN BB.3.4-4.1. AT
THIS POINT THE STRINGS TAKE OVER THE THEME - THE 1ST VIOLINS USE EXACTLY THE SAME RHYTHM AS THE
TRUMPET HAD EMPLOYED WITH ITS CATCHY ANACRUSIS BUT THE PITCHES ARE ALTERED SO THAT THE
THEME CAN MOVE INTO THE DOMINANT, A MAJOR, LEADING TO A PERFECT CADENCE IN THAT KEY IN
BB.6.4-7.1. THE LOWER STRINGS INITIALLY PLAY THE SAME RHYTHM AS THE TOP VIOLIN PART, BUT LATER
(FROM B.5) JUST SUPPORT THE CHORD CHANGES. NOTE THE THREE BAR LENGTH OF THE PHRASING IN THIS
SECTION
- 2. THE TRUMPET THEN RE-ENTERS IN B.7 WITH A
FRAGMENTATION OF THE THEME - JUST THE FIRST FIVE
NOTES OF THE OPENING BENT INTO A SHAPE THAT NOW
OUTLINES DOMINANT HARMONY
- 3. THIS IS IMMEDIATELY ECHOED BY THE STRINGS, AND THE MOTIF IS TOSSED TO AND FROM UNTIL
THE STRINGS AND TRUMPET COME TOGEHTER IN A PERFECT CADENCE BACK IN D (BB.10.4-11.1).
THIS TYPE OF TEXTURE IS C ALLED ANTIPHONY AND WAS VERY POPULAR IN MUSIC AT THE END OF
THE SIXTEENTH AND START OF THE SEVENTEENTH CENTURY
- SECOND IDEA
- 1. STARTS WITH JUST TRUMPET AND CONTINUO AND ENDS WITH A PERFECT CADENCE IN BB.3.4-4.1. AT
THIS POINT THE STRINGS TAKE OVER THE THEME - THE 1ST VIOLINS USE EXACTLY THE SAME RHYTHM AS THE
TRUMPET HAD EMPLOYED WITH ITS CATCHY ANACRUSIS BUT THE PITCHES ARE ALTERED SO THAT THE
THEME CAN MOVE INTO THE DOMINANT, A MAJOR, LEADING TO A PERFECT CADENCE IN THAT KEY IN
BB.6.4-7.1. THE LOWER STRINGS INITIALLY PLAY THE SAME RHYTHM AS THE TOP VIOLIN PART, BUT LATER
(FROM B.5) JUST SUPPORT THE CHORD CHANGES. NOTE THE THREE BAR LENGTH OF THE PHRASING IN THIS
SECTION
- APART FROM PERHAPS THE
FIRST IDEA WITH ITS
FANFARE-LIKE CALL, NONE OF
THE MELODIES ARE
PARTICULARLY STRIKING;
PURCELL WAS WRITING IN A
FAIRLY NEUTRAL, 'GENERIC'
WAY FOR INSTRUMENTS -
THERE IS NO DIFFERENCE
BETWEEN HIS VIOLIN AND
TRUMPET PARTS, FOR
INSTANCE
- SECOND IDEA
- AFTER A BRIEF REST IN ALL THE PARTS, THE TRUMPET
INTRODUCES THE SECOND IDEA: A DESCENDING SET OF
EVEN QUAVERS. IT IS A SHORT IDEA AND IS PASSED
ANTIPHONALLY FROM TRUMPET TO STRINGS, BUT THIS
TIME USING IMITATION. THE TRUMPET AND STRINGS
EACH TAKE THE IDEA TWICE; IT S HARMONISED IN B
MINOR, WITH A PERFECT CADENCE IN THAT KEY IN
BB.13.4-14.1
- THE TRUMPET NOW INTRODUCES A LITTLE
FIGURE OF THREE NOTES; THIS COULD BE
A FRAGMENTATION OF THE B.11 PHRASE -
ITS LAST THREE NOTES - WITH
SEMIQUAVERS RATHER THAN QUAVERS.
THIS IS USED ANTIPHONALLY AGIN IN
BB.14-15, FOLLOWED BY A CADENCE INTO
A MAJOR, EMPHASISED BOTH BY THE
TRUMPET LIPPIN AT G# IN B.17, BEFORE
RETURNING TO A MAJOR IN B.19
- AFTER A BRIEF REST IN ALL THE PARTS, THE TRUMPET
INTRODUCES THE SECOND IDEA: A DESCENDING SET OF
EVEN QUAVERS. IT IS A SHORT IDEA AND IS PASSED
ANTIPHONALLY FROM TRUMPET TO STRINGS, BUT THIS
TIME USING IMITATION. THE TRUMPET AND STRINGS
EACH TAKE THE IDEA TWICE; IT S HARMONISED IN B
MINOR, WITH A PERFECT CADENCE IN THAT KEY IN
BB.13.4-14.1
- THIRD IDEA
- THE LAST SECTION STARTS BACK WITH THE A MAJOR CHORD IN B.19 ACTING AS A PIVOT TO
TAKE US BACK TO THE TONIC, D MAJOR. IT HAS A SCURRYING SEMIQUAVER THEME IN THE
1ST VIOLINS, SEQUENCED ANTIPHONALLY BY THE TRUMPET IN B.20, FOLLOWED BY A
FRAGMENT OF THE THEME IN THE 1ST VIOLINS AND CONTINUO TOGETHER IN B.21 AND
TOSSED BETWEEN STRINGS AND TRUMPET IN A SET OF RISING SEQUENCES UNTIL THE
TRUMPET DISSOLVES THE MOTIF INTO THREE RISING SEMIQUAVERS AND A CROTCHET,
ALSO BOUNCED AROUND ANTIPHONALLY. FINALLY, THE TRUMPET, NOW JOINED BY 1ST
VIOLINS IN UNISON, SEDATELY LEADS THE MUSIC BACK TO ITS FINAL CADENCE IN THE
TONIC.
- THE LAST SECTION STARTS BACK WITH THE A MAJOR CHORD IN B.19 ACTING AS A PIVOT TO
TAKE US BACK TO THE TONIC, D MAJOR. IT HAS A SCURRYING SEMIQUAVER THEME IN THE
1ST VIOLINS, SEQUENCED ANTIPHONALLY BY THE TRUMPET IN B.20, FOLLOWED BY A
FRAGMENT OF THE THEME IN THE 1ST VIOLINS AND CONTINUO TOGETHER IN B.21 AND
TOSSED BETWEEN STRINGS AND TRUMPET IN A SET OF RISING SEQUENCES UNTIL THE
TRUMPET DISSOLVES THE MOTIF INTO THREE RISING SEMIQUAVERS AND A CROTCHET,
ALSO BOUNCED AROUND ANTIPHONALLY. FINALLY, THE TRUMPET, NOW JOINED BY 1ST
VIOLINS IN UNISON, SEDATELY LEADS THE MUSIC BACK TO ITS FINAL CADENCE IN THE
TONIC.
- HARMONY AND TONALITY
- MOST OF THE HARMONIC WRITING IS CONSONANT,
MANILY USING TONIC AND DOMINANT HARMONIES,
GIVING THE PIECE A BRIGHT, CEREMONIAL QUALITY.
THERE ARE A NUMBER OF SUSPENSIONS, ALL
APPEARING AT CADENCES
- MOST OF THE HARMONIC WRITING IS CONSONANT,
MANILY USING TONIC AND DOMINANT HARMONIES,
GIVING THE PIECE A BRIGHT, CEREMONIAL QUALITY.
THERE ARE A NUMBER OF SUSPENSIONS, ALL
APPEARING AT CADENCES
- FIRST MOVEMENT
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