- Corelli is most influential composer of the baroque period
- He was comissioned by rich patrons to write music for them
- Op. 1 and Op. 3 sonatas are known as Sonata da Chiesa (Church Sonatas) to be played at church or sacred concerts,
- Four movements slow-fast-slow-fast and style contrapuntal
- Op.2 and Op.4 are Sonata da Camera and more secula in four movements with Prelude followed by three dances and more homophonic in texture.
- Op.3 has 12 sonata da Chiesa and all 4 movements of No.2 are in D major.
- No melodic link between movements but are to be played as a whole.
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Performing Forces + Handling and Texture
- four performers
- 1st and 2nd violins equal partners with similar tessitura, imitate eachother frequently
- violone low pitched string instrument similar to bass viol with 5 of six strings
- continuo played by organ, player improvises inner harmonies
- movement is contrapuntal and in 3 part texture
- opening section fugal style with stretto entries
- polarised texture
- texture more homophonic at cadence points
- Drops music down an octave for final 3 bars.
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Structure and Tonality and Harmony
- Binary Form: A (repeated) B (repeated)
- Section A starts in D major modulated to dominant (A major)
- Section B begins in dominant modulates through related keys (B minor) back to the tonic at the end which could be called a Codetta.
- Diatonic and consonant mainly root position chords
- Dissonance occurs through suspensions b9 and 10) usually these all resolve downwards
- frequent perfect cadences which define phrase structure and changes of key
- Circle of 5ths progression b32-35
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- mono-thematic with melodic invention deriving from opening 3 note motif based on rising 3rd
- melody is developed by :
- sequences b1, b2, b15-17
- inversion b5,
- addition of anacrusis to motif for entries starting b32.
- Almost all melody is based on interval of 3rd and stepwise movement.
- Ocassionally an octave leap
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Rhythm + Metre
- written in the style of a gigue (lively dance in compound time)
- two main beats per bar which is enhanced by phrasing dotted crotchet beats in opening subject
- violone entry b6 half way through bar
- Syncopation 1st violin b26-27
- hemiolas b27 and 31 with harmony changing on 1st, 3rd and 5th quavers of the bar.
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