Trio Sonata |
Trio Sonata (Italian sonate per due stromenti e basso continuo; German Triosonate; French sonate en trio) is one of the most important instruments. genres of the 17th-18th centuries. Ensemble T.-s. usually included 3 parts (which is the reason for its name): two equal voices of the soprano tessitura (more often the violin, in the early 17th century – zinc, viola da braccio, in the late 17-18 centuries – oboes, longitudinal and transverse flutes) and bass (cello, viola da gamba, occasionally bassoon, trombone); actually in T.-s. 4 performers participated, since the basso party was conceived not only as a solo (one-voice), but also as a basso continuo for a polygonal performance. instrument according to the general-bass system (harpsichord or organ, in the early period – theorbo, chitarron). T.-s. arose in the early 17th century all in. Italy and spread to other European countries. countries. Its origins are found in the wok. and instr. genres of the late Renaissance: in madrigals, canzonettes, canzones, ricercars, as well as in the ritornellos of the first operas. In the early period of development (before the middle of the 17th century), T.-s. lived under the name canzona, sonata, sinfonia, for example. S. Rossi (“Sinfonie et Gagliarde”, 1607), J. Cima (“Sei sonate per instrumenti a 2, 3, 4”, 1610), M. Neri (“Canzone del terzo tuono”, 1644). At this time, a wide variety of individual composer’s manners is revealed, which are manifested both in the types of presentation, and in the structure of the cycle and its individual parts. Along with homophonic presentation, fugue texture is widely used; instr. parties often achieve great virtuosity (B. Marini). The cycle also includes variation, including ostinato, forms, as well as couples and groups of dances. T.-s. has become widespread in the and church. music; in the church it was often performed before parts of the mass (Kyrie, Introitus) or instead of a gradual, offertoria, etc. Differentiation of the secular (sonata da camera) and church (sonata da chiesa) varieties of T.-s. occurred with B. Marini (collection “Per ogni sorte d’istromento musicale diversi generi di sonate, da chiesa e da camera”, 1655) and with G. Legrenzi (“Suonate da chiesa e da camera”, op. 2, 1656 ). Both varieties are recorded in S. Brossard’s Dictionnaire de musique in 1703.
The heyday of T.-s – 2nd half. 17 – beg. 18th century At this time, the features of the cycles in the church were defined and typified. and chamber T.-s. The basis of the 4-movement sonata da chiesa cycle was a paired alternation of parts contrasting in tempo, size and type of presentation (predominantly according to the scheme slowly – quickly – slowly – quickly). According to Brossard, a sonata da chiesa “usually begins with a serious and majestic movement … followed by a cheerful and spirited fugue.” Conclude. the movement at a fast pace (3/8, 6/8, 12/8) was often written in the character of a gigue. For the texture of violin voices, an imitation exchange of melodic sounds is typical. phrases and motives. Sonata da camera – dance. a suite that opens with a prelude or “little sonata”. The last, fourth part, in addition to the jig, often included gavotte and sarabande. There was no strict distinction between the types of sonatas. The most outstanding samples of T.-s. classical the pores belong to G. Vitali, G. Torelli, A. Corelli, G. Purcell, F. Couperin, D. Buxtehude, G. F. Handel. In the second third of the 2th century, especially after 18, there was a departure from tradition. type T.-s. This is most noticeable in the work of J. S. Bach, G. F. Handel, J. Leclerc, F. E. Bach, J. K. Bach, J. Tartini, J. Pergolesi. Characteristic are the use of a 1750-part cycle, da capo and rondo forms, the weakening of the role of polyphony, the formation of signs of sonata in the first, fast part of the cycle. The composers of the Mannheim school T.-s. converted into a Kammertrio or Orchestertrio without a bass general (J. Stamitz, Six sonates a trois parties concertantes qui sont faites pour exécuter ou a trois ou avec toutes l’orchestre, op. 3, Paris, 1).
References: Asafiev B., Musical form as a process, (M.), 1930, (together with book 2), L., 1971, ch. eleven; Livanova T., Great composition at the time of J.S. Bach, in: Questions of Musicology, vol. 11, M., 2; Protopopov V., Richerkar and canzona in the 1956th-2th centuries. and their evolution, in Sat.: Questions of musical form, vol. 1972, M., 38, p. 47, 54-3; Zeyfas N., Concerto grosso, in: Problems of Musical Science, vol. 1975, M., 388, p. 91-399, 400-14; Retrash A., Genres of Late Renaissance Instrumental Music and the Formation of Sonatas and Suites, in: Questions of Theory and Aesthetics of Music, vol. 1975, L., 1978; Sakharova G., At the origins of the sonata, in the collection: Features of sonata formation, M., 36 (Musical and Pedagogical Institute named after the Gnessins. Collection of works (interuniversity), issue 3); Riemann H., Die Triosonaten der Generalbañ-Epoche, in his book: Präludien und Studien, Bd 1901, Münch.-Lpz., 129, S. 56-2; Nef K., Zur Geschichte der deutschen Instrumentalmusik in der 17. Hälfte des 1902. Jahrhunderts, Lpz., 1927; Hoffmann H., Die norddeutsche Triosonate des Kreises um JG Graun und C. Ph. E. Bach and Kiel, 17; Schlossberg A., Die italienische Sonata für mehrere Instrumente im 1932. Jahrhundert, Heidelberg, 1934 (Diss.); Gerson-Kiwi E., Die Triosonate von ihren Anfängen bis zu Haydn und Mozart, “Zeitschrift für Hausmusik”, 3, Bd 18; Oberdörfer F., Der Generalbass in der Instrumentalmusik des ausgehenden 1939. Jahrhunderts, Kassel, 1955; Schenk, E., Die italienische Triosonate, Köln, 1959 (Das Musikwerk); Newman W.S., The sonata in the baroque era, Chapel Hill (N. C), (1966), 1963; his, The sonata in the classic era, Chapel Hill (N. C), 1965; Apfel E., Zur Vorgeschichte der Triosonate, “Mf”, 18, Jahrg. 1, Kt 1965; Bughici D., Suita si sonata, Buc., XNUMX.
I. A. Barsova
