the quiescenza j j j j

Transcription

1 1 the qiescea the Noseda collectio of the Mil a Coservatory cotais a large twovolme mascript i which several differet hads have copied hdreds of partimeti y Zigarelli. The secod of these volmes lists a mer of rles of thm (regole) for the stdet, ad two of them pertai to pedal poits o the keyote of the mode. The first rle is that the pedal is formed from the chords of the fdametal ass. 1 The partimeto writte elow the rle makes clear that the fdametal ass i qestio is a implied cadece of triads whose roots are C, F, G, ad C (the ass ad figres are Zigarelli s; the realiatio, i smaller otes, ad the idicatios of scale degrees are mie): ex. 1.1 Zigarelli, from a collectio of partimeti ad regole (Mila, ca ) 1 y w w w w 5 6? w w w w The secod rle, or rather sggestio, is that oe ca give partimeti the mior seveth as if oe were proceedig i the atre of the forth of the key. 2 Agai, the partimeto writte elow this statemet clarifies the iteded meaig: 181

2 182 msic i the galat style ex. 1.2 Zigarelli, from a collectio of partimeti ad regole (Mila, ca ) 1 w E E w ( ) w w ? w w w w Early i the eighteeth cetry, the traditios of extemporied preldes, toccatas, itavolatre, ad essercii freqetly called for a opeig passage that wold, like a expaded cadece, move toward the sdomiat ( the forth of the key ) ad the toward the domiat efore retrig to the toic. I his B-maor ivetio for keyoard (ca. 1720), oe of his lighter, more galat works, J. S. Bach preseted this sort of road, expository, key-settig passage. The phrase cotais elemets of oth of the pedal poits descried y Zigarelli. A versio of the first type, with a diatoic rise of ❺ ❻ ❼ ❶, ca e heard i the teor rage, ad a versio of the secod type, with the chromatic ❼ leadig to ❻, ca e heard i the melody: ex. 1. J. S. Bach, Ivetio i B Maor, m. 1 (Cöthe, ca. J a a 1 Domeico Scarlatti, Bach s cotemporary, had wide-ragig experieces i may of the great ceters of galat msic. He too wrote similar passages, t ofte performed them twice i sccessio i what seems to have ee the fashio. Here is a example from a keyoard work i C maor (K. 250). The passage appears immediately after a opeig florish ad makes ovios its chromatic ❼ ❻ ❼ ❶ melody:

3 Chapter 1 the qiescea 18 ex. 1. D. Scarlatti, Soata K. 250, m. 1 (ca. 170s) 1 2 «. ««.. 2 «? D. ( ). ( )..... Give Scarlatti s roots i Naples, oe might expect this patter to have figred promietly i the partimeti from Neapolita coservatories. It did ot, ad oe reaso seems to e that these partimeti had their ow highly stereotyped edigs, which favored pedal poits o a peltimate 5, like the Cadea Doppia. Zigarelli s commets aot pedal poits are ths a late addedm to that traditio, fillig i a laca. By midcetry this clster of traits a ❼ ❻ ❼ ❶ melody, a toic pedal poit, the associated soorities, ad a dole presetatio had stailied as a stock schema employed for closig rather tha opeig passages. I call it the Qiescea (It., a state of repose or iactivity ) y aalogy with cadea. Jst as a cadea exploits a pase withi a importat cadece to show off the performer s taste, ivetio, ad virtosity, rigig the forward progress of a movemet temporarily to a halt as a reslt, so a Qiescea exploits a momet of qiescece followig a importat cadece, likewise holdig ack the frther progress of the movemet or delayig its ltimate close. The edig fctio of the Qiescea was made clear y Bach s so Carl Philipp Emmael ( ) i his ook o the proper playig of a keyoard istrmet. Near the coclsio of the secod volme (1762), C. P. E. Bach iclded his ow partimeto po which the reader cold extemporie a fatasia. Immediately after its fial cadece, Bach idicates the stadard thoroghass figres of the Qiescea: ex. 1.5 C. P. E. Bach, Versch üer die wahre Art das Clavier spiele, vol. 2, p. 12 (Berli, 1762) 6? w qiescea

4 18 msic i the galat style C. P. E. Bach s Qiescea is sal oly y virte of its sigle presetatio. I Paris, dole presetatio had already ecome the orm. For istace, the passage from Gossec s Reqiem mass discssed i chapter 9 featred a Pastorella leadig to a strog Mi-Re-Do cadece. Example 1.6 illstrates how Gossec followed that cadece with a dole presetatio of the Qiescea. The three staves i the example correspod to the three strata of his Qiescea. The ottom staff shows the reiterated toic ote i the cellos ad asses; the middle staff shows the characteristic chromatic form of the Qiescea melody i parallel thirds ad sixths played y the violis; ad the top staff shows the two soprao soloists performig a decorative type of melodic commetary. ex. 1.6 Gossec, Missa pro defctis, mvt. 15, [Adate], m. 26 (Paris, 1760) pastorella mi-re-do 1 v x v E E. E E. E. E.? E. a E. m qiescea qiescea 26 1? J a a a Gossec s memorale passage was writte at a time whe the Qiescea was rapidly emergig as a Parisia commoplace. A passage y L Aé le Fils (ex. 1.7) appeared i Paris i 176. L Aé ses the diatoic versio of the Qiescea whose for stages featre a for-ote melodic ascet from ❺ p to the octave ❶. His diatoic Qiescea follows a strog cadece sigaled y the half-ote trill o A5 (❷ i m. 77). The Qiescea cofirms the importace of the precedig cadece ad provides a short period of relative staility efore the rig scale that leads p to a Cdworth cadece ad Fial Fall.

5 Chapter 1 the qiescea 185 ex. 1.7 L Aé, Ops 8, o., mvt. 1, Allegro, m. 77 (Paris, 176) v y y «E 2. «E? 2 w w w E 77 qiescea qiescea cdworth L Aé le Fils was, as metioed, a ppil of Leclair ad taleted eogh as a violiist to perform with the Wderkid Pierre Gaviiés, who was to ecome a domiat figre i Frech msical life. Gaviiés approached the Qiescea mch as did L Aé, repeatig the diatoic versio of the schema. I the followig example Gaviiés does, however, itrodce a rief ❼: ex. 1.8 Gaviiés, Ops, o. 5, mvt., Tempo di Mietto, m. 25 (Paris, 176) 25 29? 8.? 8. y... ( ) y qiescea qiescea. a

6 186 msic i the galat style The galat Frech violiists prodced may of their fiest works as solo soatas, a misleadig term descriig dos for violi ad cotio. The ass part was freqetly figred ad so reqired the keyoard player to ifer the proper harmoiatio from the cotext. This was ot always easy. The iterated or tied 1 i the ass of a Qiescea, for example, gave o overt cles to the differet chords iteded. Whe, as i example 1.8 y Gaviiés, the violi played dole stops that clarify each chord, the keyoard player cold have read the harmoy from the violi part. Bt i may other istaces that might ot e possile. For example, a late solo soata y Gaviiés icldes a Qiescea that, if the for stages presmaly last for oe qarter-ote each, reqires the keyoard player to itrodce the ❼ ad ❼ i advace of the violiist. I other words, the accompaist wold eed to kow this sal scee eforehad i order to aticipate the harmoies. The versio show elow is a likely realiatio with a added teor voice. The complete prited tempo idicatio Allegro co fogo ma o troppo presto hits that the work s galat schemata are eig pressed ito service for a more dyamic, Napoleoic-era msical aesthetic. ex ) Gaviiés, Trois soates por le violo, o. 1, mvt., Allegro..., m. 61 (Paris, 61? 2 2. qiescea... qiescea. E E. A galat composer cold, of corse, follow the example of Simo Ledc (l aîé; ), a ppil of Gaviiés. Ledc also wrote solo soatas with figred asses, t at the opeig of his Ops (1771) he placed the characteristic chromatic lie of the Qiescea i the ass so that the schema cold ot e missed (see ex. 1.10). The accompaist wold still eed to ifer a ier voice, which cold iclde a iterated ❶ for stages oe, two, ad for (the third stage the chord over G reqires a ❷ i place of ❶ ecase the Qiescea s iqe third-stage soority of the domiat seveth chord aove a toic pedal is oe that ofte caot e sccessflly iverted). Ledc s presetatio of a Qiescea as a opeig schema cold e viewed either as very moder for its day (1771) or as very old fashioed ad i the style of sixty years earlier. I sspect that very moder

7 Chapter 1 the qiescea 187 is the correct assessmet, especially sice the practice florished throghot the 1770s ad 1780s. I this later period, the se of a Qiescea to ope a movemet seems associated with road, pastoral expositios, ad perhaps Ledc s performace idicatios of dolce ad cataile spport that associatio. ex Ledc, Ops, o. 1, mvt. 1, Cataile, m. 1 (Paris, 1771) 1 E. J k k E k k E? dolce D qiescea qiescea E E E E. E E E D It was i Viea that the Qiescea ecame so commo as to seem almost a cliché. The strig qartets of Joha Wahal, for example, show a rapid evoltio toward the stock form of this schema. Drig his asece from Viea for a tor of Italy from 1769 til 1771, Wahal wrote a set of six qartets that were plished i Paris i 1771, the same year as the previos example y Ledc. The closig ars of the first ad last movemets from his F-maor qartet (F6 i the Brya cataloge) cotai two early Qiesceas: ex ) Wahal, Qartet i F Maor (F6), mvt. 1, [Allegro moderato], m. 110 (Paris, 110? v «E qiescea qiescea Ẋ Ẋ E EE E

8 188 msic i the galat style ex Wahal, Qartet i F Maor (F6), mvt., Presto, m. 8 (Paris, 1771) 8? qiescea v «E a a a a a a a a a a a a qiescea As was commo i Paris, a trill o ❷ followed y a iterated ass o 1 sigals the egiig of Wahal s early Qiesceas. Example 1.11 presets the ❼-to-❻ dyad i the alto voice istead of i the melody. Ad oth that passage ad the very similar oe show i example 1.12 are sal i havig ❼ precede ❼. Oe might say that he derstood the fctio ad placemet of the schema t was either certai of or experimetig with the details of the orm. Drig the ext two years, Wahal seems to have arrived at a matre derstadig of the Qiescea, whether from actal stdy or st from his roadeed experieces ad travels. I 177, he wrote what ecame oe of his most poplar qartets (C1). At the ed of its first movemet he provided a road, flowig Qiescea, oe that resemles the diatoic exemplars of L Aé le Fils ad Gaviiés: ex. 1.1 Wahal, Qartet i C Maor (C1), mvt. 1, Allegro, m. 16 (177) qiescea qiescea Prier v «. E y. x E E y. E?. y E E w w w w E E 16 Note that the risig ❺ ❻ ❼ ❶ melody has retreated ito the alto voice, leavig the soprao voice the first violi to provide melodic commetary, icldig a small melodic Prier at the close. Gossec s Reqiem (ex. 1.6) had provided a early Parisia

9 Chapter 1 the qiescea 189 model ot oly for this scorig, t also for the calm mood. For the slow movemet of this qartet, Wahal provided a Qiescea i the mior mode with the stadard pairigs of ❼-to-❻ ad ❼-to-❶, modifyig the teor voice to ecome E F ad D E: ex. 1.1 Wahal, Qartet i C Maor (C1), mvt., Adagio, m. 69 (177) «E....? E E E 69 v qiescea The matre forms of the Qiescea remaied a staple i Wahal s repertory. As a fial example of his style, let s look at a G-maor qartet writte arod 1780 (G8). The Qiescea s ❼-to-❻ proposta is getly stated y the secod violi, ad its ❼-to-❶ riposta politely provided y the first violi s florid melodic commetary: qiescea ex Wahal, Qartet i G Maor (G8), mvt., Adagio, m. 91 (1780)? 91 v qiescea @ E E. a J a J a J a J a J a a J a J a J a J a J a E Wahal s maer of treatig the Qiescea is qite represetative of the Vieese scee. For compariso we might look to a protégé of Glck, Atoio Salieri, who was appoited chamer composer to the imperial cort of the Hapsrgs i 177, the year after the plicatio of Wahal s poplar C-maor qartet. I the first year of his ew appoitmet, Salieri peed a lovely Qiescea to close the slow movemet of a dole cocerto for flte ad ooe i C maor (ex..16). The two soloists sigal the ed of their cadea with a dole trill o ❷ ad ❼. The soloists the rest while the strigs preset the Qiescea with the cellos settig ot the ❼ ❻ to e aswered y the secod violis

10 190 msic i the galat style ❼ ❶, all spportig the first violis discat. A chai of Fial Falls, slowig dow like a old clock, rigs the movemet to completio: ex Salieri, Dole Cocerto i C Maor, mvt. 2, Adate, m. 55 (177) U U «U EE «. E. E E Ẋ.. Ẋ. Ẋ. Ẋ. J Ẋ? D E 55 v qiescea qiescea A decade earlier, i 176, the seve-year-old Moart had reached Paris o his tor as a child prodigy. I a work copied i his father s had (ad later plished i Paris as part of his Ops 2), Moart wrote his first mistakale Qiescea: k E 6 6 ex Moart, Soata KV8, mvt. 1, Allegro, m. 6 (176) k E? E E k E k E.. J? E qiescea qiescea He had already writte may small pieces, t his Ops 2 soatas for Paris, which he scored for keyoard with a optioal violi part, were the first of his compositios large

11 Chapter 1 the qiescea 191 eogh to warrat the framig fctio of the Qiescea. Everythig that oe might expect of a Qiescea is i place: the ❼ ❻ ❼ ❶ melody, a toic pedal poit, the reqisite soorities, dole presetatio, ad locatio after a maor cadece. The figre of his father, Leopold, looms large over these works, t other mascripts from this period i the so s had sggest that the yog Moart derstood the Qiescea o his ow. Moart emraced the Qiescea i sseqet works, of which his matre keyoard soatas are represetative. A set of six soatas was writte i Mich early i 1775, perhaps with the prpose of impressig the cocertmaster Christia Caaich ( ), who had stdied with Jommelli i Rome. The closig rodo movemet of the soata i B maor (KV189f; ex. 1.18) presets a pair of Qiesceas, with trilled ❼ s that sigal the ed of the rodo s first cotrastig episode. The same type of simple, direct Qiescea also eds the first half of the opeig movemet of his G-maor soata from the same set (KV189h; ex. 1.19): ex Moart, Soata KV189f, mvt., Allegro, m. 8 (1775) v «2 E «( ) E. 2 E qiescea «E. ( «) E. «U E. E 8 E. E. E. E qiescea ex Moart, Soata KV189h, mvt. 1, Allegro, m. 51 (1775) 51? qiescea a ( ) a qiescea ( )

12 192 msic i the galat style O Moart s retr to Paris i 1778 he wrote a A-mior soata, KV00d, with a middle movemet i F maor. Its first half eds with a pair of Qiesceas that, like cotemporary works i Viea, posit the ❼ ❻ i a ier voice to e aswered y the melody s ❼ ❶. These Qiesceas are amog Moart s first withot a active ass. ex Moart, Soata KV00d, mvt. 2, Adate cataile, m. 29 (1778) v qiescea «E ««? a «( ) ( ) a 29 qiescea? J a a Good examples of Moart s later style ca e fod i a B-maor soata writte i Li ad Viea etwee 178 ad 178 (KV15c). All three movemets ed with the schema i qestio. I the first Qiescea at the ed of the sy first movemet, Moart itrodces a patch of darkess with a rief excrsio to B mior (ote the starred toes D ad G i the example elow). Bt that darkess dissipates i the secod Qiescea, which aados the toic pedal ad sstittes a cadetial ass: ex Moart, Soata KV15c, mvt. 1, Allegro, m. 16 (178 8) v «E a J h a J «a E? qiescea qiescea h

13 Chapter 1 the qiescea 19 This darker versio of the Qiescea was opely taght y the partimeto master Mattei, Moart s cotemporary ad someoe whom he had proaly met i Bologa. The passage qoted here completes a sectio that is secrely i C maor, otwithstadig the F-maor key sigatre: ex Mattei, from his Piccolo asso, m. 25 (Bologa, ca. 1780s) qiescea 25 E E E E E E E E E E w 7 w 7 w ? w w w w qiescea U w Mattei, a ppil ad close associate of the great maestro Padre Martii ( ), wold go o to teach Doietti ad Rossii i the first few years of the ieteeth cetry. That is the same era that saw Beethove s Sprig soata for violi ad piao (see ex. 1.2). Both halves of Beethove s movemet coclde with the dole presetatio of a Qiescea, preceded y the ce of a trill o ❷ (i the piao part). Oe fids the exact chordal patter of Mattei s partimeto comied with the Vieese traditio of florid melodic commetary. What sets the first of Beethove s Qiesceas apart from those of his predecessors is his apparet violatio of a asic precept of galat sytax: oe shold avoid havig oth toes of a importat dyad sodig simltaeosly. I measre 196, for istace, ❼ i the piao part (E5) still sods as ❻ eters o the doweat i the violi part (D). To e sre, the volme of sod that cold e sstaied o early piaos was ot great, so the piao s toes may have almost died away y the time the violi chages the schematically crcial toe. The decay of keyoard toes wold have ee eve more rapid o the istrmets played y Moart ad Hayd, yet it is difficlt to imagie them committig qite so ald a violatio of galat msical propriety. For Beethove the piao ad violi parts were each iterally correct they merely articlate the shift to the secod evet of the Qiescea (❻) at slightly differet momets. Let s give Moart the last word o the Qiescea. He cocldes the third ad fial movemet of his matre B-maor soata (K15c) with a large rodo, whose edig featres two road, epiloge-like statemets of a Qiescea (ex. 1.2). As with the passage from Salieri s dole cocerto (ex. 1.16), there is a trill o ❷ followed y a toic close. The melody the sets ot the ❼, t the direct ❼ ❻ coectio falls to the teor voice,

14 19 msic i the galat style ex. 1.2 Beethove, Ops 2, Sprig, mvt. 1, Allegro, m. 19 (1802) 19? 197?? c c E E.. v k.. E E E E E E E E E E E E c EE 200 E E E E E E y k E K qiescea qiescea as i Salieri s example. The melody evetally provides the closig ❼ ❶, agai as i Salieri s example. Bt a trait that clearly distigishes the matre Moart from Salieri is the simltaeos presetatio of more tha oe schema. Moart maages to emed a Fearoli (see chap. 16) etwee the ❼ ❻ ad the ❼ ❶ of the Qiescea. The Fearoli, a schema ofte sed to icrease activity ad forward mometm, has that effect here y acceleratig the harmoic rhythm. While the Qiescea chages chords every measre i this

15 Chapter 1 the qiescea 195 ex. 1.2 Moart, Soata (KV15c), mvt., Allegretto graioso, m. 212 (178 8) «E. a J J a J v fearoli fearoli. «. a J a a qiescea qiescea example, the emedded Fearoli alterates domiat ad toic chords every qarter ote. Moart seems to have delighted i this sort of play, ad some cooissers of his time dotless fod the effect stimlatig. Bt the complexity was ot to everyoe s taste. We will revisit this prolem ad the geeral sect of Moart s late style i chapters 26 ad 0. Chapter 25 will show how a propesity toward a msical ars comiatoria was evidet eve i his earliest works.

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