Movement 1 Flashcards
1
Q
First Ritornello (1)
A
- begins with rising 4th anacrusis, imitated by the bass; antiphonal
- repeated, to falling sequence of semiquavers; energise rhythm
- in these bars melody has fallen an octave
2
Q
First ritornello (2)
A
- circle of fifths (descending) moves towards dominant (Em)
- extends the ritornello by interrupting tow cadences B17-18 and IIb-V two bars later
- Ends on Tierce De Picardie
3
Q
First episode
A
- texture thins; allows soloist to shine
- soloist; decorative melody, quickly goes to the highest note of the melody so far, lone runs of semis
- tonality stays in Am despite circle of 5ths
4
Q
First episode (2)
A
- second idea, bar 44, syncopated shape, development of beginning. Different character, buoyant and skittish; contrast steady repeated quavers of chordal accompaniment.
- second bar of phrase; arpeggio figures, lower auxiliary note D#. Confirming progression to Em
5
Q
Second ritornello
A
-comparison to first ritornello; starts in C, seven bars longer, soloist takes four bars to realise it’s started
6
Q
Second episode
A
- considerably longer
- broader spectrum of tonalities; bolder harmonic progressions
- interplay between soloist and Ripieno
- same material as 1st episode but a 4th lower; Em
7
Q
Second Episode (2)
A
- first occasion 1st Vlns have sustained a melodic role in counterpoint to soloist
- creates a typically baroque three part polarised texture with two closely entwined lines high above the bass
-throughout this, 1st Vlns have their own counter melody, starts above the soloist, dives down to the lowest note (G), before soaring back over the solo part
2nd Vlns and Vlas in unison, providing inner harmonies
8
Q
Third ritornello
A
- entrance concealed by soloist continuing lively passage work till 4th bar
- same as second ritornello for last 25 bars, except 5th lower in C and Am
- alterations, bars 154-157 take Vlns to higher tessitura
- highest note, top E
