Download Comparison of Sonata IV by Biagio Marini and Trio

Comparison of Sonata IV by Biagio Marini and Trio Sonata, Op. 4 #2 by Corelli
by Glendon Gross
It is amazing to consider the value of the resource left to us by composers
such as Biagio Marini and Arcangelo Corelli, when viewed through the lens of
history. The Baroque era was an exciting time in which musical ideas were
changing and being challenged, and the diversity of work from that era is
breathtaking. Here we see two pieces that exemplify that diversity: one typifying
early Baroque, and the other typifying late baroque and setting the stage for J. S.
Bach.
Marini’s work sounds somewhat traditional to a modern ear. It begins with
the melody clearly established in the first Violin, a part which is done in a Rubato
tempo and leaving plenty of room for the performer to embellish the phrases. The
bass consists mostly of half notes and whole notes, and is used to offset the harmony
of the other voices. Typically the two violins are paired, harmonizing the same
rhythmic pattern. Leaving the modal playing of the Renissance far behind, Marini
makes clear use of leading tones to offset the harmonic sequence. The techniques
of Recitative are clearly utilized, in which the continuo and bass are clearly
subordinate to the melody in the violin in the same way that opera subordinated the
music to the words. The phrasing of the violin is at times imitative of what a voice
would sound like.
In the Allegro section, the violin continues to carry the day, with many
virtuosic embellishments and ornaments that enhance the melody. The bass and
continuo is hardly audible as one loses oneself in the richness of the melody.
Although generally in a minor key, the piece does maintain some ambiguity between
major and minor tonalities, reminiscent of the preceeding era.
Sometimes the bass and continuo parts move faster than the melody, which
makes a nice contrast. Generally there is more similar motion in the style than
there is contrary motion, as no other voices ever quite compete with the violin. It is
as if all the other instruments exist solely for the purpose of enhancing the violin.
The piece ends with a Picardy third, utilizing the element of surprise to end on an
optimistic note.
By contrast, Corelli sounds much more refined than Marini. As the piece
opens, the descending walking bass is indicative of a new independence between
the voices of the ensemble. No longer does the melody dominate the other voices,
but a new balance has been struck which foreshadows the greatness of J.S.Bach in
the interplay between the voices. A stately quality is felt as harmonic sequences are
impeccably balanced with melody. Then as the second movement starts, with its
fugal character, it is as if the sun has dawned on a new ear vastly more sophisticated
than all the music that came before it. Cadences are clearly articulated and
movements are clearly defined. No longer do all the voices mirror each other, but
the richness of contrary motion between the violin and the bass is clearly heard.
Call and response is evident as one voice will answer another and it is clear that all
voices are equally important. This new independence of the voices within the
diatonic cadential structure is characteristic of late baroque and is reminiscent of
the polyphony of the Renaissance.
Each movement has its own character, and the movements now utilize
contrasting keys and meter in order to offset one another. So just as baroque art
draws you into the picture frame, baroque music makes you feel part of the
ensemble. The final movement of this Corelli Sonata sounds like a fast dance, such
as a gigue. Each voice has its part to play, but none is overbearing so as to upset the
integrity of the whole.