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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.