Tuesday, March 08, 2005

Rinaldo, Duetto: Scherzano sul tuo volto

Patrizia Ciofi, Joyce Di Donato

The piece as a whole is in ternary form. The A section begins with harpsichord and strings, and establishes a simple duple time signature. The brisk tempo and duple time signature is enforced through a metric accent on one, and an eighth on the and of two leading into one of the next measure in the harpsichord. This gives the piece a very squared structure, clearly a statement. The first phrase ends on a HC elisioned into a new phrase of sixteenths in the strings. The loud dynamic helps to establish a happy motive. In the strings sixteenth line, each down beat creates a do re mi re do . . . pattern, the phrase ends in a PAC, making a contrasting period for an introduction. The sol mi fa sol do repeated pattern in the harpsichord in the first phrase establishes the major tonality. The leap from sol to do is a reaccuring pattern in the A section especially, and further emphasizes one. After the first period, the singers enter with a repetition of the beginning (only with words). After a four measure phrase ending in an IAC, the second singer enters an octave lower. The change in registers gives the section an antecedent consequent, very squared feel. This singers phrase is the same length, and ends in an IAC. The next phrase combines the two singers, and ends on a PAC. The section continues, ending mainly on Authentic cadences, giving the section a very squared, stable, feeling, until the beginning period is repeated. The next phrase clearly begins a new section because it modulates directly to the minor four of the previous key, emphasized by a pause between the phrases. This new section is a clear contrast to the first, very independent. It is slow, very melodic, and in a lower register. The texture and density is also heavier, with the singers together in the low register. This section is shorter, and its cadence is signaled by a higher jump in register, the mezzosoprano on do and the soprano on me. The last phrase ends with a beautiful PAC. There is a slight pause and the beginning motive is restated, modulating back to the original key. The last section ends in a PAC, mi re do. Overall, I liked the piece very much. The B section was especially beautiful. What exactly is the difference between Composite ternary form and Simple?

1 comment:

Scott Spiegelberg said...

In a composite ternary form, one or more of the large A or B sections can be considered as a complete form of its own, usually a binary form and usually rounded binary. Typical examples of this are the Minuet-Trio or Scherzo-Trio movements of symphonies and string quartets. Simple ternary forms do not have this nested formal structure.