aka Voluntary... geddit?
Here's your chart; "r" indicates a repeat
FIVE PART RONDO:
A1 - m. 1-8, ends with a PAC in I, trpt and organ
rA1 - m. 9-16, PAC (I), organ only
B - m. 17-24, HC (I), both
rB - m. 25-32, HC (I), organ only
A2 - m. 33-40, PAC (I), both
rA2 - m. 41-48, PAC (I), organ only
C - m. 49-56, HC (I), both
rC - m. 57-64, HC (I), organ only
A3 - m. 65-72, PAC (I), organ only
rA3 - m. 73-80, PAC (I), both
This rondo is not a typical five-part rondo, in that it never modulates away from tonic. In both the B and C sections applied chords are used, but never to the extent which usually defines a modulation. The ends of both these sections have a very half-cadence-y feel.
Also notably different is that each section repeats individually. This would probably make it more difficult to perform, because one typical rule of performance is that every repetition has to bring something new and exciting to the listener's attention. It is likely, though, that this may have been more for ceremonial or social purposes, and then the music would have been danced to, which means the performance doesn't require as much noticeable variety since people won't be listening all that hard.
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1 comment:
The C section does tonicize A major more extensively, so close to an idea of modulation. But yes, good point. To modulate to another key, the trumpeter would've had to switch crooks (slides), which just isn't possible in a short piece like this. Or the trumpet would have to rest for the section in the new key, which is how Vivaldi handles these instrument problems.
For performance, consider the art of embellishment used in Da Capo arias. They were also expected in instrumental works of the Baroque, such as this. Each A would be embellished in different ways.
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