Partitur Nr. 11 SONATA NO. 1 IN D MINOR

Thomas Rüedi Solo Series

SONATA NO 1 IN D M INOR A LESSA NDRO SC A R L AT TI (16 6 0 –17 2 5 )

11 SOLO WORK NO

Transcribed for Euphonium by

THOMAS RÜEDI

Thomas Rüedi Solo Series

SONATA NO 1 IN D M INOR A L E S S A N DR O S C A R L A T T I (16 6 0 –17 2 5 )

Transcribed for Euphonium by THOMAS RÜEDI

PREFACE THE WORK

The preface of a publication from 1967 reads: [Around 1700 Alessandro Scarlatti was living in the neighbourhood of Naples and Rome. He was playing concerts with the cellist Franciscello (Francesco Alborea, ‘Franciscello’ was his nickname), who was considered a great performer

by Geminiani, Quantz and A. Benda. Both Quantz and Geminiani heard him play with Scarlatti at the harpsichord.] […They (the sonatas) were perhaps written for Franciscello.] [1]

THE FORM

All of the 3 Sonatas for cello and basso continuo follow the four-movement format slowfast-slow-fast. The first slow movement «Largo» has the beautiful flow and expressiveness of a typical operatic aria by Scarlatti.

The lively and playful second movement «Allegretto» has the character of a humorous dance.

The first five measures are suddenly interrupted [m.18] as if to catch a breath, before the music starts chasing away again with the repetition of the first measures. The second section uses the same material but starting a fourth lower. At m.25 the opening measures reappear in d minor before some virtuosic chains of fast sixteenth notes [m.27–29] lead to an interesting passage of sequences and imitations between the solo part and the basso continuo [m.30–38].

The third movement «Largo» shows the expressiveness of a ‘recitative’ by Scarlatti. The cadence in the last measure leaves the listener in suspense preparing for the final movement [m.46].

The last movement is in strict binary form, each section merely consisting of 4 repeated measures only. The mood here is very joyous and humorous.

PERFORMANCE CONSIDERATION

In comparison with the sonatas by Geminiani or Bononcini, this sonata is perhaps not as elaborate and technically demanding. However, the language of Scarlatti, which can be described as ‘bel canto’ in his slow movements, and the playfulness of the fast movements require great performance skills. The tone of the slow movements should be very well controlled with a lyrical expression felt more inwardly. The fast movements require a great command of the rhythmical structure. Don’t rush the sixteenth note passages! The fast passages should always display joy rather than technique.

The last movement, although simple in structure, bears some challenges. The music is quite uncomfortably high and can easily sound a bit ‘on edge’. This becomes even more of a problem because we are expected to make this music sound light and playful. Also keep an eye on the rhythm. The dotted eighth note / sixteenth note motif needs to be very much ‘alive’.

THE COMPOSER

á Mai 2, 1660 in Palermo, Italy † October 22, 1725 in Neaples, Italy Scarlatti probably received his first musical education from Giacomo Carissimi in Rome.

Scarlatti was a leading figure in the development of the «Neapolitan School», an institution mostly devoted to opera. Scarlatti is sometimes considered to be the father of the ‘modern opera’, where […music speaks the language of the feelings, emotions and passions][2].

He composed 115 operas of which sixtyfour survived. He also established the ‘da capo’ aria and the orchestral ‘ritornello’.

«The most common form for an aria during the Baroque period was the da capo form, which essentially consisted of an ’A’ section followed by a contrasting B section, which was in turn followed by a return of the ‘A’ section. Many da capo arias could be subdivided further, with ritornella sections framing each of the singer’s solo sections, forming the scheme ‘R-A-R-B-R-A-R» [3] His most famous operas are perhaps «Mitridate Eupatore» (1707), written for Prince Ferdinando de’ Medici, and «La Griselda» (1721). His impressive Oeuvre also includes 10 masses, over 40 motets, over 600 solo cantatas with basso continuo, 20 oratorios, 28 serenatas, 12 chamber concertos and sonatas.

He was the father of the renowned composer and cembalo virtuoso Domenico Scarlatti (1685 – 1757).

MILESTONES

1684 Works for Queen Christina of Sweden (who at the time was living in Rome) 1702 Enjoys the patronage of Ferdinando de’ Medici, for whose theatre he composes numerous operas.

1707 Replaces the harpsichord with a string quartet as an accompaniment for the voice.

[1] Analee Bacon (1967) G.Schirmer, Inc [2] Joseph Schluter (1865). A General History of Music, p.45. R. Bentley [3] Thomas F. Kelly, (2011). Early Music: A very short Introduction. Oxford University Press. pp. 58 – 59

Thomas Rüedi Solo Series

The Thomas Rüedi Solo Series is a collection of selected masterpieces arranged for euphonium and piano. This series strives to enrich the solo repertoire for euphonium, thus opening a window into the fascinating world of some of the leading composers of the Baroque and Romantic period. By studying these famous works, the performer develops a more profound musicianship and a more defined awareness of style and musical beauty.

Audiences in turn, may appreciate hearing these beloved masterpieces performed in a fresh voice – the wonderful lyrical expression of the euphonium!

No. 01

Granados, Enrique

Madrigal Romantic

No. 02

Schubert, Franz

Sonata for Arpeggione - First Movement Romantic

No. 03

Offenbach, Jacques

Les Larmes de Jacqueline Romantic

No. 04

Ravel, Maurice

Vocalise-étude Romantic

No. 05

Tchaikovsky, Pytor Ilyich

Andante Cantabile Romantic

No. 06

De Falla, Manuel

Ritual Firedance Romantic

No. 07

Fauré, Gabriel

Sicilienne Romantic

No. 08

Schubert, Franz

Moments Musicaux Romantic

No. 09

Toselli, Enrico

Serenata Romantic

No. 10

Bridge, Frank

Four Short Pieces Romantic

No. 11

Scarlatti, Alessandro

Sonata No. 1 in D minor Baroque

No. 12

Gabrielli, Domenico

Sonata No. 1 in G major Baroque

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THOMAS RÜEDI is a Swiss-born international euphonium artist, music educator and arranger.

His solo engagements have led him throughout Europe, Africa, Asia, South America and the USA. Thomas Rüedi’s solo CDs «Elégie» and «Madrigal», both featuring his own arrangements, received international recognition.

Thomas Rüedi is professor of euphonium and chamber music at Bern University of the Arts and Lucerne University of the Arts; as a guest professor he regularly gives master classes throughout Europe and overseas. Thomas Rüedi is also an acclaimed arranger and composer, thus supporting the further development and enrichment of the euphonium repertoire.

THOMAS RÜEDI is a BESSON performing artist.

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