Αρχική σελίδα / Συνέδρια – ημερίδες – διαλέξεις
Ιωάννης Φούλιας, “Across
the borders of music eras and forms: ritornello and
concerto-sonata forms in Carl Philipp Emanuel Bach’s concertos” [“Στο μεταίχμιο μουσικών περιόδων και μορφών: οι μορφές
ritornello και σονάτας κοντσέρτου στα κοντσέρτα του
Carl Philipp Emanuel Bach”], Εθνικό και Καποδιστριακό
Πανεπιστήμιο Αθηνών,
Φιλοσοφική Σχολή,
23
Αυγούστου 2022.
It is well known that the 52 concertos for keyboard(s) or other solo instruments
of Carl Philipp Emanuel Bach constitute a repertoire that crosses the borderline
of baroque and classic eras from both a chronological and a stylistic point of
view. However, their analogous position concerning the baroque ritornello form
and the various classic concerto-sonata types is not yet as clear as it should
be, since most scholars tend to examine and classify these works in a rather
one-sided way: on the one hand, Stevens (1965, 1986, 2001) and Davis (1983,
1988) base their views mainly on the older ritornello form, claiming that the
recapitulation function should be limited only to the tonic return of the
initial theme either from the orchestra or from the soloist,
and thus
disregarding the crucial realisation or
bypass
of the sonata principle in the last solo section; on the other hand, Schulenberg
(1982/1984, 2014) remains laconic about the implementation of the hybrid
ritornello-sonata forms in Bach’s concertos, whereas Galand’s (2000)
as well as
Hepokoski’s and Darcy’s (2006)
almost identical typologies of concerto-sonata forms, based mostly on both
theory and practice of (only) the late 18th-century concerto, still lack in
explaining many important aspects of formal design in Bach’s concerto movements
in particular. The present paper submits the findings of a comprehensive
research on Bach’s whole concerto output, distinguishing among movements in
ritornello and concerto-sonata forms that have been composed in parallel at
about the same periods of time; furthermore, it highlights the impressive
variety of concerto-sonata structural types that Bach uses in his works: ternary
but also binary sonata forms with five, four, or three ritornellos, the specific
role and function of which (and especially of the intermediate ones) cannot be
always restricted to the specifications of even the most recent (and seemingly
all-embracing) related typologies.
© Ιωάννης Φούλιας