As with much of his music, Johann Joseph Flux wrote Sonata
in G minor, K. 347 as a means to further the development of the
eighteenth-century alto trombone. The reasoning of writing trombone parts is
due to the abundance of good trombonists such as Leopold Christian Sr. and his
sons. The date of the piece is unknown; however, it is a part of a collection
of works compiled for publication in 1717 and 1718. Sonata in G minor is
categorized under sonata de chiesa (church sonata) and as with the other sonatas
the Organ serves as the continuo instrument. Fux’s Sonata differs from a normal
sonata de chiesa because his work only has three movements and the normal
amount is four. A fifteen-measure slow introduction begins movement one of the
sonata and it is then ended with a perfect authentic cadence with a Picardy
third alto trombone ornamentation. The first movement is a triple fugue with an
introduction that serves to introduce the first subject. The second and third
subjects enter in the allegro, and all three combine to end the movement. Unlike some thirty-second note passages in
the first movement the second consists mostly of half and whole notes. Two
brief themes are introduced at the beginning and then developed throughout. The
second movement begins in E flat major, moves through c minor, and ends in g
minor. After the attacca from movement two to three we end up in a double fugue
form which is one less fugue from the first movement. The first subject is
stated and developed within nine measures and every entrance after move the
tonality through all the keys proposed during the entire piece. Afterward the
multitude of key changes we finally end on g minor with a perfect authentic
cadence. A thing to remember when looking at all the keys is that in the baroque
genre the last flat of the key signature was omitted so even though the sonata
is in g minor, it is played as though it is in the key F major or d minor.
https://digital.library.unt.edu/ark:/67531/metadc278148/m2/1/high_res_d/1002721165-babcock.pdf
http://imslp.org/wiki/Sonata_in_G_minor,_K.347_(Fux,_Johann_Joseph)
https://www.youtube.com/watch?v=wYmIZBbd3s8
I like that you found a piece that played to your interests. I didn’t realize the integration of trombones into the orchestra. It can apparently be credited to Beethoven use of the instrument and became part of the standard by the 1840s. At that point they began being included in all compositions (opera, symphonies, other orchestral works). *Also, I think you mean Fux…not Flux.
ReplyDeleteThis is so nifty. I like how you can definitely tell it's Baroque because of the use of imitation but it's also different because of the unusual use of trombones.
ReplyDeleteI could have sworn that Alex wrote this blog post because of the interest in trombone music. This guy is very interesting. I would like to learn more about him.
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