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    Violin Score Analysis: Five Pieces For Violin and Piano Op. 62

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    Barbara Cavallaro
    Ottorino Respighi wrote his Five Pieces for Violin and Piano, Op. 62 in the early 20th century. The pieces - Romance, Aubade, Madrigal, Berceuse, and Humoresque - can be played individually or together. The Madrigal returns to classical form but transforms the structure. This analysis focuses on the Madrigal, describing its ABA form, themes, rhythms, dynamics, and the interplay between the violin and piano parts.

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    Violin Score Analysis: Five Pieces For Violin and Piano Op. 62

    Uploaded by

    Barbara Cavallaro
    258 views3 pages
    Ottorino Respighi wrote his Five Pieces for Violin and Piano, Op. 62 in the early 20th century. The pieces - Romance, Aubade, Madrigal, Berceuse, and Humoresque - can be played individually or together. The Madrigal returns to classical form but transforms the structure. This analysis focuses on the Madrigal, describing its ABA form, themes, rhythms, dynamics, and the interplay between the violin and piano parts.

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    analysis Respighi

    Original Title

    Analysis

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    Ottorino Respighi wrote his Five Pieces for Violin and Piano, Op. 62 in the early 20th century. The pieces - Romance, Aubade, Madrigal, Berceuse, and Humoresque - can be played individually or together. The Madrigal returns to classical form but transforms the structure. This analysis focuses on the Madrigal, describing its ABA form, themes, rhythms, dynamics, and the interplay between the violin and piano parts.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    258 views3 pages

    Violin Score Analysis: Five Pieces For Violin and Piano Op. 62

    Uploaded by

    Barbara Cavallaro
    Ottorino Respighi wrote his Five Pieces for Violin and Piano, Op. 62 in the early 20th century. The pieces - Romance, Aubade, Madrigal, Berceuse, and Humoresque - can be played individually or together. The Madrigal returns to classical form but transforms the structure. This analysis focuses on the Madrigal, describing its ABA form, themes, rhythms, dynamics, and the interplay between the violin and piano parts.

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    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
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    Violin score analysis

    Ottorino Respighi
    Five pieces for violin and piano op. 62

    Ottorino Respighi was Born in Bologna and studied violin, piano and composition at the
    Conservatoire ‘’Martucci’’, in Bologna. He became an important musician, famous for
    his orchestral works, as the Fountains of Rome, but also he wrote chamber music as
    the Five pieces for violin and piano op. 62.

    These pieces were published in Vienna, where the publishing house gave importance
    to the propagation of Italian authors.
    The pieces are: Romance, Aubade, Madrigal, Berceuse and Humoresque.
    These pieces don’t necessarily have to be listened to in sequence, in fact they have
    been published individually, and together they form a picture of six miniatures.
    Opera 62 by Respighi is one of the landmarks of chamber music in the early 20th
    century and, with the Madrigal, Respighi returns to classical territory but the basic
    track is transformed and creates extraordinary developments.

    The tempo marking is ‘Andantino’ and suggests the speed and the way to play the
    piece, like a walking pace.
    Time signature is ¾ and the harmonic language is tonal/modal.
    The structure of the piece is divided into three parts : ABA ‫י‬.
    ‘A’ (G major) is formed by 35 bars, with different subsections (a-b), while ‘B’ (G minor)
    is formed by 24 bars; in the final part the theme is revisited with variations (A ‫ י‬is
    formed by 33 bars).
    The general movement is made of jumps, although there is the precence of ascending
    and descending scalar passages.
    The theme begins in bar 3; the melody and accompaniment follow a wave melodic
    profile in this part (A). In bars 1-2-3-4 (etc.) the piano accompaniment uses empty fifth
    while the subsection b starts in bar 11. The sign in bar 3 indicates that the note is
    played drawing the bow upward.
    In the first part (A) the rhythm is very simple, the same rhythmic cell is repeats many
    times at different heights. The accompaniment often uses the same figuration to
    support the melody.
    The section B begins in bar 36 with dynamic ‘Loud’, used as often as piano to express
    contrast. There is a gradual increase in volume in bar 41, and there is also a gradual
    decrease in bar 45.
    In bars 64-65-66-67 we can see subject B and at the end we can see the final coda
    formed by 12 bars.
    In the B part, the melody often uses short descending or ascending scales, while the
    piano proceeds using chromatic passages and descending and ascending scales.
    In the second part, B, the rhythm is more complex, there are triplets.
    The articulation marks used is ‘tenuto’, and it means that it is played for its full value.
    Tenuto means ‘sustain the note’.
    The musical writing is that of the accompanied melody and the melody of the violin is
    often doubled by the piano.
    The global rhythmic structure is polyrhythmic.

    Barbara Cavallaro

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