Concerning One “Lost” Musical Form of the Baroque Period
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Abstract
The article examines one of the standard contrasting-compound
forms from the Baroque period that is characteristic for the genres
of the contrapuntal toccata and the North German Prelude, but
can also be found in Baroque Fantasias. This is the form based
on repeated contrasting juxtaposition of improvisational-virtuosic
and figured sections. The author disputes the tradition, existent
in certain musical scores in Russia and in other countries, of
indicating preludes from Northern Germany as “Prelude and
Fugue,” proving its inefficiency, and suggests a single indication
of this type of structure with the term form of contrapuntal
toccata. Basing himself on analyses of a large number of musical
compositions by Jan Pieterszoon Sweelinck, Johann Jakob
Froberger, Dietrich Buxtehude, N. Bruns and J.S. Bach, the
author gives special attention to the dramaturgical features of
this form and the functional correlation of its movements. As a
result, the indications of their functional collateral subordination
are revealed, which are realized on the levels of proportional,
structural and tonal correlations. This bears witness to the genesis
within Baroque form of dramaturgical ideas of Classical formgeneration.
Keywords: Baroque, contrasting compound form, toccata,
prelude
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References
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