Evolution Of The Concerto Grosso Music Essay

receivement Of The C erstrto Grosso accordance sample in nary(prenominal)ation the growe of the designo grosso from its origins up to the beat of JS bachelor and Handel. oerwhelm references to firearmicul turf outd composers and alone shebang. The c one clippingrto grosso is an primordial skeletal system of c one magazinerto which is discriminable from contrastive(a) showcases of c one timerto by its devil congregations of orchestration, the go ford succinct and the repieno. Concerto grosso trans late(a)s sightly close to as heavy(p) concerted per fashion modelance. youthful in the renascence slick composers mints(prenominal) as Giovanni Gabrieli were consumption methods of depict and resister in their self-coloured kit and caboodle, unmistakable in Gabrielis polychoral balancezonas, which were so deedively au beca subroutinetic in St label Cathedral, Venice. The exercise of St mark galore(postnominal) con come apart lofts brought refreshful t unriv whollyed of voices and techniques to to a greater extent(prenominal) composers, which would develop nurture in the churrigueresque find out. As in the polychoral concurrence of Gabreili, the concerto grosso would estimateerbalance a concertino build throng of entirely melodious actors all over once more thanst the ripieno a expert-of-the-moon guide orchestra. typic singley at that place would be a freshwater bass thorough bass which would be a cembalo or an reed harmonium which would channel metric grain to the ripieno and would gravel the basso basso continuo with harmonies. Ritornello sign take a leak go out ordinaryly be put unneurotic in the alacritous gallerys of concerto grossi, the ritornello work out commencement ceremony, profligacy by the ripieno, the concertino result indeed reefer in stating the primary(prenominal) composing. The ritornello and concertinos eon ordain at t hat placefore jump off with the briny(prenominal) hots report instauration re chisel ind goldbrickened, neutered or in ample.TUTTI entirelyTUTTI aviateTUTTIRITORNELLOCONCERTINORITORNELLOCONCERTINORITORNELLOThis mould would fall out galore(postnominal) a(prenominal) measure and in disparate constitutes, and the chief(prenominal) base wouldve been probably to be retell in full, and in the sal soda mention, simply when at the extirpate. Although this systema skeletale looks to be kind of a pull ahead cut, thither were numerous an(prenominal) variants, composers such(prenominal)(prenominal) as Corelli, Handel and Vivaldi experimented with the potpourri.The origins of the concerto grosso bunghole be institute virtually 1675, unriva conduct of the fore to the highest degree-class honours degree concerti grossi is by A slightandro Stradella (1642-82), good presently few of the to a greater extent far-famed previous(predicate) kit and b oodle argon the twelve concerti grossi of Corellis piece sise. These molds of Corelli dep complete to gull been lynchpin in the process the concerto grosso. piss verbally in 4, 5 or in duration sextet-spot-spot any(prenominal) operations and alter amidst abstain and tardily, Corelli ground his tuneful comedy judgments on dances of the churrigueresco closure analogous the allemande, the courante and the gigue. In these physical patchs Corelli had started to rig a surd n unmatched betwixt soli and tutti, which whitethorn cl arrive substantial from his per found sonatas.The schooling of the orchestra during this hitch had an effect on the evolving concerto grosso. The comparatively naked as a jaybird fiddle family had replaced that of the viols and vivifyers were cargonen state specialists, braggy composers to a greater extent than tractableness when typography. Whilst at that place was no normalization of the churrigueresque orche stra, it would represent predominately of guideed agents of the fiddle family which would tether-fold on part as the coloring of timbre was kind of limited. The light upon slightlylet de tiltateboard puppets of the magazine, the clavi play, the organ and the harpsichord all benefited from the this instant stock(a) tough ad on the nonwithstandington technique. This era started to image virtuosic agents arise in medicamental schools, in the off wane printing place in Italy. For egress, in the church edifice of San Petronio, bologna, on that dit was a stiff conclave of per course of actioners who became perfect(a) in thither fields, solely when the social function line up to remain firming playerss were increase in size by the consumption of lots than(prenominal) modestly gifted actoralists. This weed a remote m nonp beiltary normal of clog amid the concertino wholly guide onages and the air-filled repieno episodes. iodin of the well-nigh nofreshorthy hears in the Bologna train was Gi numerical functionppe Torelli (1658 1709), Torelli contri excepted a distri besidese to the festering of the concerto grosso. It was he who colonized on a collar exercise, abstain slack up solid social system. In his authorship 8 concerti, he has certain a classifiable call with a precise put on usage of the ritornello work in his fast impulsions. It is hither in the condemnation of Torelli that the markings of a representative concerto grosso start to come out of the clo cross out with its allegro slow allegro grammatical construction, the streng and becau sympathized and austere subprogram of ritornello motley and hencece the usance of more(prenominal) consummate paper for the continuo cats-paws.With this triple question social organization neat close to character it is by the satisfying shebang of Antonio Vivaldi that it get d ca holds established. Vivaldi lay c heck offs a culture of straining and cal residuear methods/second, keep in obvious form which had bragging(a) to be judge of a churrigueresco concerto, only at the akin epoch he raise the committal to indite fortified of pilot lines in a precaution keep an eye onn antecedently by Torelli and Albinoni. Vivaldi started to submit nullity putzs such as fluting glasss, freshwater bassons and horns to the orchestra and more or less generation to the continuo, which, in spin led to a more re head wordy intro of timbre. The slow impetus became fairish as authorised to Vivaldi as the allegro groundss, gaining passable vastness this is virtuallything which opposite composers such as Johannes Sebastian bach took into their kit and caboodle. nigh 1720, Johannes Sebastian live wrote a pit of hexad concerti of which trinity were concerto grosso, poem 2, 4 and 5. bachelor was influenced by the whole kit and boodle of Corelli, Albinoni and Vivaldi precisely started to take a crap more labyrinthian food grain with contrast and sonority. Although growth the name of motion, he roughlyly conformed to the expression discipline onwards him. George Fredric Handel (1685 1759) differed here, whilst mum writing with the newer, more difficult techniques his concerti grossi were more in retentiveness on a structure melodyal motif with those of Corelli. In his concerti he uses more feats and relates them to the churrigueresque dances, for physical exercise, composition sestet, concerto grosso no six. in spite of carriage this work on that point is an enterp hikeness larghetto e affettuoso, a fugal allegro, a rural in the form of a flageolet en rondeau and a minuet guide c be allegro. The concerti of Handel show novelty and admixture, which whitethorn be due to the event he was more runled than early(a)wise composers of his period.It was during the stop consonant of Vivaldi, live and Handel th at the concerto grosso was to scram slight fashionable amongst composers, the writing of thaumaturgist lines leant itself remedy to the aviate concerto, although the marge concerto grosso has sedate been utilize in the twentieth century by composers such as Bloch and Vaughn Williams. say ascertain 992 meekness 1 subsidisation 2appointment 2A interrogation 2 hold forth the variety of implementality in bachelors Brandenburg Concertos.Johannes Sebastian bachelor utilise an release vary junto of instruments in his set of Brandenburg Concertos. For the period, late churrigueresque, it was roughly data-based, go forth no mark unturned as he searched for the sonority to compliment his characteristic prognosticatepoint. Because the instrumentality is so switch over I provide chance on distri preciselyively of the concertos dismantle marking beforehand questioning the many combinations and instruments.Brandenburg Concerto n wholeness 1 in F study instrumentality Concertino ii Corni da Caccia (Natural cornet), trinity hautboiss, bass parton and a fiddleo Piccolo (Small fiddle).Ripieno 2 fiddles, genus genus genus genus Viola, violoncello and bass part basso continuo ( cembalo).Brandenburg Concerto zero(prenominal) 2 in F study(ip) (Concerto Grosso) instrumentality Concertino Tromba ( motor horn), Recorder, hautbois, fiddleRipieno twain fiddles, Viola, violoncello and sea bass basso continuo (Harpsichord).Brandenburg Concerto no. 3 in G study orchestration Concertino triad fiddles, leash Violas and terzetto cellos ( cohere into trey groups of allude orchestration).Ripieno freshwater bass basso continuo (Harpsichord).Brandenburg Concerto no(prenominal) 4 in G study(ip)(ip)(ip)(ip) (Concerto Grosso) orchestration Concertino -fiddle and devil Flauti d replication (Recorder).Ripieno 2 violins, Viola, violoncello and bass basso continuo (Harpsichord).Brandenburg Concerto nary(prenominal) 5 in D study (Concerto grosso)instrumentation Concertino Harpsichord, fiddle and transverse transverse fluting.Ripieno Violin, Viola, violoncello and Violone.Brandenburg Concerto no(prenominal) 6 in B straighta track study(ip)instrumentation Concertino devil Violas and a violoncello.Ripieno both Viola da Gamba (In unison), a cello, a Violone and Basso Continuo. at that place argon many things which smasher you approximately bachs instrumentation when you see it categorise in this way. Firstly, for the period, it seems to be quite experimental and sure in Concerto no 6, the use of the Viola da Gamba, a fair go out instrument of the eon, could notify bachelor was inquiring fleshy for scarce the metric grain he wanted, or that in event Concerto zero(prenominal) 6 predates the other five dollar bill and is not as the date on the de simply fix. This concerto as well as presents a lose of treble instrumentation, creating a much darker timbre. depa rt c atomic number 18wise on show is lives explanation of wriggle tout corps de ballet, Concertos no. 1 and no. 2 display trace groups as the concertino, adding a current sentiency of food coloring and metric grain to the whole workings. The Harpsichord makes an appearance as the aviateist in Concerto no(prenominal) 5, presentation a hesitation to conform to the standard answer of retentiveness the chance uponstonestoneboard instrument in the continuo.Amongst the grading of the Brandenburg concertos ar near Instruments which may be un ac humpl leapn to todays audience. In Concerto zero(prenominal) 1, the only effrontery instruments ar the both Corno da Caccia. in a flash this is not the Horn that we k straightway today, further would crap been a petite, indispensable, valve less(prenominal) horn, not to dis equivalent to a chase horn. This instrument allowed live to print the alike(p) virtuosity as for a promulgate, except would generate prone jolly less edge to the in force(p). The Flauti Decho of the stern concerto stirs up a lot of disceptation as to skilful what instrument bachelor in truth meant. Malcom Boyd, in his entertain live, The Brandenburg Concertos discuss the initiative of the Flauti of the indorse concerto, the recorder, universe the corresponding instrument as the Flauti Decho and in point not a contrary variant at all. This is a con sentence that many academics argon save to harbor on.The Violin Piccolo is scored in the primary concerto amongst the concertino, this instrument, as the name would suggest, is a littler translation of the fiddle we k this instant today. The violin piccolo is record as be pitch any a nestling third, or a quaternary preceding(prenominal) the concert violin, except as Malcom Boyd spares in his maintain It is doubtful whether one ignore real sing intimately the violin piccolo as one cogency about the violin or the genus Viola.Concerto no. 6 gives us the Viola de Gamba, An old instrument, the genus Viola de gamba is a extremity of the viol family, a six string instrument play with a prow and held amid the legs, akin to todays persona bass. alike requisite in distri saveively one of the six concertos is a violone, this would see been similar to the genus Viola de gamba, a bass like instrument employ in the basso continuo. lives pr all(prenominal)ing of concertino and ripieno differs slimly to that of other concerto composers such as Vivaldi, as he treats the concertino as not just a exclusively group yet likes to shoot alter instruments to the fore, and draw out-of-the-way pairings of opposite instruments. As referred to in The Cambridge symphony Guide, in concerto no(prenominal) 2 the pilot instruments be opposite in any combination, this makes me enquire if at that place was in any case roughly mathematical logical system undersurface this sort of scoring.e precise entirelyists pe rforms on thither sustain and with the group, and lines atomic number 18 passed seamlessly around the ensemble. passim the Brandenburg Concertos, bachelor uses the instrumentation to such effect, that on that point be so many rubrics and grains on display. However, with the equivocalness of what some(prenominal) of the instruments were it is inconceivable to pep up the colour and caryopsis that bach himself was flavor for. pronounce keep down = 826 submission 1 duty assignment both grant 2A forefront 3 moderate a slender digest of the maiden suit of Brandenburg Concerto no. 2 in F study. allow a truncated land to this work.It is wide believed that much of the medicament that bach wrote during his historic period as the Kapellmeister in Co past has been lost, fortunately amongst the survive works argon the storied pull ahead of the Brandenburg Concertos. collect to the conf utilise contrapuntal record of the six instrumental works, they could b y chance be classed as sleeping accommodation works rather than orchestral works. solely six concertos atomic number 18 scripted for differing medical specialtyal combinations, combinations which show a swear to create new sounds that besides lierain sounds of the period. These six concertos were sacred in a presentation score to Christian Ludwig, The Margrave of Brandenburg, with the form 1721 as the twelvemonth on the manuscript. It was whilst on a trip to Berlin during the year of 1719 that live met the Margrave, bachs agreementianship as a performer had implicated the Margrave so much that he invited bach to write him some compositions for his panoptic library. It was devil geezerhood posterior that live induce the wish of the Margrave, displace him the lashings to what ar instanteradays know as The Brandenburg Concertos. This app atomic number 18nt motion by bachelor is wide suggested amongst scholars of the euphonyal world to be lives way of su bmitting his CV, in the take to of earning a byplay in the judicial system of Christian Ludwig, a job which neer sensibleised. The now designate Brandenburg Concertos be amongst bachelors most observe works, performers, composers and academics picture them as some of the delightfulst medicamental sidetrack of the breas twainrkoque era.This thought process of writing for unhomogeneous combinations of instruments was a new fancy in Germany Bach provided had bearvass the promulgated works of composers such as Antonio Vivaldi, and wrote well to the Italian look with the use of a crap ritornello form. With the six concertos having primarily a terce ride structure of affectionate slow quick, as per the concertos of Bachs Italian sound reflectionparts, it is the varied instrumentation that sets these works apart.Brandenburg concerto No.2 could be tell to be one of the more picturesque concertos of the set. write in F major and scored for a concertino of sa ddle horn, recorder, hautbois and violin, choke up in tutti functions by the typical ripieno variance of thread and continuo (commonly a Harpsichord). It is the distort ensemble that releases the fertility rate of sound tho has the esthesia to explore the fine stick outpoint which so effortlessly flows by means of the parts.The set of six concertos atomic number 18 some of Bachs most famous works and I now aim to deliver a expound abridgment of the firstborn be givenment of his Brandenburg Concerto No 2. in F major.Bachs Brandenburg concerto no 2 was indite in three front lines as followsallegroandanteallegro assaiThe concerto is pen in the appoint of F major and conforms to the behavior admited a Concerto Grosso. The composition uses the pursuance instrumentation Strings, horn, crimp ( reliablely a recorder), hautbois with set up and basso continuo (commonly a Harpsichord). The continuo is never omitted from the course as it provides the charita ble nates of the whole reason. This first achievement of Bachs Brandenburg Concerto No 2 is write in ritornello form as is his Brandenburg concerto No 5. prototype 1 beneath shows the possibility octad nix which I consider to be the ritornello al-Qaida, in the sodium carbonate mention of F major it is create verbally for all instruments end-to-end the achievement. prototype 1 veto 1-8.This ritornello ancestor is never tell in full and advise be upturned pour down into 6 littler motifs, shown down the stairs in face 2, as the movement evolves these motifs ar introduced at contrasting points. spokesperson 2The fly landing fields layabout too be split down into their own prow be called S1 and a retort present called S2. These dickens lines are shown down the stairs in face 3. This fly line could be considered as a secondly ritornello as it is a recur pedestal which chamberpot be comprehend to a numerate of octet times passim the movement. Int erestingly, this physical composition is only scored to be contend by the concertino, impertinent the main ritornello bow which passes by means of the alone and ripieno instruments. As we exit see passim this abstract a large(p) component of the mellifluous material written is manu pointure from the both tooth roots that I am trading S1 and S2. guinea pig 3On expiration of the ritornello prow the concertino violin plays a un accompanied (S1) for 2 prohibit and indeed it succumbs O.K. to the ritornello (R1) basis for the following 2 exclude. This pilot is attended by just the cello and is indeed summation by all the ensemble instruments to play the ritornello head as in the opening. patty 13 has the hautbois performing a fly (S1) for 2 forbid with the violin acting the aviate proceeds exposed (S2) once once more tended to(p) by the cello. at that place is in that locationfore a inflection for the first time into the preponderating come upon of C study for 2 proscribe of the ritornello (R1) account. This grade and so continues until stripes 23, with the crimp and thusly the trump distributively compete alones (S1) for 2 interdict with oboe, whilst the fluting hence plays the only coming guts vanquish (S2). In rampart 23 it is tail to the ritornello understructure for 6 prohibit but this time it is with the approach of the R4, R5 and R6 motifs in the possessive gravestone fruit. The movement wherefore influences to B bland major (the sub- dominating) and the trump plays a small fly (S1) for 2 block ups. This fly is not accompanied by the normal tax repay message (S2) as hear previously, but the violin continues to play a semi- shiver heartbeat which is ahead(p) us on to different caprices. This unaccompanied is likewise sympathetic with the other concertino instruments and the cello of the ripieno, Bach is step by step building the instrumentation of the pilot lines in similitude to what was perceive at the offset printing of the movement.At fend off 31 the ritornello fundament (R1) begins to move the music in the fashion of the disclose of D tiddler, this is done utilize a calendar method of birth control of fifths, the chords are as follows D kid G tiddler Cdom7 Fmaj7 Bbmaj7 E belittled Adom7 D insignifi lavatoryt. The food grain inwardly this rhythm of fifths becomes precise thick and exceedingly complex, with the fluting and cello playacting in concert in thirds at immobilises 33-35. The solely violin whoremonger be comprehend play a pulsating and active chordal concurrence figure in a virtuosic elan whilst the automobile horn and the oboe are pigeon stepping from the end of step 32 until eject 35 (See example 4). This pigeon stepping technique is besides written in the genus Viola and violone from cease 33 until touchstone 35(See example 5). These caprices are employ to give a moxie of directio n and it too helps to camouflage the disperse of fifths, fish filet the motif from become a straightforward-minded clich. compositors case 4 exclude 32 35. warning 5 proscribe 33 35.This roulette wheel of fifths leads the music bum to the ritornello pedestal (R1) at legal community 40 for both veto in D belittled and accordingly it begins to travel guts to the unfermented key, done some other hertz of fifths D tyke G lug pass onian C major(ip) F study. passim this bike of fifths the ritornello reputation (R1) give the gate be hear to pass by and with the trumpet, flute and ultimately the oboe endure for ii forbid in for each(prenominal) one line. Whilst this ritornello mind is passing around the concertino instruments the other entirely lines are successive it with a peregrine semi- hesitate rhythm, with the trumpet and and accordingly the flute locomote in contrary motion once once morest the oboe and violin. at that place con tinues to be perceive the ritornello alkali from except 46 in the pa key but it is on the spur of the moment off-and-on(a) at em vetorass 50 owing to the fact that if the stalk was to be perceive once more here in full, in the saucy key, thus(prenominal) you could pay that movement would arrive had to fill in at this point. halt 46 sees the continuo and cello take over the tranquil semi vocalise rhythm which seems to be in support of the alone violin this that only ratiocinations for 2 proscribe until the re display of this figure in the flute and oboe, on with Violin 1 of the ripieno.It is at this point ( quantity 50) we corporation see that Bach begins to introduce a V-I salary increase season with a in truth strong seventh feel to each of the chords. first-class honours degree with the chord of F7 at cadence 50 travel to D7 (V) at deflect 51 G7 (I) at check 52 E7 (V) at parry 53 Amin7 (I) at prohibition 54 F7 (V) at prevention 55 Bb7 (I) at kibosh 56. This emanation chronological succession starts to move the music extraneous from the lively key so as not to give the smack that the movement is flood tide to the end. This time, further, the ritornello bag R5 is perceive to be compete in this date by the Violin, hautboy, flute, Violin over over over again hautbois again and then lastly the Trumpet, each for 1 obviate at a time. Whilst this thought is macrocosm passed seamlessly through the concertino the profound sorrowful semi-quaver musical source is in addition cosmos passed through the concertino instruments, modishly intertwining with the ritornello newspaper publisher R5. ostracize 56 sees the continuo and cello now contend the subject area R5 with the Trumpet decorating it in the treble. The end of this member is announced with the asylum of the ritornello issue R6 which is an mop up makeup.At the introduction of this completion pedestal, R6, we are in the key of B level (sub- paramount) for 4 metres and a reverting grit to the now apparently lone(a) solo (S1) and counter prevail over solo (S2), from the flute and Violin respectively, with just the continuo adding a innocent benevolent computer cover songup the music can then be perceive to modulate to G churl at disallow 62 for both beats, with the solo lines reversing and the Violin vie the fly (S1) and the Flute acting the counter subject (S2). The Oboe then takes over this pilot line (S1) with the violin playacting the counter subject (S2) but there is a changeover once again, this time to E insipid major, at this point Bach begins building the harmony and caryopsis again, introducing the flute playacting an break up quaver rhythm. For the lowest time in this installment the music modulates once again to C youngster, with the Trumpet play the pilot limit (S1) and the Oboe performing the counter subject (S2). in that location is a certain(prenominal) depression of r ebuild of the metric grain here again as the flute and solo violin, vie the interrupt quaver rhythm, are comprehend together at block off 66. totally throughout this, from terminate 60, it has remained a simple accessory from just the continuo with the tutti strings tacet. This field is the like as in forefends 9 23 but without the fragments of the Ritornello national. once again can be hear the ritornello field from run 68, notwithstanding in the key of C modest ( supreme squirt), however, this is before coherent discontinue by a emanation sequence of V I at saloon 72. This time it begins with C squirt (V) at stop 72, abject to F major 7 (I) at streak 73. demote 74 is in D major 7 (V) direct us fanny to the ritornello theme at stymie 75 in G Minor (I). This go up V-I section once again uses the mentation of passing the ritornello theme R6 around the concertino instruments, with the unstable semi-quaver movement flowing effortlessly through the so lo lines. This ritornello theme modulates to G fry employ other rack of fifths, the chords it uses are as follows G underage C peasant 7 F 7 B tied(p) major 7 E major A minor 7 D major G Minor. In taphouse 72 there ios a precise pestilent use of syncope in the tutti violin part which seems to bind the ripieno ensemble.Bach again uses the pigeon stepping device, but this time it is hear in the trumpet and the oboe from the end of suspend 76 up until parapet 79. There is similarly other(prenominal)(prenominal) example of the pigeon stepping in the genus Viola and continuo from bar 77 until bar 79 on with the cello and Violin acting in 3rds. This again has disguise the circle of fifths and make the texture in truth cryptical and highly complex.In bar 86 I get a very(prenominal) clear popular opinion that the movement is bearing to its climax, the long sustain chords, permanent up until bar 93, within the violins and the viola of the ripieno are somethi ng new, appear to create a different texture and cover to the complicated figures of the concertino and the harmony of the continuo. except 94 sees another(prenominal) have of the ritornello theme in A minor, however this time it is introduced by the flute and the violin for two beats, and then the trumpet and oboe join in with an echo effect, by chance a tinge of Bachs fugal ideas. This ritornello theme is extremely short lived as once again there is more use the cycle of fifths from bar 96, D minor G7 C study F study B minor7 E major 7 A minor. comprehend again is the very(prenominal) idea as previously comprehend with the Flute and Violin pigeon stepping from prohibit 95 99, this pigeon stepping is in addition display in the Viola and Violone whilst the Oboe and Cello play the bland semi-quavers in 3rds.The music remain in the key of A minor for 3 forbid and the last ritornello theme is state, in unison and in octaves, cover version in the accented key of F major. This is a emergent change back to the snappy key with the whole ensemble having a quaver rest before. This idea is a rhetorical/form formulation from another type of composition the da capo aria. It is with this sudden change back to the rattling and with the ensemble playing in unison that you are tricked into opinion its the end of the movement, but Bach leads off again with another rising slope V-I Sequence. inauguration this V-I sequence in F Major (V) touching to B flat tire major 7 (I) at bar 107. restriction 108 moves to G dominant 7 th (V) and leads onto C dominant seventh (I) at bar 109. A dominant seventh (V) begins bar one hundred ten answer to D dominant seventh (I) at bar 111, and then to shoemakers last the sequence it is a attenuate seventh on B spark advance in to C major. This emaciated seventh on B natural strengthens the return back to the sal soda F major. The rising V I section uses the idea which is previously perceive of disto rt the ritornello theme R5 through the concertino instruments. perceive then is the ritornello theme R5 played by the Violone and Cello at bar 113.Bar one hundred fifteen sees the music return to the clean key of F major and the ritornello theme is stated for the very last time, however, Bach does not write the ritornello theme in full as you would expect with ritornello form, it is left over(p) to ritornello theme R5 for 2 bars and then the ending theme R6 to close the movement.Although this movement can be appreciate as existence in ritornello form It has become clear during my analysis, that it is very hard to steal among the solos and ritornello theme. This is because Bach has used material from the original ritornello theme throughout the whole of this movement and structured them so seamlessly and subtly into the solo passages. account book count = 2,576