Sonata prima a sopran solo of Dario Castello
There are many real masterpieces in the mandolin repertoire. One of my favorites is the "Sonata prima a Sopran Solo" from the second book of Sonatas Concertate (1629) by Dario Castello.
Venetian composer Dario Castello lived at the turn of the 16th to the 17th century, the period of Early Baroque. His famous sonatas concertate for different instrumental ensembles were published in two volumes. The "Sonata prima a Sopran Solo" (from the second book of sonatas) is often performed by baroque mandolin (soprano lute) and guitar.
The structure of the sonata is typical for that period with several dances following attacca. Movements in 4/4 measure alternate with 3/4 measure. From our modern point of view, if we compare it to forms of the Classical period, we can already recognize the first characteristics of a ternary form with a shortened reprise, a contrast episode and the development of the main theme in the middle part. The free motion of the thematic line is combined with a variation development.
The tonal plan is simple and concentrates on the plagal comparison of two tonalities – A minor and D minor - but this simplicity allows the listener to focus on the peripetia of the elaboration of the main theme in different movements. At the beginning of the main theme it seems that the melodic line rests on the E, the fifth of A minor, than takes a little sidestep and again a short stop on the E.
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Falling to the tonic A, but rapidly ascending to the E after passing descending seconds and an inexorable descent to the tonic, the main tonality of Sonata – A minor – is established.
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The next part of the main theme serves as a basic motive for future variations and contains a hidden polyphony.
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After the descent sequence and the outlined dominant of the main theme part, the first dance finishes in A minor.
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The next part (bars 17-35) uses the ¾ measure. The movement of the motive of the main theme leads us to C major, by collating various, interchanging sequences, but not for long.
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A shift to D minor is developed in new sequences, introducing short motives and a virtuoso dominant cadence passage.
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The "middle part" starts close to the main theme and revolves around the fifth of D minor – A, but shortly begins to go down, until the first "sentence" of the phrase finishes on the dominant. The tempo is slowed down and the character is different to the main theme.
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The second "sentence" is similar to the descent scale (within the bounds of the octave), modulating A minor.
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A schematic description of this episodic theme from the middle part of the sonata (letters indicating significant notes):
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The next part of the sonata begins in A minor, but the polyphonic development of the melodious line does not allow the consolidation of the positions of this tonic. The movement increases in speed, interweaving phrases with falling and ascending sixteenth notes remind us of the rapid flow of a torrent. The initial phrase leads us rhythmically back to the beginning of the main theme, but the development this time is very active and impetuous. Let us compare:
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with
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Inside this flow, D minor appears again and the following part begins in D. This part has an interesting construction. The theme lasts for four bars.
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Then it appears again on the fourth lower and brings in C major.
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The next implementation continues with ascending sequences culminating in A minor.
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The A minor stop is transformed into the dominant for D minor, which tries to strengthen a position in the last philosophical summary part of Sonata, reminding us of some motives from the main theme. The cadenza in D is trying to convince us of the triumph of D minor.
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In the last bar but one the F, the third of D minor, and the E, the fifth of A minor, compete with each other. Starting from this sound we began our odyssey, the E has won and we have come full circle.