Sonata No. 3 In B-Flat Major, Op. 6: II. Allegro
The second movement is a lively allegro. The material is derived from the first two bars and a half bar figure that occurs in sequences and responses. Although it displays some elements of classical sonata form, the movement's success is due more to the unpredictable interchanges between orchestra and soloists.
Sonata No. 3 in B-Flat Major, Op. 6: II. Allegro
The second movement is an allegro in D minor in a contrapuntal trio sonata style. The animated semiquaver figure of the opening bars is played in imitation or in parallel thirds as a kind of moto perpetuo.
The delightful fifth allegro is written for full orchestra. The rollicking first subject is derived from the twenty third sonata in Domenico Scarlatti's Essercizi Gravicembalo of 1738. The subsequent repeated semiquaver passage-work over a walking bass recalls the style of Georg Philipp Telemann. Handel, however, treats the material in a wholly original way: the virtuoso movement is full of purpose with an unmistakable sense of direction, as the discords between the upper parts ineluctably resolve themselves.
Beyond the considerations of resulting sonority, Corelli provides some highly elaborated movements in both sections of Op. 6. The first eight works are modeled on the sonata da chiesa, the "church" sonata. They have numerous changes of tempo but few extensive slow movements. Adagio and Largo passages are inclined to be short and transitional. The last four works are modeled on the sonata da camera, the "chamber" sonata. Most employ suite movements such as allemandes, sarabandes, correntes, and gigues. They do not employ the fussy tempo contrasts (allegro, adagio, et al.) of the first eight works. 041b061a72