Lesson 2 on Leonardo Leo Concerto in F Minor
NICK’S BLOG:
Autumn 2024
We continued to work on the Leo concerto, revisiting the cadence in Epilog 3. This compound melody involves three cadences. La sol la (G F# G), and la sol la (G C# D), which leads into la sol fa mi re (D C Bb A G). In compound melody, it is feasible to leap between the voices to create space. Leo does this in the final Epilog 1, C [Ab] B C. We tried different pronunciations.
Next, we looked at S2. The main theme Do<natural> re mi fa (B C D Eb) is answered by fa mi re do (Ab G F Eb). The latter is not treated as a cadence but as a middle, a sequential movimento. This grants the performer a moment of stasis, leaving aside the lyric subject for a moment to present time according to Elinor-as-subject, which facilitates free variation. The framework is clear, allowing greater subjective voicing.
We concluded from this lesson that the bass, set to a fixed rhythm, is important for effective improvisation. The maestro presumably played the bass at the keyboard. I felt that the most effective way to teach is that specified in 1614 by Francesca’s Roman maestro (see my book p.267) – he would demonstrate and she would provide an answering ornament. Of course, this model implies a fluent maestro. For our next lesson, we will try to practice without speaking: I will demonstrate a way to perform a syllable or two, and Elinor will answer with her take on the way to perform it. This would be much easier face to face. We have found the online platform to be a barrier, as we cannot play together owing to delays and poor quality. It is obvious that music in the 1700s involved face to face human communication, in which notation was merely a recipe.
ELINOR’S BLOG:
At home, I tried recording fragments of the bass part to Leo’s “Largo e gustoso” movement, meaning I recorded myself playing the basses and also a bit when Nick was playing the piano in our lesson. With that I could try to repetitively improvise the melodic schemas over a bass. This was also difficult because I don’t have an application that let’s me repeat ad infinitum. I have to stop and press play again each time. I feel rather slow and clumsy with the whole process.
In any case, this is a very important and power exercises for me as a performer, but I think I will have more ideas and more fluidity when I know more about galant music as a composer.