The twelve trio sonatas da chiesa recorded here follow a established tonal scheme: the odd-numbered concertos are in major keys, while the even-numbered ones are in minor.
\nAn exception is made for the final pair which inverts the order to end in A Major.
\nOnly the first six concertos are conceived almost as pairs in relative keys (F-D, Bb-G, C-A), as opposed to the three remaining pairs which contain sharps in the key signatures (in the order of D-E, G-C, and finally F-A).
\nThe prevailing design is the traditional four-part structure of the sonata da chiesa.
\nThe movements are: Grave (sometimes Adagio or Largo) in 4\/4 (or 3\/2), an Allegro (rarely a Presto or Vivace) in 4\/4, a Largo (or Adagio) in 4\/4 or in ternary meter (3\/4 and 3\/2), and finally a Presto (or Allegro) which concludes the sonata and is for the most part in ternary or composite meter (3\/8,6\/8).
\nBellinzani\u2019s musical language most often employs the imitative style typical of the church sonata, with frequent canonic entrances.
\nAnother constant is the tonal scheme of the four movements: only the third waivers from the original key and usually wanders (three out of four times) no farther than the relative minor or major, concluding in suspension on the dominant of the new key<\/p>\n","protected":false},"excerpt":{"rendered":"
The twelve trio sonatas da chiesa recorded here follow a established tonal scheme: the odd-numbered concertos are in major keys, while the even-numbered ones are in minor. An exception is made for the final pair which inverts the order to end in A Major. Only the first six concertos are conceived almost as pairs in […]<\/p>\n","protected":false},"author":5,"featured_media":5491,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34],"tags":[],"class_list":["post-5489","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-late-baroque"],"yoast_head":"\n