Dario Castello: Sonata Prima, A Sopran Solo

Abstract

Castello’s sonatas signal a radical departure from previous practice by introducing words (Allegro and Adagio, in Venetian dialect) to describe the mood of the sections and the implied tempi: this suggests a release from the dictates of tactus and the subsequent enhancement of freedom to the performer, the hallmark of what came to be known as stylus fantasticus. The bulk of the lesson deals with minutiae in the Observations section. An exercise entitled “Active impulses and passive ‘after-notes’ ” is designed to highlight the important notes and underplay the less important ones. Intensively notated examples of phrasings and dynamics within a line of equal notes promote the idea of dialogue and narrative, rather than melody. In his short adagios, explored in detail, Castello proves himself a master of expression.