Page 19 - April.indd

A Stylistic Synthesis

nature of this schema, calling the Romanesca “typical are restated in a verbatim transposition.
of [Martines’s] way of expressing the galant aesthetic,” The fonte is the descending counterpart of the monte,
and comparing this phrase to the opening of an earli- with a modal component added to the schema: a melod-

er Magnificat by C. P. E. Bach, a quintessentially galant ic motive is stated in the minor mode, and then imme-
26
composer. Godt also notes that this six-bar phrase fol- diately repeated a step lower in the major mode. Mar-
lows an abb’ structure, which “Martines inherited from tines employs this pattern later in movement 1. While
earlier galant composers and [became] one of her most the choir participates in the fonte, the choral writing in
deeply ingrained musical habits.” 24 the second phrase is revoiced rather than transposed ver-
Another important galant schema is the monte, in batim; the fonte is most clearly visible and audible in the
which a motive is stated and then transposed one step orchestra (Figure 8 on page 18).
25
higher. This pattern features prominently in movement Gjerdingen notes that fontes often appear “immediate-
27
1 of the Dixit (Figure 7). In this case, the monte incorpo- ly following a double bar” and are generally “useful
rates two levels of motivic activity: both the homophonic as a gentle move away from and then back to the main
28
choral writing and the sprightly orchestral passage work key.” While this particular fonte does not occur immedi-

CHORAL JOURNAL April 2021 Volume 61 Number 9 17