Form and Style in the "Odhecaton" and "Canti B" of Petrucci

Abstract

ern technique and classical architecture. The highly original melodic, harmonic and rhythmic ideas are firmly rooted in sonata-allegro structure. Of the four movements the second undoubtedly contains music of the greatest depth. Although never deviating from strict theme and variation form, the movement seems like a sustained improvization. Rich in rhythmic vigor and melodic gaiety, the third movement discloses a lively sense of humor. Unlike the first two movements, a spirit of abandonment prevails. Severe polyphonic style characterizes the final movement, which is developed entirely from a single subject and is cast in a form reminiscent of the old concerto grosso. Each movement has a definite tonal basis, though freely colored by elements of linear counterpoint, atonality, polytonality, impressionistic harmonies and parallel chord streams. The texture of the Trio is predominantly contrapuntal.