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J. C. Bach - Duet for Two Pianos in G Major - Mov. 1/2
 
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JOHANN CHRISTIAN BACH (1735-1782) Duet for two pianofortes in G major Op. 15 1. Allegro Performed by Christopher Hogwood Christophe Rousset, pianofortes *Johann Christian Bach was a composer of the Classical era, the eleventh and youngest son of Johann Sebastian Bach. He is sometimes referred to as 'the London Bach' or 'the English Bach', due to his time spent living there. He is noted for influencing the concerto style of Mozart. Johann Christian Bach was born on September 5, 1735 to Johann Sebastian and Anna Magdalena Bach in Leipzig, Germany. His distinguished father was already 50 at the time of his birth, which would perhaps contribute to the sharp differences between his music and that of his father. Even so, his father first instructed him in music until he died. After his father's death, when Johann Christian was 15, he worked with his second oldest brother Carl Philipp Emanuel Bach, considered at the time to be the most musically gifted of Bach's sons. He enjoyed a promising career, first as a composer then as a performer playing alongside Carl Friedrich Abel, a notable player of the viola da gamba. He composed cantatas, chamber music, keyboard and orchestral works, operas and symphonies. Bach lived in Italy for many years starting in 1756, first studying with Padre Martini in Bologna and later with Giovanni Battista Sammartini. He became an organist at a cathedral in Milan in 1760. During his time in Italy he converted from Lutheranism to Catholicism. In 1762, Bach travelled to London to première three operas at King's Theatre, including Orione on 19 February 1763. This established his reputation in England, and he became music master to Queen Charlotte. He met soprano Cecilia Grassi in 1766 and married her shortly thereafter. Although she was eleven years younger than Bach, they had no children. Johann Christian Bach died in London on New Year's Day, 1782. Although Bach's fame declined in the decades following his death, his music still showed up on concert programmes in London with some regularity, often coupled with works by Haydn. In the 19th century, scholarly work on the life and music of Johann Christian's father began, but this often led to the exaltation of J. S. Bach's music at the expense of that of his sons; Phillip Spitta claimed towards the end of his J. S. Bach biography that "it is especially in Bach's sons that we may mark the decay of that power which had culminated [in Sebastian] after several centuries of growth" (Spitta, Vol. 3, p. 278), and J.S.'s first biographer, Johann Nikolaus Forkel, said specifically of Christian that "The original spirit of Bach is . . . not to be found in any of his works" (New Bach Reader, p. 458). It was not until the 20th century that scholars and the musical world began to realize that Bach's sons could legitimately compose in a different style than their father without their musical idioms being inferior or debased, and composers like Johann Christian began to receive renewed appreciation. Johann Christian Bach is of some historical interest as the first composer who preferred the piano to older keyboard instruments such as the harpsichord. Johann Christians early music shows the influence of his older brother Carl Philipp Emanuel, while his middle period in Italy shows the influence of Sammartini. Johann Christian Bach's father died when Johann Christian was only fifteen, perhaps one reason why it is difficult to find points of similarity between the music of Johann Sebastian Bach and that of Johann Christian. By contrast, the piano sonatas of Carl Philipp Emanuel Bach, Johann Christian's much older brother, tend to invoke certain elements of the father at times, especially as regards the use of counterpoint. (C.P.E. was 36 by the time J.S. died.) Johann Christian's music departs completely from the styles of the elder Bachs in being highly melodic. He composed in the galant style incorporating balanced phrases, emphasis on melody and accompaniment, without too much contrapuntal complexity. The galant movement opposed the intricate lines of Baroque music, and instead placed importance on fluid melodies in periodic phrases. It preceded the classical style, which fused the galant aesthetics with a renewed interest in counterpoint.
Views: 69500 HARMONICO101
ADCA Gala Opening Concert "Galant Style"
 
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Summary of our Gala Opening concert "Galant Style" featuring guest conductor Darwin Aquino and soloists Amber Archibald and Jorge Garcia-DLeon accompanied by La Camerata Washington Heights. From our Concert Series VIII on October 19, 2017 at Aaron Davis Hall, Marian Anderson Theater. Video and Edit by Erwin Pérez www.adca.nyc
The Galant Style - Concert #1
 
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Anton Isselhardt (flute) My Huong Nguyen (violin) Matthias Diehner (violoncello) Jumat, 10 Agustus 2012 di Museum Tembi Rumah Budaya Yogyakarta
Galant Schemata in Binary Form: Platti's Keyboard Sonata in C minor
 
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The first movement of Giovanni Benedetto Platti's Keyboard Sonata No. 8 in C minor (published in 1746) stands out for two aspects of its use of galant schemata. Most remarkable is Platti's dependence on a single schema, the Fenaroli-Ponte. Also of note is the huge Fonte that Platti uses to modulate from the tonic C minor to the relative major, E flat major (a Fonte that, when it returns in the second part of this binary form movement, is dramatically thwarted). As Vasili Byros has shown in his article "Trazom's Wit: Communicative Strategies in a 'Popular' yet 'Difficult' Sonata" (Eighteenth-Century Music 10 (2013), 213–52), the Fenaroli-Ponte is a schema that combines features of the Ponte (a dominant pedal) and the Fenaroli (a melodic line tracing the scale degrees 7–1–2–3). Platti used the Fenaroli-Ponte no fewer than nine times, in passages that account for almost one-third of the movement. In this performance, Elaine Funaro plays a fortepiano that David Sutherland modeled on one of the three surviving pianos by the instrument's inventor, Bartolomeo Cristofori, this one dated 1726.
Views: 1207 Settecentista
Minuet in C Major (In the Galant Style) - Román Cano
 
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So, you want to write a Minuet? So go ahead: http://www.mtosmt.org/issues/mto.05.11.2/mto.05.11.2.eckert.html
Views: 98 Román Cano
International Karate (C64 Cover, Sławek Galant)  -  Rob Hubbard
 
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Rob Hubbard's International Karate C64 Cover.
Views: 4514 Sławek Galant
Galant Style - Lille (Thème de Gangnam Style)
 
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Parodie de GANGNAM STYLE à la Lilloise. Musique : PSY - Gangnam Style, PSY (feat HYUNA) - Gangnam Style, Parodie Gangnam Style (Hitler Version). Chaque année pour le nouvel an, garçons et filles de notre groupe d'amis s'affrontent pour faire une chorégraphie d'enfer. Les garçons, piètres danseurs, ont décidé cette année de piéger les filles pour leur montrer leur chorégraphie... Un grand merci à la ville de Lille, et aux vigiles des différents établissements qui nous ont autorisé à filmer (rapidement) nos petits délires. Et enfin, un grand merci à notre caméra-woman !
style galant
 
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http://www.edmu.fr/p/dico-des-notions-edmus.html
Views: 1163 nicolas martello
The Prinner
 
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The galant voice-leading schema that Robert Gjerdingen calls the Prinner is characterized by a treble line that descends from scale degree 6 to 3 over a bass that descends from 4 to 1. Gjerdingen sometimes refers to it as the Prinner riposte, because it almost always serves as the response to or continuation of the music that precedes it. Rather than thinking of the Prinner as a single schema, it might be more useful to think of it as a family of closely related schemata, including the Stabat Mater Prinner, the Circle-of-Fifths Prinner, the Modulating Prinner, and the Prinner Cadence. All these are represented in this collection of examples, which include music by Mozart, Haydn, Beethoven, Seixas, Graun, Pergolesi, Reutter, Couperin, Martines, J. C. Bach, Pescetti, Gallina, and Platti. For more on the Prinner see (in addition to Gjerdingen's "Music in the Galant Style") William E. Caplin, "Harmony and Cadence in Gjerdingen's 'Prinner,'" in "What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire," ed. Markus Neuwirth and Pieter Bergé, Leuven, 2015, pp. 17–58, and Open Music Theory: http://openmusictheory.com/schemataOpensAndCloses The Prinner was among the many galant schemata imported to the New World and used by composers in Mexico, Brazil, and elsewhere. See Olga Sánchez-Kisielewska, "Claves para el Análisis del Italianismo en la Música Hispana: Esquemas Galantes y Figuras Retóricas en las Misas de Jerusalem y Nebra," Diagonal: An Ibero-American Music Review 1 (2016), Permalink https://escholarship.org/uc/item/5f60p1dm For an early nineteenth-century Brazilian example, see Guilherme Aleixo da Silva Monteiro, "Análise das schematae galantes nos seis responsórios fúnebres de João de Deus de Castro Lobo (1794–1832)," Universidade do Estado do Amazonas, 2017, online at http://repositorioinstitucional.uea.edu.br/bitstream/riuea/851/1/An%C3%A1lise%20das%20schematae%20galantes%20nos%20seis%20respons%C3%B3rios%20f%C3%BAnebres%20de%20jo%C3%A3o%20de%20deus%20de%20castro%20lobo%201794-1832.pdf
Views: 1433 Settecentista
Mattheson "Der Brauchbare Virtuoso" Sonata No.4 in D major
 
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Johann Mattheson (1681-1764) was one of the most important German music theorists and critics of the 18th century. He was a big proponent of the later galant style and dramatic style in vocal music. His opus 7 titled "The Usable Virtuoso" includes 12 chamber sonatas written in the Corellian manner. Sonata No.4 in D major Adagio - Allegro 0:51- Aria avec trois doubles 1:54 - Giga 5:44 Trio Corelli Elisabeth Schneider / violin Viggo Mangor / archlute Ulrik Spang-Hanssen / organ
Views: 2633 Deadlockcp
Mattheson "Der Brauchbare Virtuoso" Sonata No.11 in D minor
 
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Johann Mattheson (1681-1764) was one of the most important German music theorists and critics of the 18th century. He was a big proponent of the later galant style and dramatic style in vocal music. His opus 7 titled "The Usable Virtuoso" includes 12 chamber sonatas written in the Corellian manner. Sonata No.11 in D minor Adagio - Giga 4:09 - Adagio 5:21- Allegro 6:26 Trio Corelli Elisabeth Schneider / violin Viggo Mangor / archlute Ulrik Spang-Hanssen / organ
Views: 967 Deadlockcp
Mitsubishi Galant | Legnum - Music Video
 
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Mitsubishi Galant - Moscow "SVAO" (Russia) Как повстречались несколько любителей акул на ТЦ "Весна" в Алтуфьево =) #Galant #Legnum #6a13tt #MMC #Mitsubishi #VR4
Views: 194 MotoTour77
The Monte Romanesca
 
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A compilation of examples of the Monte Romanesca, a voice-leading schema identified and named by Robert Gjerdingen in his book "Music in the Galant Style." Composers include Corelli, Haydn, Mozart, Handel, J. S. Bach, C. P. E. Bach, Johann Philipp Krieger, Salieri, Porpora, and Domenico Zipoli. Most of these passages (and many others) are presented in musical notation and discussed in my article "Climbing Monte Romanesca: Eighteenth-Century Composers in Search of the Sublime": https://www.academia.edu/32429345/Climbing_Monte_Romanesca_Eighteenth-Century_Composers_in_Search_of_the_Sublime One of Mozart's last uses of the Monte Romanesca was in the Adagio and Rondo for Glass Harmonica, K. 617: https://youtu.be/CxsPTgSDuh4?t=11m41s Other examples of the Monte Romanesca: Nicola Porpora, Sinfonia (Trio Sonata) in G minor, Op. 2, No. 3, Allegro: https://www.youtube.com/watch?v=ktGIXG-Bhsk
Views: 1053 Settecentista
Galant Schemata in a Rondo by Dittersdorf: The Finale of the String Quartet No. 1 in D
 
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On 18 August 1788, Carl Ditters von Dittersdorf wrote to the Viennese music publisher Artaria, offering a recently composed set of six string quartets. Dittersdorf, a skilful self-promoter as well as a talented and experienced composer, had another set of quartets in mind: the six by Mozart (the so-called Haydn Quartets) that Artaria had published in 1785: Sirs! For some time now, friends, connoisseurs and amateurs of music have been telling me that I should write six quartets. For a long time I could not make up my mind to do so, since I did not want to write quartets according to the common taste, and writing good quartets seemed too laborious to me. A friend (I can rightfully call him a true connoisseur of music since his chief idea is that music theory and practice must always go hand in hand and that in no work should one take precedence over the other) encouraged me for a long time until I undertook the task, and after a period of 13 to 14 months I had composed 6. This same friend—who admires Pleyel’s quartets for their trimness, pleasantness and expression, and Haydn’s most recent ones published by you, not only for these qualities but even more for their art and novelty—this same friend has heard my quartets not once, but several times already and each time (I really should not say this myself, since self-praise sounds poor) he says: Now not only Pleyel’s quartets but even Haydn’s are surpassed! And I may boldly say without blushing that they turned out better than I had at first believed they would. Now—I offer you the original manuscript or, more accurately, my own score of them for the same price you paid for Mozart’s and in addition for the first ten prints or copies, and I am certain that you will do better with mine than you did with Mozart’s (which, indeed, I and still greater theorists consider to deserve the hightest praise, but which because of their overwhelming and unrelenting artfulness are not to everyone’s taste) . . . New Mozart Documents: A Supplement to O. E. Deutsch’s Documentary Biography, ed. Cliff Eisen, London, 1991, p. 54 Artaria took the bait, and a few months later, on 31 January 1789, the publisher advertized in the Wiener Zeitung "v. Dittersdorf 6 ganz neue Quartetten für 2 Violin, Viola, und Violoncello" at a price of 4 Gulden. The music beautifully matches Robert Gjerdingen’s assessment (in Music in the Galant Style, p. 107): “The string quartets of Dittersdorf, though contemporaneous with the onset of the French Revolution, nonetheless suggest the continuity of tradition, the stability of the ancien régime, and the careful refinement of decades of galant musical craftsmanship.” The finale of the first of Dittersdorf’s “Artaria” quartets is a rondo in the form A (rondo theme) – B (episode 1) – A’ – C (episode 2) – A’’ – Coda. Dittersdorf used a wide range of galant schemata, giving each section of the movement different schematic content. The rondo theme is a period consisting of two sentences: the first antecedent and the second consequent. The first sentence has the normal eight measures; the second sentence is extended to twelve measures. Like many sentences, these begin with a presentation phrase in which the two basic ideas consist of the two stages of a voice-leading schema, in this case the Aprile. Perhaps the most remarkable feature of the rondo is the prominent appearance in both episodes of the Monte Romanesca—a schema that served composers as a musical means of expressing the sublime and of arousing sublime sensations in their listeners (see my paper “Climbing Monte Romanesca: Eighteenth-Century Composers in Search of the Sublime,” https://www.academia.edu/32429345/Climbing_Monte_Romanesca_Eighteenth-Century_Composers_in_Search_of_the_Sublime Since the overall tone of this movement is clearly "scherzando”—indeed, we might hear the descending staccato parallel 6/3 chords in the coda as laughter—I suspect that Dittersdorf did not want players to take the sudden appearances of the Monte Romanesca seriously, but rather as parodies of the musical sublime.
Views: 444 Settecentista
Fifth progressions in galant music
 
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Fifth progressions in galant music
Views: 613 migjurado
Johan Roman Drottningholm Music (Selections Part 1)
 
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Johan Helmich Roman (1694 -- 1758) was a late Baroque composer, often called "the father of Swedish music." During his lifetime, he has made two trips to mainland Europe and England, acquiring the latest musical tastes and styles of the time. He served as the deputy master and later principal master of the Swedish court orchestra and organized Sweden's first public concerts, something then only heard of only in London and Paris. He composed a variety of works in the late Baroque idiom, including symphonies, concertos, trio sonatas, and cantatas. His musical style is generally characterized as being in the transition from late Baroque to the galant,style. Handel is cited as one of Roman's most important influences. The Drottningholm Music, or Music for a Royal Wedding, was written for the wedding of Swedish crown prince Adolf Fredrik and his wife Lovisa Ulrika in 1744. It comprises 24 movements, varying in orchestration and mood. It was not meant to be played sequentially. 1. Allegro 2. Allegretto 2:13 3. Andante 4:03 4. Non troppo allegro 8:16 5. Andante 11:57 6. Poco allegro 13:25 Drottningholm Baroque Ensemble / Nils-Erik Sparf
Views: 24575 Deadlockcp
Impro on "The Meyer"
 
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Free improvisation inspired by the Galant schema "The Meyer" from the book "Music in the Galant Style" (2007) by Robert O. Gjerdingen. Performance during an open air charity event in Geneva, October 2010 on an electric piano.
Views: 220 Tobias Cramm
Mitsubishi Galant 2002 (2,4)
 
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Страна: America Кузов: еа3а Двигатель: 4g64 Turbo music: Fresko Design By John Vasques
Views: 17921 John Vasques
Mozart: Complete Piano Sonatas
 
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Download & Streams (Spotify, iTunes, Amazon Music, Deezer, Google Play and more): https://brilliant-classics.lnk.to/MozartCompleteSonatas More information: https://www.brilliantclassics.com/articles/m/mozart-complete-sonatas/ Facebook: https://facebook.com/Brilliantclassics Mozart’s piano sonatas date from 1773 until 1788 – a period in which his style matured at a truly remarkable rate. The earliest sonatas are very much in the galant style of W.F and CPE Bach, and in places Scarlatti’s influence can be detected. However, the late sonatas, such as K457 are full of surprises, and here the influence of Haydn is to the fore – even predicting Beethoven in passages. The years from 1773 to the late 80s saw the rapid development of the piano from a novelty and experimental instrument, to the stage where it’s power and range provided composers with a hitherto undreamed palate of colours and expression. Mozart exploited the new instruments to maximum effect in his concertos and his sonatas. Composer: Wolfgang Amadeus Mozart Artist: Klara Würtz (piano) 00:00:00 Piano Sonata No.1 in C, K279: I. Allegro 00:04:56 Piano Sonata No.1 in C, K279: II. Andante 00:10:09 Piano Sonata No.1 in C, K279: III. Allegro 00:13:31 Piano Sonata No.2 in F, K280: I. Allegro assai 00:18:02 Piano Sonata No.2 in F, K280: II. Adagio 00:24:04 Piano Sonata No.2 in F, K280: III. Presto 00:26:59 Piano Sonata No.3 in B flat, K281: I. Allegro 00:33:47 Piano Sonata No.3 in B flat, K281: II. Andante amoroso 00:39:19 Piano Sonata No.3 in B flat, K281: III. Rondeau: Allegro 00:43:56 Piano Sonata No.4 in E flat, K282: I. Adagio 00:50:57 Piano Sonata No.4 in E flat, K282: II. Menuetto 00:55:02 Piano Sonata No.4 in E flat, K282: III. Allegro 00:58:06 Piano Sonata No.5 in G, K283: I. Allegro 01:03:32 Piano Sonata No.5 in G, K283: II. Andante 01:09:14 Piano Sonata No.5 in G, K283: III. Presto 01:13:02 Piano Sonata No.6 in D, K284: I. Allegro 01:18:32 Piano Sonata No.6 in D, K284: II. Rondeau en polonaise: Andante 01:22:38 Piano Sonata No.6 in D, K284: III. Andante (Tema con variazioni) 01:38:15 Piano Sonata No.7 in C, K309: I. Allegro con spirito 01:44:13 Piano Sonata No.7 in C, K309: II. Andante un poco adagio 01:49:21 Piano Sonata No.7 in C, K309: III. Rondeau: Allegretto grazioso 01:55:23 Piano Sonata No.8 in A Minor, K310: I. Allegro maestoso 02:01:24 Piano Sonata No.8 in A Minor, K310: II. Andante cantabile con espressione 02:08:31 Piano Sonata No.8 in A Minor, K310: III. Presto 02:11:14 Piano Sonata No.9 In D, K311: I. Allegro con spirito 02:15:41 Piano Sonata No.9 In D, K311: II. Andante con espressione 02:20:33 Piano Sonata No.9 In D, K311: III. Rondeau: Allegro 02:26:39 Piano Sonata No.10 In C, KV330: I. Allegro moderato 02:33:20 Piano Sonata No.10 In C, KV330: II. Andante cantabile 02:39:53 Piano Sonata No.10 In C, KV330: III. Allegretto 02:45:36 Piano Sonata No.11 In A, K331: I. Andante grazioso 02:58:30 Piano Sonata No.11 In A, K331: II. Menuetto 03:04:25 Piano Sonata No.11 In A, K331: III. Alla Turca: Allegretto 03:07:50 Piano Sonata No.12 in F, K332: I. Allegro 03:14:24 Piano Sonata No.12 in F, K332: II. Adagio 03:19:07 Piano Sonata No.12 in F, K332:III. Allegro assai 03:25:58 Piano Sonata No.13 in B flat, K333: I. Allegro 03:33:20 Piano Sonata No.13 in B flat, K333: II. Andante cantabile 03:38:53 Piano Sonata No.13 in B flat, K333: III. Allegretto grazioso 03:45:30 Piano Sonata No.14 in C Minor, K457: I. Allegro molto 03:50:59 Piano Sonata No.14 in C Minor, K457: II. Adagio 03:58:42 Piano Sonata No.14 in C Minor, K457: III. Allegro assai 04:03:02 Piano Sonata No.15 in F, K533: Allegro 04:10:39 Piano Sonata No.15 in F, K533: Andante 04:17:14 Piano Sonata No.15 in F, K533: Rondeau: Allegretto 04:23:42 Piano Sonata No.16 in C, K545: I. Allegro 04:27:02 Piano Sonata No.16 in C, K545: II. Andante 04:31:12 Piano Sonata No.16 in C, K545: III. Rondo 04:32:58 Piano Sonata No.17 in B flat, K570: I. Allegro 04:38:32 Piano Sonata No.17 in B flat, K570: II. Adagio 04:46:07 Piano Sonata No.17 in B flat, K570: III. Allegretto 04:49:38 Piano Sonata No.18 in D, K576: I. Allegro 04:54:50 Piano Sonata No.18 in D, K576: II. Adagio 05:00:23 Piano Sonata No.18 in D, K576: III. Allegretto
Views: 564132 Brilliant Classics
Galant Schemata in Binary Form: Adagio in A major by Pescetti
 
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Although the Venetian Giovanni Battista Pescetti (c. 1704–1766) never studied in Naples, he came to maturity at a time when Venice was absorbing the galant style through composers (such as Hasse, Vinci, and Porpora) and singers (such as Farinelli) who were leading advocates of the new style. Like Galuppi, another Venetian, Pescetti found the keyboard sonata a particularly congenial medium for the expression of galant values. The Adagio of Pescetti's Sonata in A major, one of a set of "Sonate per gravicembalo" published in London in 1739, elaborates a series of voice-leading schemata that must have been familiar to his audience from the Italian operas (by him and other young Italian composers) that were being performed in London in the 1730s. In the Prima parte (the first half of the binary structure): Romanesca, Prinner, Modulating Prinner (from tonic A major to dominant E major), Ascending 5–6 Sequence, Long Comma, Cadence. In the Seconda parte: Comma and Cadence in B minor, Comma in A major, Ascending 5–6 Sequence, Long Comma, Cadence. A similar list might easily serve as a script for the improvisation of a movement in binary form.
Views: 259 Settecentista
Johann Sebastian Bach - The Musical Offering {Musikalisches Opfer}
 
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- Composer: Johann Sebastian Bach (31 March 1685 -- 28 July 1750) - Performers: Robert Kohnen (harpsichord), Barthold Kuijken (flute), Sigiswald Kuijken (violin), Wieland Kuijken (viola da gamba) - Year of recording: 1994 The Musical Offering {Musikalisches Opfer}, for keyboard and chamber instruments, BWV 1079, written in 1747. 00:00 - 01. Ricercare à 3 06:38 - 02. Canon perpetuus super thema regimum 07:45 - 03. Canons diversi. Canon à 2 "Canon Cancrizans" (Crab Canon) 09:01 - 04. Canons diversi. Canon à 2 "Violini in unisono" 09:51 - 05. Canons diversi. Canon à 2 "Canon per motum contrarium" 10:53 - 06. Canons diversi. Canon à 2 "Canon per augmentationem, contrario motu" 12:39 - 07. Canons diversi. Canon à 2 "Canon circularis per tonos" 15:46 - 08. Fuga Canonica in Epidiapente 18:19 - 09. Ricercare à 6 25:09 - 10. Canon à 2 "Quaerando invenietis" 26:33 - 11. Canon à 4 28:47 - 12. Sonata sopr'il Soggetto Reale: Largo 34:59 - 13. Sonata sopr'il Soggetto Reale: Allegro 40:26 - 14. Sonata sopr'il Soggetto Reale: Andante 43:47 - 15. Sonata sopr'il Soggetto Reale: Allegro 46:38 - 16. Canon Perpetuo [per justi intervali] Bach's The Musical Offering consists of 16 movements and is about 50 minutes in duration, resulting from a challenge to develop a theme played for the composer by Frederick the Great. The meeting took place on 7 May 1747, and Bach's son, Carl Philipp Emmanuel, who often accompanied Frederick in performances of chamber music, arranged for the two men to meet. By then, J.S. Bach, "the old Bach of Leipzig," was considered as a writer of old-fashioned music, but his improvising skills were still legendary. Frederick, the King of Prussia, did not approve of overly complicated music, clearly preferring the fashionable galant style to the complicated fugues of high Baroque music. In an apparent attempt to confound the old master, the monarch offered an awkward chromatic subject for the elderly composer to improvise upon, and was amazed by Bach's handling of this "Royal Theme." Afterward, the improviser insisted that he still had not done the theme justice, and that he would endeavor to do so. Later that year, The Musical Offering appeared in print, dedicated to Frederick the Great, and published at the composer's own expense. It demonstrates the full arsenal of the Baroque composer of fugues and does it with more fluency than any other composer of the time would have been able to provide. Of course, it takes into account the monarch's passion for flute playing and offers a prominent part for the instrument. Unfortunately, this gesture of respect and reverence more or less backfired. The flute part is fiendishly difficult, and there is no allowance for the monarch's clear preference for galant music; it is as Baroque as anything else Bach wrote, except where he takes galant ideas and makes them more Baroque. For example, instead of performing a simple "sigh" gesture in the flute sonata movement, a descending interval that sounds like a sigh, Bach sequences it in different pitches until it is as difficult and Baroque as anything as he had written before. Galant music is meant to be simple, a return to melody over harmony, and is the first step toward the Classical music of Haydn and Mozart. Furthering the conflict between Bach's offering and Frederick's goodwill was the theological inferences imbedded in the music. Much of it is in a holy code that was clearly derivative of church music and Frederick, a man of the enlightenment, had little use for anything liturgical. In the centuries that divide the composer's world-view and the current millennium, the many Lutheran inferences of the music have lost the impact they once had. The Musical Offering can be compared to The Art of Fugue for its thorough handling of the theme. The quality of the music is diverse, heavenly, and inexhaustible. It stands as one of the finest pieces of chamber music from the Baroque era, and is a favorite among musicians who enjoy a challenge. Painting: "The Flute Concert of Sanssouci" by Menzel, 1852, depicts Frederick the Great playing the flute in his music room at Sanssouci.
Views: 177607 olla-vogala
Schema Exercise No. 1
 
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This is an exercise in using musical patterns, or schema, as documented by Robert Gjerdingen in his book, "Music in the Galant Style." The piece is in binary form. The sections break down as follows: A: Do-Re-Mi 0:03 Prinner 0:06 Prinner - Modulating 0:10 Cadence 0:14 B: Fonte 0:32 Monte 0:38 Falling Sixths 0:45 Cadence 0:48 Realized with Session Strings Pro
Views: 404 Leslie Sanford
The Quiescenza
 
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Here are some examples of the Quiescenza, a voice-leading schema characterized by a treble line that traces the scale degrees 8 – flat 7 – 6 – natural 7 –8 over a tonic pedal. Robert Gjerdingen (Music in the Galant Style) chose the Italian word meaning "rest," "relaxation," or "calm" for this schema because it often serves a post-cadential function. But it can also function thematically, as an opening gambit or a subsequent element in a thematic group; see James Hepokoski and Warren Darcy, Elements of Sonata Theory, pp. 91–92. For a good example of the Quiescenza serving as the second element in a P-theme in sonata form, see the first movement of Carl Friedrich Abel's Keyboard Concerto in G: https://www.youtube.com/watch?v=V6wwMcpHrF4&t=88s For more on the Quiescenza (and many bibliographical references) see Giorgio Sanguinetti, "Galanterie romantiche: la 'Quiescenza' nell'Ottocento," in Musica come pensiero e come azione: Studi in onore di Guido Salvetti, ed. Marina Vaccarini et al., Lucca, 2014, pp. 345–61. On the Quiescenza in Haydn see L. Poundie Burstein, "Functial Formanality: Twisted Formal Functions in Joseph Haydn's Symphonies," in Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno, ed. Steven vande Moortele et al., Rochester, NY, 2015, 11–36.
Views: 604 Settecentista
Baroque Music for Studying & Brain Power
 
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♫ Buy “The Best of Baroque Music” (MP3 album) on the Official Halidon Music Store: https://bit.ly/2JEZEvf 🎧 Listen to "Baroque Music" on Spotify: http://spoti.fi/2hzrJXo ▶▶ Order “Barocco Essential Classic” (3CDs) on Amazon: USA: https://amzn.to/2TTl8Zd CA: https://amzn.to/2CpKJSv MEX: https://amzn.to/2SUhC0E IT: https://amzn.to/2Hbya2r UK: https://amzn.to/2vzTr0n DE: https://amzn.to/2J8Uje6 FR: https://amzn.to/2JXoGp7 ES: https://amzn.to/2HcrPUp ▶▶ Order “Barocco Essential Classics” (3CDs) on eBay: https://bit.ly/2FG4M20 These tracks are available for sync licensing in web video productions, corporate videos, films, ads and music compilations. For further information and licensing please contact [email protected] Subscribe to our channel: http://bit.ly/YouTubeHalidonMusic Like us on Facebook: https://www.facebook.com/halidonmusic BAROQUE MUSIC FOR STUDYING & BRAIN POWER ANTONIO VIVALDI 1 Symphony in C Major, RV 112: III. Presto 00:00 2 Concerto for Strings & Continuo in C Major, RV 113: I. Allegro 00:43 3 Concerto for Strings & Continuo in C Major, RV 113: III. Allegro 02:42 4 Concerto for Strings in D Major, RV 121: III. Allegro 05:50 5 Symphony in E Major, RV 132: I. Allegro 07:51 6 Symphony in E Major, RV 132: III. Allegro 12:04 7 Strings Concerto in B-Flat Minor, RV 164: I. Allegro 14:39 8 Symphony in G Major, RV 149: I. Allegro molto 16:38 9 Symphony in G Major, RV 149: III. Allegro 18:30 10 Symphony in C Major, RV 112: I. Allegro 20:39 11 The Four Seasons, Concerto No. 1 in E major, RV 269 "Spring": I. Allegro 22:38 12 The Four Seasons, Concerto No. 1 in E major, RV 269 "Spring": III. Allegro pastorale 25:53 13 The Four Seasons, Concerto No. 4 in F minor, RV 297 "Winter": II. Largo 29:37 14 Strings Concerto in G Minor, RV 152: II. Andante molto 31:37 15 Strings Concerto in B-Flat Minor, RV 164: III. Allegro 33:27 ARCANGELO CORELLI 16 Concerto Grosso No. 9 in F Major, Op. 6: I. Preludio 34:50 17 Concerto Grosso No. 9 in F Major, Op. 6: II. Allemanda 36:57 18 Concerto Grosso No. 9 in F Major, Op. 6: III. Corrente 39:52 19 Concerto Grosso No. 9 in F Major, Op. 6: IV. Gavotta. Allegro 41:46 20 Concerto Grosso No. 9 in F Major, Op. 6: VI. Minuetto 42:51 GEORG PHILIP TELEMANN 21 Viola Concerto in G Major, TWV 51:G9: II. Allegro 44:50 22 Viola Concerto in G Major, TWV 51:G9: IV. Presto 48:00 ARCANGELO CORELLI 23 Concerto Grosso No. 1 in D Major, Op. 6: V. Allegro 51:06 24 Concerto Grosso No. 10 in C Major, Op. 6: II. Allemanda 53:24 25 Concerto Grosso No. 10 in C Major, Op. 6: IV. Corrente 56:33 26 Concerto Grosso No. 10 in C Major, Op. 6: V. Allegro 59:09 27 Concerto Grosso No. 10 in C Major, Op. 6: VI. Minuetto 1:02:09 ANTONIO VIVALDI 28 The Four Seasons, Concerto No. 3 in F major, RV 293 "Autumn": I. Allegro 1:03:55 29 The Four Seasons, Concerto No. 3 in F major, RV 293 "Autumn": III. Allegro 1:08:46 JOHANN SEBASTIAN BACH 30 Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande 1:12:01 31 Brandenburg Concerto No. 3 in G Major, BWV 1048: I. Allegro 1:14:44 32 Brandenburg Concerto No. 5 in D Major, BWV 1050: I. Allegro 1:20:40 33 Brandenburg Concerto No. 5 in C Major, BWV 1050: III. Allegro 1:31:22 1-10: Kaunas Chamber Orchestra cond. by Silvano Frontalini 14 & 15: Kaunas Chamber Orchestra cond. by Marek Tracz 11-13, 28 & 29: Yuliya Lebedenko (violin), Metamorphose String Orchestra cond. by Pavel Lyubomudrov 16-20 & 23-27: Kiev Chamber Orchestra, Liviu Buiuc 21 & 22: Giovanni Antonioni (viola), Warmia Symphony Orchestra, Silvano Frontalini 30: Sarah Joy 31-33: Orchestra da Camera Fiorentina cond. by Giuseppe Lanzetta Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it and subscribe to our channel http://bit.ly/YouTubeHalidonMusic All the best classical music ever on Halidon Music Youtube Channel: The Best Classical Music Playlist Mix, The Best Classical Music For Studying, Classical Music For Reading, Classical Music For Concentration, Classical Music for Sleeping and Relaxation, Instrumental Music, Background Music, Opera Music, Piano, Violin & Orchestral Masterpieces by the greatest composers of all time. The very best of Mozart, Beethoven, Bach, Chopin, Vivaldi, Mahler, Rossini, Strauss, Verdi, Chopin, Bach, Brahms, Ravel, Grieg Ravel, Dvorák... #baroquemusic #baroque #classicalmusic #classicalmusicforstudying #brainpower
Views: 1052205 HALIDONMUSIC
ЗИМНИЙ ГАРДЕРОБ - ПЕРЕЗАГРУЗКА! НОВЫЕ ИДЕИ ДЛЯ ЗИМНЕГО СТИЛЯ
 
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Всем, привет! Сегодня я Вам предлагаю несколько НОВЫХ ИДЕЙ КАК СТИЛИЗОВАТЬ СВОИ СТАРЫЕ ВЕЩИ! К примеру, с чем надеть свою любимую старую шубу из натурального меха, чтобы она не смотрелась старой! {МНОГО ПОЛЕЗНЫХ ССЫЛОК ССЫЛКИ НИЖЕ ⬇️ } ПОДПИСАТЬСЯ НА МОЙ КАНАЛ - http://youtube.com/c/ellenagalant Мой ИНСТАГРАМ, наполненный КРАСОТОЙ - https://www.instagram.com/ellena_galant_girl/ ➖➖➖➖➖➖➖➖➖➖ Мой бренд, наполненный любовью The Other Colours https://theothercolours.com/shop/ ❗️World wide delivery НОВЫЕ ИЗДЕЛИЯ СЕГОДНЯ: БРЮКИ В КЛЕТКУ БЕЛЫЕ - http://bit.ly/check-trousers-white- БРЮКИ В КЛЕТКУ ЧЕРНЫЕ - http://bit.ly/check-trousers-black- КЮЛОТЫ В МЕЛКУЮ КЛЕТКУ ГОЛУБЫЕ - http://bit.ly/2RK1OQM И Инстаграм страничка бренда - https://www.instagram.com/the.other.colours/ Обязательно подписывайтесь за всеми нашими новостями, конкурсами и секретными промо-кодами :) Хэштег для ИНСТАГРАМ 📍ГалантоМания - публикуйте свои образы под данным хэштегом, если они были созданы по моим советам и идеям! ➖➖➖➖➖➖➖➖➖➖ ССЫЛКИ НА ВЕЩИ ИЗ ВИДЕО: 1️⃣ ПУХОВИК В ЖЕНСТВЕННОМ СТИЛЕ Теплый пуховик как у меня PERFECT MOMENT https://rstyle.me/n/deb5ibzuy6 Он же http://fas.st/dlDPp КРАСНЫЙ ПУХОВИК Finn Flare http://fas.st/uErlb Или недорогой пуховик на ASOS http://fas.st/0OqzZ Кожаный ремень http://fas.st/mHL8ZG ЮБКА-карандаш в темную клетку http://fas.st/Fszsx7 Или еще юбка http://fas.st/cpGXd и еще http://fas.st/yov4f4 Альтернативная ЮБКА-карандаш http://fas.st/wAMNLq Она же на офиц сайте https://rstyle.me/n/deb49rzuy6 Джемпер шерстяной Benetton http://fas.st/Nyh1U или http://fas.st/E9z7F Сапоги-трубы STUART WEITZMAN https://rstyle.me/n/deb5uizuy6 в ПОЛЦЕНЫ! Они же на Farfetch http://fas.st/SCiKf Но тут чуть дороже… Сапоги более доступные с широким голенищем http://fas.st/zvBzJ Или стильные H&M https://rstyle.me/n/deb5dzzuy6 и https://rstyle.me/n/deb5eezuy6 СУМКА красная BOYY https://rstyle.me/n/deb5wwzuy6 Или недорогая, но очень стильная красная СУМКА на Lamoda http://fas.st/GlsT5y ➖➖➖➖➖➖➖➖➖➖ 2️⃣ НАТУРАЛЬНАЯ ШУБА + ДЖИНС КУРТКА ШУБА ИЗ НАТУР МЕХА Шуба норковая http://fas.st/MbV2Mx БРЮКИ http://fas.st/EWzi6 Они же на офиц сайте https://rstyle.me/n/deb65nzuy6 Ботинки Челси https://rstyle.me/n/deb7razuy6 или Vagabond http://fas.st/VWGGF Удлиненная ДЖИНСОВАЯ КУРТКА Mango http://fas.st/7HkLt Она же на офиц сайте https://rstyle.me/n/deb7t8zuy6 или https://rstyle.me/n/deb7u7zuy6 Кардиган http://fas.st/VZ0h6 или http://fas.st/CSZXs или http://fas.st/ewHoz Красная бандана http://fas.st/c1tLaP или http://fas.st/HQmGkw ОЧКИ Ray Ban http://fas.st/UsylOk СУМКА https://rstyle.me/n/deb8hnzuy6 ➖➖➖➖➖➖➖➖➖➖ 3️⃣ БЕЛАЯ ЗИМА Брюки The Other Colours серые в белую клетку http://bit.ly/trousers- Белые кроссовки ACNE STUDIOS как у меня https://rstyle.me/n/deb56nzuy6 Белые массивные кроссовки H&M https://rstyle.me/n/deb54vzuy6 Нейтральные белые массивные КРОССОВКИ http://fas.st/Znb1Yy Или такие же NIKE http://fas.st/NqHyJ и http://fas.st/tTErW Нейтральный БЕЛЫЙ джемпер http://fas.st/56G0aU Или женственный джемпер с открытыми плечиками H&M https://rstyle.me/n/deb6dmzuy6 СУМКА БЕЛАЯ в полоску (идеальная для этого лука) http://fas.st/0DH-ju Или шикарная трехцветная FURLA http://fas.st/er1oPb ШАРФ белый в клетку http://fas.st/3xoMa Верхняя одежда: Серый ПУХОВИК http://fas.st/IUCM1N как в коллаже Или Серая ШУБКА на Lamoda http://fas.st/QtFEX Или лучшие серые и белые шубки 12STOREEZ: Серая http://fas.st/0CAA1 Норковая серая http://fas.st/W_0L3 Или БЕЛАЯ ШУБКА из искусственного меха https://rstyle.me/n/deb6gezuy6 и http://fas.st/0IKtoh Культовая ШУБКА молочного цвета от MAX MARA https://rstyle.me/n/decrvqzuy6 сейчас СО СКИДКОЙ! И недорогие, но очень стильные ЗЕРКАЛЬНЫЕ ОЧКИ http://fas.st/rww3M ШАПКА http://fas.st/XbPQh_ ➖➖➖➖➖➖➖➖➖➖ 4️⃣ ШУБА и СПОРТИВНЫЙ СТИЛЬ Черная ШУБКА H&M https://rstyle.me/n/deb9t8zuy6 БРЮКИ с лампасами http://fas.st/cMJYA РОЗОЫЙ ХУДИ http://fas.st/zYFDYN и http://fas.st/06G50 Или толстовки: http://fas.st/Zj-bmd или http://fas.st/J4eeC Розовая СУМКА JW Anderson https://rstyle.me/n/decbfgzuy6 Или еще стильная сумка http://fas.st/LUzjEf и http://fas.st/MlxrPy Белые кроссовки ACNE STUDIOS https://rstyle.me/n/deb56nzuy6 Белые массивные кроссовки H&M https://rstyle.me/n/deb54vzuy6 Нейтральные белые массивные КРОССОВКИ http://fas.st/Znb1Yy Или такие же NIKE http://fas.st/NqHyJ и http://fas.st/tTErW Кепка бейсболка http://fas.st/QTrfXL и http://fas.st/I9NW4x и она же тут http://fas.st/RoKNL ➖➖➖➖➖➖➖➖➖➖ В ВИДЕО НА МНЕ: Кашемировый ДЖЕМПЕР в полоску - http://fas.st/JaxXe ➖➖➖➖➖➖➖➖➖➖ Production Music courtesy of Epidemic Sound www.epidemicsound.com
Views: 56518 Ellena Galant
Galant Music
 
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Views: 335 Lucas Fernandez
Mattheson "Der Brauchbare Virtuoso" Sonata No.2 in G major
 
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Johann Mattheson (1681-1764) was one of the most important German music theorists and critics of the 18th century. He was a big proponent of the later galant style and dramatic style in vocal music. His opus 7 titled "The Usable Virtuoso" includes 12 chamber sonatas written in the Corellian manner. Sonata No.2 in G major A Tempo - Allegro 1:58 - Corrente con Discrezione 4:54 - Giga 6:27 Trio Corelli Elisabeth Schneider / violin Viggo Mangor / archlute Ulrik Spang-Hanssen / organ
Views: 10963 Deadlockcp
Vo' solcando un mar crudele
 
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Continuing with "thebarroque's favorite arias & performers II" sixty-sixth video, featuring this time: Lucia Cirillo George Frideric Handel: Catone in Utica* *Pasticcio, aria composed by Leonardo Vinci for his opera "Artaserse"
Views: 23394 thebarroque
Galant Schemata in Sonata Form: The First Movement of Abel's Keyboard Concerto in G
 
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Carl Friedrich Abel (1723–1787) was one of the last great virtuosos on the viola da gamba and a talented composer of instrumental music. He spent the early part of his career at the court of Dresden. In 1759 he moved to London, where he developed close ties to J. C. Bach. Together they played an important role in London's musical life as composers and concert promoters. Abel's music is characterized by an intense and fruitful engagement with galant schemata. The first movement of his Keyboard Concerto in G, Op. 11 No. 5 (published in 1774) shows him deftly manipulating a wide range of patterns within what James Hepokoski and Warren Darcy call "the Type 5 Sonata" (the type of sonata form normally used in the opening fast movements of concertos). Schemata here include the Triadic Fall (as opening gambit), the Quiescenza, the Romanesca, the Triadic Ascent (in Ritornello 1 and Recapitulation only), the Meyer (in Solo 1 only), the Cudworth Cadence, the Passo Indietro, and the Monte (mostly in the Development). All these terms except the Triadic Fall were introduced by Robert Gjerdingen in his book "Music in the Galant Style." On the Triadic Fall see https://www.youtube.com/watch?v=qBXVrGUiLHk This performance is by Sabine Bauer (harpsichord); Michael Schneider conducts La Stagione Frankfurt. The cadenza is by Sabine Bauer. This video presents the keyboard part as published in 1774, which contains most of the orchestra's melodic and harmonic material. The orchestral parts (two violins and cello) are available on IMSLP.
Views: 650 Settecentista
Sinfonía en Sol mayor- IGNACIO JERUSALEM Y STELLA~Orchestral Galant Music in the New Spain (S.XVIII)
 
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"Sinfonía en Sol mayor" (ca. 1760) de IGNACIO JERUSALEM Y STELLA (1706-1769). Hasta la fecha se conocen tres sinfonías compuestas por Ignacio Jerusalem y Stella: -Una Sinfonía en Sol mayor para dos violines y bajo, disponible en el Archivo Histórico de la ciudad de Durango (en adelante AHCD), Dgo. Ms. Mus. 266. -Una sinfonía en Sol mayor para dos violines, bajo y dos cornos da caccia disponible en AHCD, Dgo. Ms. Mus. 009. -Una sinfonía en Re mayor que se encuentra en dos fuentes: Una de ellas en AHCD, Dgo. Ms. Mus. 257 para dos violines (carece de la parte de violín segundo), bajo y dos cornos; la otra se encuentra en el Archivo del Cabildo Catedral Metropolitano de México (en adelante ACCMM), Papeles de música, A009611 para dos violines, bajo, dos cornos y dos clarinos. El ejemplar presente en la catedral de México es una sinfonía que preludia la Loa "Al combate" para S, A, T, B b,2vl, 2cor, 2clno y timp; el ejemplar que se encuentra en la catedral de Durango no presenta ninguna instrucción que indique que alguna otra obra continúa al finalizar esta sinfonía. A este ejemplar le falta la parte de vl2, su portada no indica el uso de clarinos (trompetas). Estos dos ejemplares permiten ver la variedad de usos que se daba a este tipo de obras. Una sinfonía podía ser interpretada dentro de la iglesia como interludio en la misa o escuchada en el teatro como una obra instrumental autónoma. Una Loa podía ser interpretada en el teatro como parte de las celebraciones civiles de la ciudad tales como la entrada de un Virrey. Las sinfonías de Ignacio Jerusalem fueron escritas en estilo galante para cumplir con más de una función social y no muestran significativas diferencias técnicas o estilísticas con las compuestas en Europa durante esa misma época. La construcción de sus motivos y frases, la forma en la que aquellos son introducidos, modificados y usados es consistente con las prácticas comunes de los compositores europeos contemporáneos a Jerusalem. Fueron construidas con base en los esquemas tradicionales y típicos del Galante. Las sinfonías de Jerusalem pudieron ser tocadas en más de un recinto y con más de un propósito, ya sea como una obra instrumental independiente (música absoluta), como obertura a una obra más grande (cómo en el caso de la Loa Al combate), para iniciar alguna ópera o representación teatral o como interludio dentro de una misa. Obra extraída del álbum: AL COMBATE. Rediscovered Galant Music from Eighteenth-Century Mexico. Interpretan: Chicago Arts Orchestra. Dirige: Javier José Mendoza. Navona Records, Fine Music. Música Virreinal, Música Colonial.
Views: 15828 Enrique Guerrero
Mitsubishi Galant VR 4 Обзор
 
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Вконтакт: https://vk.com/club138493471 Drive2: https://www.drive2.ru/r/mitsubishi/288230376151997030/ Song: Culture Code - Make Me Move (feat. Karra) [NCS Release] Music provided by NoCopyrightSounds. Video Link: https://youtu.be/vBGiFtb8Rpw Download: http://NCS.lnk.to/MakeMeMove Video Link: https://www.youtube.com/watch?v=lSqnqSSXTUI
Views: 6070 MechaniG
The Fonte
 
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The eighteenth-century music theorist Joseph Riepel adopted the term "fonte" (Italian for fountain or spring) for a pattern that composers used often: a two-stage descending sequence in which the first stage is in the minor mode and the second stage, a whole step lower, is in the major mode. Composers found this schema especially useful at or near the beginning of the second part of binary-form movements, both instrumental (e.g. dance movements) and vocal (e.g. the A-section of da-capo arias); but we also find it frequently in other contexts, such as the modulatory passage in sonata-form expositions. Robert Gjerdingen incorporated the Fonte into his theory of galant schemata; see Music in the Galant Style, chapter 4. See also Gjerdingen's article "Mozart's Obviously Corrupt Minuet," in Music Analysis 29 (2010), 61–81. Michael Weiss has shown that composers continued to rely on the Fonte in the nineteenth century: https://researchspace.auckland.ac.nz/handle/2292/20163 For more on the Fonte see Open Music Theory: http://openmusictheory.com/schemataContinuationPatterns This compilation of examples of the Fonte consists of music by William Boyce, Gaetano Latilla, Mozart, King Frederick the Great, Domenico Scarlatti, Haydn, Johann Baptist Vanhal, Domenico Gallo, Giovanni Benedetto Platti, Leonardo Vinci, Giovanni Battista Pergolesi, Giovanni Paisiello, Johann Gottlieb Naumann, and Georg Benda.
Views: 746 Settecentista
Model Sonata in D Major
 
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I've been studying Gjerdingen's 'Music in the Galant Style' https://books.google.com/books?isbn=0... and Caplin's 'Classical Form' https://books.google.com/books?isbn=0.... I tried applying what I learned in those books to this piece of music.
Views: 45 Michael Curtis
The Do-Re-Mi
 
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A compilation of examples of a common voice-leading schema. As discussed by Robert Gjerdingen in his book "Music in the Galant Style," the Do-Re-Mi served eighteenth-century musicians as a useful opening gambit: "Composers were clearly fond of beginning a movement by figuratively climbing the first three rungs of the melodic ladder" (Gjerdingen, p. 88). These excerpts include music from the 1660s to the 1790s by Haydn, Pergolesi, Benda, Lully, Dittersdorf, Hasse, Martín y Soler, Mozart, Kozeluch, Platti, Gassmann, Corelli, and Gluck. Composers often used another schema, which I call the Lully, in conjunction with the Do-Re-Mi; for several examples go to https://www.youtube.com/watch?v=KqDR4hkszoY In the second half of the eighteenth century the Do-Re-Mi became one of the most common schemata for the opening ("presentation") phrase of the sentence, with Do or Do–Re underlying the first statement of the "basic idea," and Re or Re–Mi underlying the second statement of the "basic idea." (Sometimes Mi had to wait until the beginning of the second "continuation" phrase of the sentence). Several of the passages presented here come from the beginning of sentences. For more on the Do-Re-Mi see http://openmusictheory.com/schemataSummary.html For more on the musical sentence see http://openmusictheory.com/sentence.html For examples of sentences that begin with the Do-Re-Mi, see https://www.youtube.com/edit?o=U&video_id=9JmFWv9gQXU
Views: 557 Settecentista
Musical Sentences that begin with the Meyer
 
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This video revisits the Meyer, a schema of which I presented a compilation about a year ago: https://www.youtube.com/watch?v=3RUR9CKUp-M This time I consider the role that the Meyer plays in the sentence, a musical structure ubiquitous in music of the second half of the eighteenth century. For a brief explanation of the sentence, with links to other online resources, see the commentary accompanying my video “Musical Sentences that begin with the Triadic Ascent”: https://www.youtube.com/watch?v=qb9pr86Vvns Robert Gjerdingen named the Meyer after his mentor Leonard Meyer, who called attention to the frequent use of this voice-leading schema in themes that William Caplin would later call “sentences”; see Meyer’s seminal article “Exploiting Limits: Creation, Archetypes and Style Change,” in Daedulus III (1980), 177–205. Janet Schmalfeldt explored the implications of Meyer’s insight (with reference to the early work of Caplin and Gjerdingen) in her article “Towards a Reconciliation of Schenkerian Concepts with Traditional and Recent Theories of Form” in Music Analysis 10 (1991) 233–87 (see especially pp. 243–46). The Meyer typically unfolds in two dyads: 1–7 followed by 4–3. In composing sentences, eighteenth-century composers found these dyads an effective framework for the two-fold deployment of the basic idea. The authors of Open Music Theory describe the Meyer as an "archetypal 'opening' schema in the galant style" that "works well at the beginning of a theme." Occasionally composers used the Meyer twice in the presentation phrase, with the basic idea consisting of the whole schema. This video presents a compilation of examples of the Meyer at the beginning of sentences in instrumental and vocal music by Mozart, Paisiello, Haydn, Abel, Beethoven, Salieri, Vanhal, Platti, Gluck, Pescetti, Vinci, Benda, and Dittersdorf. Other examples of sentences that begin with a Meyer include "Batti, batti, o bel Masetto," in Mozart's Don Giovanni: https://www.youtube.com/watch?v=-Ty3UIw77jI
Views: 261 Settecentista
Little known organ composers 5 - J.H. Buttstett
 
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JOHANN HEINRICH BUTTSTETT (1666-1727) Johann Heinrich Buttstett was a German composer born near Erfurt. His father studied theology at the university there and became a pastor in a nearby village two years before Johann was born. At a young age he began taking organ lessons from the local organist, Johann Pachelbel. After finishing school, Johann became organist in Erfurt and also taught at a school there. At the age of 21 Johann married the daughter of another pastor and together they received ten children of which two later became organists. After the departure of Pachelbel, Nicolaus Vetter was appointed organist at the prestigious Predigerkirche in Erfurt, but he soon departed for a position elsewhere and Buttstett was named his predecessor. He fulfilled this position for 36 years until his death in 1727. Apart from some minor vocal works, of which not all have survived, Buttstett composed mostly organ works. Although claiming to have written more than a thousand works including preludes, fugues, ricercars and more, his only surviving collection is the Musicalische Clavier-Kunst und Vorraths-Kammer dated 1713 and contains considerably less work, most of which are chorale preludes. Although a student of the Southern German Pachelbel, Buttstett’s works are heavily influenced by the Northern German composers such as Bruhns and Buxtehude. In his publication Ut, mi, sol, re, fa, la, tota musica et harmonia aeterna, Buttstett defends the old style of organ music as opposed to Johann Matheson’s Das neueröffnete Orchestre which promoted the new galant style of music. VIDEO Peter Elgeti plays the 1699 Schnitger organ in the St. Cyprian und Cornelius Church in Ganderkesee, Germany. 1. Präludium in C-Dur 2. Suite in F-Dur (Allemande – Courante – Sarabande – Air – Double
Views: 412 Orgel Van de Week
The Best of Telemann
 
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Love classical music? Learn to play the best PIANO pieces the easiest way: http://tinyurl.com/classic-flowkey Georg Philipp Telemann Essercizii Musici Part A (12 Solo sonatas) 1. Violin Sonata, TWV 41:F4 3. Flute Sonata, TWV 41:D9 5. Viola da Gamba Sonata, TWV 41:a6 7. Recorder Sonata, TWV 41:d4 9. Oboe Sonata, TWV 41:B6 11. Suite in C major, TWV 32:3 13. Violin Sonata, TWV 41:A6 15. Flute Sonata, TWV 41:G9 17. Viola da gamba Sonata, TWV 41:e5 19. Recorder Sonata, TWV 41:C5 21. Oboe Sonata, TWV 41:e6 23. Suite in C major, TWV 32:3 Part B (12 Trio sonatas) 2. Trio No.1 for Recorder, Oboe, Continuo, TWV 42:c2 4. Trio No.2 for Viola da gamba, Cembalo, Continuo, TWV 42:G6 6. Trio No.3 for Violin, Oboe, Continuo, TWV 42:g5 8. Trio No.4 for Flute, Cembalo, Continuo, TWV 42:A6 10. Trio No.5 for Violin, Recorder, Continuo, TWV 42:a4 12. Trio No.6 for Flute, Viola da gamba, Continuo, TWV 42:h4 14. Trio No.7 for Recorder, Viol, Continuo, TWV 42:F3 16. Trio No.8 for Recorder, Cembalo, Continuo, TWV 42:B4 18. Trio No.9 for Flute, Violin, Cello, Continuo, TWV 42:E4 20. Trio No.10 for Violin, Viola da gamba, Continuo, TWV 42:D9 22. Trio No.11 for Flute, Oboe, Continuo, TWV 42:d4 24. Trio No.12 for Oboe, Cembalo, Continuo, TWV 42:Es3 For more: http://www.melhoresmusicasclassicas.blogspot.com
Views: 525782 Top Classical Music
Little known organ composers 8 - Galuppi
 
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BALDASSARE GALUPPI (1706-1785) Baldaresse Galuppi was born in the Venetian Republic (now Italy) in 1706. He likely studied music with his father and possibly Antonio Lotti, the main organist in the St. Mark’s Basilica in Venice. Galuppi composed his first opera at the age of 15, which was not successful. His career started to really take off by the time he turned twenty-two. In 1740 Galuppi was appointed director of music at the Ospedale dei Mendicanti in Venice which involved teaching and writing liturgical music including oratorios, motets, Psalms and numerous settings of the Salve Regina. Just a year later Galuppi went to England where he stayed till 1743. There he directed and composed more operas. His galant style of composing was not appreciated by all and was certainly no match for that of Handel who is said to have attended one of Galuppi’s performances. Back in Venice Galuppi put his energy into the latest fashion, comic opera. He became very popular with his works being performed in several other European cities including Berlin, London and Vienna. His annual income was higher than that of almost any other 18th century composer. In 1762 Galuppi was appointed maestro di capella at St. Mark’s in Venice and maestro di coro at the Ospedale degli Incurabili. Just two years later he was asked to become the court composer and conductor in St. Petersburg for Catherine the Great of Russia. On his way there he paid a visit to C.P.E. Bach in Berlin. Once there he wrote both liturgical as well as operatic music. He also gave weekly harpsichord recitals. Galuppi returned to Italy in 1768 and resumed his old jobs. During the last years of his life his music, according to contemporary Charles Burney, had more spirit, taste and fancy than ever before. At this time he was the domestic organist of the family of Gritti and a church in Venice. Galuppi wrote some 109 operas, at least 284 sacred works and a whole collection of keyboard music including sonatas, toccatas and etudes. He also composed many other instrumental works. VIDEO Douglas Lawrence plays the 1821 Father Diego Cera bamboo organ in the St. Joseph’s Church in Las Piñas, Manila, Philippines. 1. Andante 2. Allegro e spiritoso Sergio De Pieri plays the 1819 Callido organ at the Parrocchia di San Candido in Tai di Cadore, Italy. 3. Sonata per flauto 4. Largo
Views: 116 Orgel Van de Week
New Order - Blue Monday
 
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Original song from 1983
Views: 119228242 jrrr90
Jana Semerádová - Solo For The King - SUPRAPHON EN
 
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Solo For The King. Concert at the Royal Court of Frederick the Great / Bach, Kirnberger,Quantz, Benda / Jana Semerádová https://itunes.apple.com/cz/album/solo-for-king-bach-quantz/id515350670 Just as France had its Louis XIV, so Germany had Frederick II (1712-1786), whose passionate love of music (to the great annoyance of his father, who wanted him to be a strong monarch and military commander) allowed for the blossoming of many splendid flowers in the Galant style. The desire to learn how to play the flute was awakened in Frederick by his meeting the virtuoso J. J. Quantz. The King surrounded himself with renowned musicians of the time, with his orchestra including the harpsichordist C. Ph. E. Bach, the phenomenal Czech violinist F. Benda and J. Ph. Kirnberger, a pupil of J. S. Bach's. The encounter between Bach and the King of Prussia subsequently gave rise to the famous collection Musikalisches Opfer (Musical Offering). The fame of the spellbinding "Galant style" of the Baroque flautist Jana Semerádová has long since crossed the borders of the Czech lands: Wilbert Hazelzet's pupil has performed to great acclaim at prestigious European festivals as a soloist and with her Collegium Marianum ensemble. Her magical flute invites you to a musical feast at the Potsdam chateau featuring the greatest musicians of the time of King Frederick II. An invitation to a royal concert at the court of Frederick the Great.
Views: 897 SUPRAPHON
The Harmonic Periods of William Jones
 
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The Harmonic Periods of William Jones: Voice-Leading Patterns Compiled in the 1780s by a devotee of “Ancient Music” All the musical examples in this video are from William Jones’s A Treatise on the Art of Music (1784). Dedicated to the Directors of the Concerts of Antient Music, the book bears witness to the author’s admiration for the music of Purcell, Corelli, Handel, Geminiani, and Pergolesi. When he wrote of “our greatest masters,” Jones meant “those whom we now call antient; for I find less to my purpose in the moderns; who are too apt to throw their Air into a single part; one part taking it up when another has laid it down; while all the rest are servile accompaniments, and the Base [sic] but little more than a divided Drone. To satisfy the present Appetite for noise and tumult, arising from a sort of convulsive agitation of the mind, analogous to the dance of St. Vitus in the limbs, one of the parts has a rapid motion given to it (no matter which) consisting frequently in a repetition of the same note. Thus their Harmonies, instead by being properly conducted, and melting into one another, are chopped in pieces; and the motion of repetition is a poor substitute for learned contrivance and correspondent melody in the different parts; which was denoted by former artists under the word Mixture. Some Masters have ventured to predict, that this Style will soon be out of fashion; but that is more than I can foresee: light people will always be best pleased with light music; and little minds will admire little things” (p. 43). Jones’s chapter 4 is entitled “Of Harmonic Periods, Diatonic and Chromatic.” It begins: “By an Harmonic Period I understand a series or chain of chords, connected together, and depending on one another, till they come to some kind of close.” At the end of the chapter Jones defines Periods, in remarkably modern terms, as “Topics, that is . . . the Common-places, Predicaments, and Figures, of Music.” Most of Jones’s Harmonic Periods correspond to, or make use of, voice-leading patterns (schemata) elucidated by Robert Gjerdingen, Giorgio Sanguinetti, and others: they include the Circle of Fifths, the Monte Romanesca, the Pachelbel Romanesca, the Corelli Leapfrog, the Ascending and Descending 7-6 Sequences, the Morte, the Cadenza doppia, the Passo indietro, and the Prinner. As one might expect in the work of such a conservative musician, some of the more modern schemata, including the Galant Romanesca (with a bass tracing the scale degrees 1 – 7 – 6 – 3), changing note patterns such as the Meyer and Aprile, the Quiescenza, and Dean Sutcliffe’s Overture are absent from Jones’s compilation. In the chapter’s concluding remarks, Jones articulates with unusual clarity attitudes that Gjerdingen and other twenty-first century theorists have attributed to eighteenth-century musicians: In the foregoing Periods, I have endeavoured to exhibit the most considerable parts of what may be called the Materia Musica, which experience and fancy are to compound and apply in many different ways. By more changes and inversions, and by looking farther into the works of some of the best Authors, I might have multiplied these examples; but when the Learner has studied what I have here given, he will certainly be able to do this and much more himself. Out of these Periods he will construct others by compounding them together at pleasure, when use has made it easy to apply the rules of Inversion and Modulation: and when the fancy is furnished with some variety of Air and Measure, the Learner becomes an Extempore-Performer, who will find his stores inexhaustible, if he has laid in a proper foundation.
Views: 267 Settecentista
Teaching Demonstration: Voice Equality in the Classical String Quartet
 
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March 17, 2017, Aaron Copland School of Music, CUNY Queens College. Dr. Adem Merter Birson and a group of students explore the meaning of voice equality in Mozart's string quartet, K. 387 in G major. This is the first of the six "Haydn" quartets, which theorist Heinrich Christoph Koch mentions (1793) as standing out as the best representatives of the "modern" galant style.
Views: 65 Adem Merter Birson
The Aprile
 
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What Robert Gjerdingen calls the Aprile is a schema (earlier elucidated by his mentor Leonard Meyer) defined primarily by a treble line that traces the scale degrees 1 – 7 – 2 – 1. "The Aprile schema . . . is closely associated with the Meyer. Both share the same pair of initial events. But whereas the Meyer closes with a 4 – 3 dyad, the Aprile closes a third lower with 2 – 1" (Music in the Galant Style, p. 122). Like the Meyer, the Aprile is a "presentation schema": composers used it often in the opening "presentation phrase" of a sentence, where its dyads correspond to the phrase's two "basic ideas." Several of the examples here consist of sentences or parts of sentences. This video consists of some examples of the Aprile in music of the second half of the eighteenth century, by Mozart, Haydn, Gluck, Joseph Schuster, Carl Friedrich Abel, and Carl Dittersdorf. For more on the Aprile see http://openmusictheory.com/schemataSummary.html For a discussion of the Aprile with further examples see Vasili Byros, "Topics and Harmonic Schemata: A Case from Beethoven," in The Oxford Handbook of Topic Theory, 381–82. Among many other examples of the Aprile is the A-major sentence in Mozart's Ave verum corpus: https://youtu.be/Af0x8EsiR7Q?t=42s and the main theme of the finale of Beethoven's Sinfonia eroica: https://youtu.be/IJ1xqShTQCc?t=1m54s
Views: 245 Settecentista
443 piano
 
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This is a sonata movement I wrote to try some extended harmony with a sort of galant style.
Views: 69 whack47
J.G. Orschler: Triosonata in F minor
 
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Johann Georg ORSCHLER 1698 – 1767/70 Trio per due violini e basso continuo in F minor: 1. Intrada 2. Siciliana 3:18 3. Menuet Trio 6:20 4. Fuga 8:04 Collegium Marianum Jana Semerádová [direction]
Views: 2729 Dramma per musica
ULTIMATE Mitsubishi Colt Galant GTO GSR Pictures Slideshow Compilation Tribute
 
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ULTIMATE Mitsubishi Colt Galant GTO GSR Pictures Slideshow Compilation Tribute music Midranger - Nostalgia https://theartistunion.com/tracks/77dafa
Views: 11624 Ultimate Rides
Johan Roman Drottningholm Music (Selections Part 2)
 
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Johan Helmich Roman (1694 -- 1758) was a late Baroque composer, often called "the father of Swedish music." During his lifetime, he has made two trips to mainland Europe and England, acquiring the latest musical tastes and styles of the time. He served as the deputy master and later principal master of the Swedish court orchestra and organized Sweden's first public concerts, something then only heard of only in London and Paris. He composed a variety of works in the late Baroque idiom, including symphonies, concertos, trio sonatas, and cantatas. His musical style is generally characterized as being in the transition from late Baroque to the galant,style. Handel is cited as one of Roman's most important influences. The Drottningholm Music, or Music for a Royal Wedding, was written for the wedding of Swedish crown prince Adolf Fredrik and his wife Lovisa Ulrika in 1744. It comprises 24 movements, varying in orchestration and mood. It was not meant to be played sequentially. 17. (Allegretto) 18. (Andante) 1:14 19. Allegro molto 3:06 20. Allegro 4:00 21. Allegro 6:21 22. Allegro 7:48 23. Vivace 11:20 24. Allegro 12:18 Drottningholm Baroque Ensemble / Nils-Erik Sparf
Views: 5170 Deadlockcp