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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: 264 Román Cano
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
Rococo Style 1700-1760
 
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This video shows the different Artists, Sculptures, and Architects that were in this regional style. Jean Philippe Rameau, a french composer of the era, composes the background music.
Views: 83934 Stephnagle
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: 70212 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
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: 556 Leslie Sanford
Minuet in F Major (In the Galant Style) - Román Cano
 
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Here is a new minuet in the manner of young Mozart, similar to the previous one, but using other galant schemata.
Views: 156 Román Cano
The Galant Style - Concert #6
 
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Anton Isselhardt (flute) My Huong Nguyen (violin) Dwipa Hanggana Pratala (violoncello) Jumat, 10 Agustus 2012 di Museum Tembi Rumah Budaya Yogyakarta
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: 318 Settecentista
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: 1604 Settecentista
Mitsubishi galant | Stance night
 
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Follow me on Instagram: https://www.instagram.com/safiro_media/ Music used: https://soundcloud.com/thenexthokage/royale-ft-chris-havok-2
Views: 106960 Safiro Media
Mitsubishi galant air | Stance day
 
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This is my stance galant soon there will be a lot of new video subscribe to my channel Follow me on Instagram: https://www.instagram.com/safiro_media/ MUSIC : Dabp - Twunggg!
Views: 59397 Safiro Media
Musical Form - Episode#2
 
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For more, go to www.drewsical.com This video is in two parts. The first part includes a discussion of the following: 1) The galant style 2) The traditional definition of sonata form 3) The problem with a theory of form that is linked with style The second part of this episode (posted as a video response) discusses three basic theme-types (the sentence, the period, and the small ternary) and introduces some of the terminology used by William Caplin in his book, "Classical Form".
Views: 6456 Andrew Schartmann
Fifth progressions in galant music
 
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Fifth progressions in galant music
Views: 718 migjurado
Galant Music
 
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Views: 394 Lucas Fernandez
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: 916 Settecentista
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: 758 Settecentista
Hofstra Music Theory: Piano Sonatas
 
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Professor Adem Merter Birson and the Hofstra Music Class of '21 studied music theory using Mozart's piano sonatas. At the end of the semester, students tried their own compositions based on what they had learned. The result was a musical salon during class that involved moments of genuine amazement, excitement, and plenty of laughs, just like music in the Galant style was intended to be. For more information on Dr. Birson, please click on the following links: Website: http://www.ademmerterbirson.com/ Facebook: https://www.facebook.com/DrBirson/ Twitter: https://twitter.com/ProfessorBirson LinkedIn:https://www.linkedin.com/in/adem-merter-birson-10330b141/
Views: 133 Adem Merter Birson
The Sol-Fa-Mi
 
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Some examples of the Sol-Fa-Mi, a schema named and discussed by Robert Gjerdingen in his book "Music in the Galant Style." Composers represented here: Seixas, Mozart, Vanhal, Platti, Paisiello, Pescetti, Gluck, Porpora, C. P. E. Bach, Haydn, Martines, Corelli. See Gjerdingen, chapter 18, and the Open Music Theory website: http://openmusictheory.com/schemataSummary.html
Views: 931 Settecentista
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: 272 Tobias Cramm
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: 714 Settecentista
Galant Schemata and Ritornello Form in the First Movement of Corrette's "Le Phénix"
 
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Michel Corrette’s concerto “Le Phénix” is remarkable first of all for its scoring: four bass instruments (cellos, violes, or bassoons). The original edition, published in Paris around 1735, appears to exist in a single copy, in the Bibliothèque de l’Arsenal, Paris (call number MUS-465). According to the online catalogue of the Bibliothèque Nationale, the title page reads: “Le Phenix, concerto pour quatre violoncelles, violes ou bassoons. Composé par Michel Corrette. Ce concerto se peut jouer en trio, en obmettant le 3e violoncelle.” The parts are labeled “Violoncello o fagotto p.mo,” “Violoncello II.o,” Violoncello terzo,” and “Organo o violoncello 4o.” This suggests that Corrette conceived the work as a concerto for cello or bassoon solo (“Violoncello o fagotto p.mo”), a second cello for the accompaniment in the solo passages (“Violoncello II.o”) and two more cellos for the tutti sections. ( https://catalogue.bnf.fr/ark:/12148/cb39782877r ) Since the bassoonist Donald Christlieb rescued Le Phénix with a modern edition in 1966, as a concerto for four bassoons and harpsichord, bassoonists have found it an especially effective vehicle for their instrument. The performance presented here (by Les Voix Humaines) involves a cello, a viola da gamba, two bassoons, and continuo, with the bassoons and the strings alternating solo and accompanimental roles. Also noteworthy is Corrette’s integration of galant voice-leading schemata into the typically Vivaldian ritornello form of the opening movement. Both the ritornellos (with full participation of all four instruments, though rarely in four real parts) and the episodes (with solos for instrument 1, accompanied by instrument 2) are pervaded by the conventional patterns of galant music, including the Galant Romanesca (defined by the bass descent 1 – 7 – 6 – 3), the Modulating Prinner, the Fenaroli-Ponte, the Galant Monte (defined by a chromatically rising bass), the Do-Re-Mi, the Sol-Fa-Mi, and the Triadic Ascent with canonic imitation. Having first heard this charming music in 1975, when I bought the Turnabout LP that included a performance of Le Phénix by the bassoonists George Zukerman, Jürgen Gode, Fritz Wolken and Karl Steinbrecher, with Martin Galling on harpsichord, I enjoyed getting to know it again while making this video.
Views: 305 Settecentista
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: 1653 Settecentista
Transcendent Journey by Rossano Galante
 
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To purchase or for more info go to https://goo.gl/64qp5R G. Schirmer Concert Band - Grade 5 Written in a grand “film score” style, this magnificent work opens with a dynamic fanfare featuring soaring brass and woodwind flourishes. Descriptive and evocative with every phrase, including a beautiful slow lyric section, transport your audience on a thrilling musical adventure with this impressive overture! HL50490009 HL50490010
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: 286 MotoTour77
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: 301 Settecentista
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: 1222 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: 230106 olla-vogala
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: 27261 thebarroque
Bach, C.P.E. - Wq 136 - Sonata for Viola da gamba
 
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Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788) was a German Classical period musician and composer, the fifth child and second (surviving) son of Johann Sebastian Bach and Maria Barbara Bach. His second name was given in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach. C. P. E. Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered galant style also then in vogue. Through the later half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high. Wolfgang Amadeus Mozart said of him, "He is the father, we are the children." It has been written that "in the second half of the 18th century the name `Bach' was almost exclusively associated with the initials `CPE'" and that "his influence on subsequent composers such as Haydn and Beethoven - both of whom were avid collectors of his music -- was in many respects greater than his father's" The best part of Joseph Haydn's training was derived from a study of CPEB's work. Beethoven expressed for his genius the most cordial admiration and regard. His keyboard sonatas, for example, mark an important epoch in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design. The content of his work is full of invention and, most importantly, extreme unpredictability, and wide emotional range even within a single work, a style that may be categorized as empfindsamer Stil. As performers today explore presenting public performances in intimate and unusual concert venues, we can appreciate the composer’s ingenuity and bizarrerie in appropriate settings. “Carlophilipemanuelbachomania,” a term invented by a contemporary, is not far from its realization in the hearts of today’s musicians and listeners. In retrospect, of course, CPE's reputation has dwindled, dwarfed by that of his father. But there is a strong argument that his influence on subsequent composers such as Haydn and Beethoven – both of whom were avid collectors of his music – was in many respects greater than his father's. Indeed, in tirelessly promoting an aesthetic that aims to liberate instrumental music from service as polite entertainment, he is many ways the most significant progenitor of the "absolute music" which came to dominate conceptions of the art in the 19th century, and still – to a very large extent – presides over the life of our concert halls today.
Views: 5306 George 1010th
The Heartz
 
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Here are some manifestations of a formula that eighteenth-century composers used to produce a vast amount of music. In conventional harmonic terms we can describe it as I - IV - I (or more rarely i - iv - i) over a tonic pedal. In the context of Robert Gjerdingen's schema theory we can describe it as a treble line tracing the scale degrees 5 - 6 - 5 over a tonic pedal. I named this schema after Daniel Heartz, my professor at the University of California, Berkeley, in acknowledgment of his recognition of it as a characteristic and expressively potent element of the galant style. For more information see my article "The Heartz: A Galant Schema from Corelli to Mozart," in Music Theory Spectrum 37 (2014): http://mts.oxfordjournals.org/content/early/2014/09/24/mts.mtu016 A pre-publication version of the article is available at https://www.academia.edu/8491512/The_Heartz_A_Galant_Schema_from_Corelli_to_Mozart This compilation includes music by Mozart, Haydn, Luigi Boccherini, Leopold Kozeluch, Andrea Bernasconi, Johann Baptist Vanhal, Tommaso Traetta, Giuseppe Sarti, Leonardo Leo, Antonio Salieri, Carl Heinrich Graun, Anna Bon, Franz Ignaz Beck, J. C. Bach, Johann Adolf Hasse, and Vicente Martín y Soler Other examples of the Heartz include. . . in Mozart's Don Giovanni, "Dalla sua pace" https://www.youtube.com/watch?v=Cg1pGgoIExw and "Per queste tue manine" https://www.youtube.com/watch?v=vE0tiWCvMt0 "Rivolgete a lui lo sguardo," an aria that Mozart wrote for Francesco Benucci in Così fan tutte, but omitted from the opera: https://www.youtube.com/watch?v=A-AihGlUXzU The Heartz was among the many galant schemata imported to the New World and used by composers in Mexico, Brazil, and elsewhere. For some early nineteenth-century Brazilian examples, see Mítia Ganade D'Acol, "Decoro musical e esquemas galantes: um estudo de caso das seções de canto solo das Missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal," Universidade de São Paulo, 2015, online at http://www.teses.usp.br/teses/disponiveis/27/27157/tde-23032017-153229/es.php and 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 Michael Weiss will give a paper entitled "Phrase Structure and Formal Function in Galant Schemata: The 'Heartz' in Nineteenth-Century Themes" at the joint meeting of the Society for Music Theory and the American Musicological Society in San Antonio in November 2018; you can read the abstract on p. 275 of the program book: https://cdn.ymaws.com/www.amsmusicology.org/resource/resmgr/files/san_antonio/abstracts-sanantonio.pdf .
Views: 352 Settecentista
Mozart - Sonata for Two Pianos in D, K. 448 [complete]
 
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The Sonata for Two Pianos in D major, K. 448 is a piano work composed in 1781 by Wolfgang Amadeus Mozart, at 25 years of age. It is written in strict sonata-allegro form, with three movements. The sonata was composed for a performance he would give with fellow pianist Josephine von Aurnhammer. Mozart composed this in the galant style, with interlocking melodies and simultaneous cadences. This is one of his only formal compositions written exclusively for two pianos. This sonata was also used in the scientific study that tested the theory of the Mozart Effect, suggesting that classical music increases brain activity more positively than other kinds of music. The sonata is written in three movements, 1. Allegro con spirito 2. Andante and 3. Molto Allegro. The first movement begins in D major, and sets the tonal center with a strong introduction. The two pianos divide the main melody for the exposition, and when the theme is presented both play it simultaneously. Mozart spends little time in the development introducing a new theme unlike most sonata forms, and begins the recapitulation, repeating the first theme. The entire second movement is played Andante, in a very relaxed pace. The melody is played with both pianos, but there is no strong climax in this movement. It is written in a strict ABA form. Molto Allegro begins with a galloping theme. The cadences used in this movement are similar to those in Mozart's Rondo alla Turca. According to the British Epilepsy Organization, research has suggested that Mozart's K 448 can have the "Mozart effect", in that listening to the piano sonata improved spatial reasoning skills and reduce the number of seizures in people with epilepsy. Apart from another Mozart Concerto, K 488, only one other piece of music has been found to have a similar effect, a song by the Greek composer Yanni, entitled "Acroyali/Standing In Motion", which is featured on his album Yanni Live at the Acropolis. It was determined to have the "Mozart effect", by the Journal of the Royal Society of Medicine because it was similar to Mozart's K 448 in tempo, structure, melodic and harmonic consonance and predictability. ----------------------------------------------------------------------------- FREE .mp3 and .wav files of all Mozart's music at: http://www.mozart-archiv.de/ FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start.php?l=2 ALSO check out these cool sites: http://musopen.org/ and http://imslp.org/wiki/ ------------------------------------------------------------------------- NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome. ------------------------------------------------------------------------------- ENJOY!!!! :D
Views: 5711556 Am4d3usM0z4rt
Resplendent Glory by Rossano Galante
 
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To purchase or for more info go to http://goo.gl/1vY0W8 G. Schirmer Concert Band - Grade 5 Written in a romantic/heroic style, this impressive overture from Rossano Galante features sweeping and lush melodies along with brilliant brass fanfares and woodwind flourishes. For the mature ensemble, here is a dynamic concert opener. HL50486463 HL50486464
Views: 148364 Hal Leonard Concert Band
C.P.E. Bach - Wq 118/9 H263 - La Folia d'Espagne (HD)
 
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Andreas Staier (born 13 September 1955 in Göttingen) is a German pianist and harpsichordist. Carl Philipp Emanuel Bach (8 March 1714 – 14 December 1788), also formerly spelled Karl Philipp Emmanuel Bach, was a German Classical period musician and composer, the fifth child and second (surviving) son of Johann Sebastian Bach and Maria Barbara Bach. His second name was given in honor of his godfather Georg Philipp Telemann, a friend of Johann Sebastian Bach. C. P. E. Bach was an influential composer working at a time of transition between his father's baroque style and the classical and romantic styles that followed it. His personal approach, an expressive and often turbulent one known as empfindsamer Stil or 'sensitive style', applied the principles of rhetoric and drama to musical structures. Bach's dynamism stands in deliberate contrast to the more mannered galant style also then in vogue. To distinguish him from his brother Johann Christian, the "London Bach," who at this time was music master to the Queen of England, C. P. E. Bach was known as the "Berlin Bach" during his residence in that city, and later as the "Hamburg Bach" when he succeeded Telemann as Kapellmeister there. To his contemporaries, he was known simply as Emanuel. Through the later half of the 18th century, the reputation of Carl Philipp Emanuel Bach stood very high, surpassing that of his father. Haydn and Beethoven admired him and "avidly" collected his music. Mozart said of him, "Bach is the father, we are the children." His work is full of invention and, most importantly, extreme unpredictability, and wide emotional range even within a single work, a style that may be categorized as empfindsamer Stil. It is no less sincere in thought than polished and felicitous in phrase. His keyboard sonatas, for example, mark an important epoch in the history of musical form. Lucid in style, delicate and tender in expression, they are even more notable for the freedom and variety of their structural design; they break away altogether from both the Italian and the Viennese schools, moving instead toward the cyclical and improvisatory forms that would become common several generations later. He was probably the first composer of eminence who made free use of harmonic color for its own sake.
Views: 324 George 1010th
Largo Sig  Buranello, Baldassare Galuppi (1706-1785), arr. on Genos
 
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Arranged on Genos is this classical music from Baldassare Galuppi, a Venetian composer, born on the island of Burano in the Venetian Republic. He belonged to a generation of composers, including Christoph Willibald Gluck, Domenico Scarlatti, and C. P. E. Bach, whose works are emblematic of the prevailing galant style that developed in Europe throughout the 18th century. He achieved international success, spending periods of his career in Vienna, London and Saint Petersburg, but his main base remained Venice, where he held a succession of leading appointments. I played this modernized music with Genos' EasyPop style and custom voicing
Views: 95 Fred Mellink
Galant and Learned Voice-Leading Schemata in the Opening Chorus of Bernasconi's Miserere in D minor
 
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Andrea Bernasconi served the electoral court of Munich from 1753 to his death in 1784, first as Vizekapellmeister and then, from 1755, as Kapellmeister. He wrote several opere serie and a great deal of church music. The manuscripts of the church music were preserved in the Allerheilgen-Hofkirche in Munich until 1944, when the entire collection was destroyed by Allied bombing. Fortunately a few of the sacred works survive in other libraries, including this Miserere in D minor. Edited by the Swiss musicologist Christoph Riedo and performed by the chorus of Swiss Radio and Television and I Barocchisti under the direction of Diego Fasolis, the Miserere in D minor reveals Bernasconi as a talented composer for the church, expertly using the musical conventions of his day to achieve the kind of monumentality, solemnity, and drama valued in eighteenth-century Catholic church music. Among the voice-leading schemata whose realizations in the opening chorus listeners will enjoy are the Lully, the Morte, the Stabat Mater Prinner, the Le-Sol-Fi-Sol, and the 4/2-to-6 Sequence, all of which are appropriate for a penitential psalm closely associated with the somber liturgy of Holy Week. On the 4/2-to-6 Sequence ("Bass suspensions in series") see Giorgio Sanguinetti, The Art of Partimento, pp. 134–35.
Views: 482 Settecentista
Musical Sentences that begin with the Triadic Ascent
 
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This video revisits the Triadic Ascent, a schema of which I presented a compilation almost a year ago: https://www.youtube.com/watch?v=sWgLTnobya0 This time I consider the role that the Triadic Ascent plays in the sentence, a musical structure ubiquitous in music of the second half of the eighteenth century. The sentence has been the subject of much research in the last two decades, beginning with William Caplin’s “Classical Form” (New York, 1998). For a basic introduction to the sentence, see Open Music Theory: http://openmusictheory.com/sentence.html , and for more details, try this lecture by Seth Monahan: https://youtu.be/LvCFVkSnr_8 The prototypical sentence is an eight-measures theme divided into two phrases. The first phrase (the four-measure “presentation”) consists of two statements of a “basic idea” of two measures. The second phrase (the four-measure “continuation”) ends with a cadence. As you might expect, composers did not always follow these norms. One can often recognize as a sentence a theme that deviates from the prototype in one way or another. There are several examples of non-normative sentences in the video, and with some of these passages listeners can legitimately disagree on what is or is not a sentence. (Your comments are welcome.) In addition to the two-phrase sentence elucidated by Caplin, the three-phrase sentence was also common in the eighteenth century, especially before 1780. This video includes several examples of the three-phrase sentence. The authors of Open Music Theory point out that a particular group of voice-leading schemata are especially useful in the presentation phrase of the sentence, including the Meyer, the Do-Re-Mi, and the Sol-Fa-Mi. The authors recommend that these and other “presentation” schemata be used in the improvisation of sentences; see http://openmusictheory.com/schemataSummary.html , http://openmusictheory.com/schemata-improv.html , and https://vimeo.com/109188050 The authors of Open Music Theory do not mention the Triadic Ascent, a schema that Robert Gjerdingen mentioned only in passing in his “Music in the Galant Style” (pp. 269, 271). But the Triadic Ascent’s two stages—the first normally based on the first scale degree, the second on the third scale degree—offered composers a convenient melodic framework for the two-fold deployment of the basic idea in the sentence’s opening phrase. After listening to this video, I hope you will agree that these composers, whether they were writing for the theater, the church, the concert room, or the amateur musician at home, considered the Triadic Ascent an effective schema for the presentation phrase of sentences. Other sentences that begin with the Triadic Ascent include the minuet of Mozart's Symphony in G minor, K. 550: https://youtu.be/yPtHef3VASQ Joseph Eybler's gradual "Omnes de Saba venient" (choral entrance): https://youtu.be/CH-zNEJphV0?t=40s Georg (Jiri) Benda's drinking chorus "Trinkt, trinkt, trinkt," in Der Dorfjahrmarkt: https://www.youtube.com/watch?v=I7f_1Lx16ko Mozart, overture to "Die Entführung aus dem Serail": https://www.youtube.com/watch?v=GrFbiw77_90
Views: 255 Settecentista
Josse Boutmy (1697-1779) - Suite in d, Op.2/3
 
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Autor: Josse Boutmy (1697-1779) Obra: Suite in d, Op.2/3 Intèrprets: Jan Devlieger (klavicembal) Pintura: Gezicht op het Stadhuis aan de Grote Markt te Brussel, Kaiserlich Franziskische Akademie, naar Bergmüller (1755-1779) Més info: https://www.phaedracd.com/product/92089/ --- Josse [Charles Joseph Judocus, Joos] Boutmy (Ghent, 1 Feb 1697 - Brussels, 27 Nov 1779) Organist, harpsichordist and composer. Both his father and grandfather were organists at Ghent churches, and his brother, Jacques (Judocus) Adrien Boutmy (1683–1719), was the organist at the collegiate church of St Michel and Ste Gudule, Brussels. Josse Boutmy arrived in Brussels before 1720, gaining citizenship there in 1729. He served the Prince of Thurn and Taxis from 1736, and from 1744 to 1777 he was the organist at the Brussels court chapel. He was also the harpsichord teacher of the Princess of Arenberg and of ‘tous les jeunes Seigneurs et Dames de la Cour’ of Charles of Lorraine, brother-in-law of Empress Maria Theresa and governor-general of the southern Netherlands. Married twice, he had 16 children. He left a Livre de raison (still extant), in which he recorded significant family events from 1721 to 1759 but did not mention his music. Boutmy is best known for his three books of harpsichord music. French influence is apparent in the first, which contains two suites comprising character-pieces (L’Agnès, La fanfarinette, La brillante, L’obstinée), personal tributes (La Dandrieux, La Saumis) and stylized movements such as overtures, allemandes, courantes, menuettes, and gigues; the music adheres closely to the later French tradition of Dandrieu, Rameau and Duphly in both harmonic language and extensive ornamentation, particularly the port de voix and coulé. He was, however, a cosmopolitan composer and frequently interspersed movements in the Italian style as well as airs and miscellaneous movements containing sequential passage-work and harmonic writing that indicates familiarity with the keyboard music of Handel. The second and third books are more dramatic, retaining the structure of the suite but having a greater number of descriptive or character titles. Some pieces are in sonata form, though rudimentary; in the third book influence of Domenico Scarlatti is evident as well as an attempt at the newer galant style.
Views: 268 Pau NG
Sentences and Schemata in Mozart's Ave verum corpus
 
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The version of the Eucharistic poem “Ave verum corpus” that Mozart set to music in 1791, a few months before his death, consists of eight rhyming lines, arranged in four pairs: Ave verum corpus, natum de Maria virgine, vere passum immolatum in cruce pro homine, cuius latus perforatum unda fluxit et sanguine: Esto nobis praegustatum In mortis examine. Hail, true body, born of the Virgin Mary, having truly suffered, sacrificed on the cross for mankind, from whose pierced side water and blood flowed: be for us a foretaste in the trial of death! (translation from Wikipedia) Mozart set all four verse-pairs as musical sentences, with the odd-numbered verses (ending with –atum) serving as the texts of the presentation phrases and the even-numbered verses (ending with –ine) as the texts of the continuation phrases. (He departed once from this plan, setting the last word of the line 1, "natum," as the beginning of the continuation phrase.) The first three sentences are in the standard eight measures (4 + 4); the climactic final sentence has fourteen measures (8 + 6, with the presentation phrase elided with the first of two continuation phrases). The motet is in binary form. The prima parte, consisting of sentences 1 and 2 (framed by short instrumental passages), modulates from I to V, and the seconda parte, consisting of sentences 3 and 4 (followed by a short instrumental postlude) modulates from V back to I. In keeping with the tendency of eighteenth-century presentation phrases to elaborate voice-leading schemata, three of the sentences here begin with familiar schemata. The first sentence uses the Sol-Fa-Mi and the Lully simultaneously, the second uses the Aprile, and the fourth uses the Monte Principale. (In the third sentence, the striking modulation from A major to F major and D minor takes precedence over schematic recognizability, except for the Le-Sol-Fi-Sol at the end.) As if to avoid even a hint of the routine, Mozart lovingly elaborated every schema. He chromatically embellished the Sol-Fa-Mi, undercut the Aprile by tonicizing the sixth scale degree, and realized the Monte Principale as a canon that blurs the line between the presentation phrase and the first of the two continuation phrases in the fourth sentence. That final sentence serves as as musical culmination not only because of its extra phrase (the only phrase that breaks out of the 4 + 4 pattern with which the music elsewhere responds to the text's poetic structure), but also because it recapitulates and combines earlier gestures, bringing them into newly intense interaction. The chromatic descent from the first sentence reappears in the bass, combined with Le-Sol-Fi-Sol from the third sentence. But here that schema’s urge to rise from Fi to Sol is thwarted by a Passo indietro that prepares the way for the final cadence. The harmonic crux—the moment when Fi becomes Fa—alludes to yet another schema: what Nathaniel Mitchell has called the Volta, “a gesture of culmination, pulling listeners out of the on-going flow of the musical phrase with its stark cross-relations to signal the approaching cadential progression.” For more on schema-sentence interaction, 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 All the schemata mentioned in my annotations are discussed in Robert O. Gjerdingen, Music in the Galant Style, except for the following: On the Le-Sol-Fi-Sol see Vasili Byros, “Foundations of Tonality as Situated Cognition, 1730–1830: An Enquiry into the Culture and Cognition of Eighteenth-Century Tonality, with Beethoven’s ‘Eroica’ Symphony as a Case Study,” PhD dissertation, Yale University, 2009, and several subsequent articles by the same author. On Marpurg’s Galant Cadence see David Lodewyckx, https://www.academia.edu/19910609/Marpurgs_Galant_Cadence_in_Mozart_Theoretical_Perspectives_Formal_Implications_and_Voice_Leading_Res_Musica_Vol._7_2015_116-126_ and several other papers by the same author, available online. On the Volta see Nathaniel Mitchell’s handout, https://www.academia.edu/22670459/_Handout_The_Volta_A_Galant_Gesture_of_Culmination On the Lully see my article “Adding to the Galant Schematicon: the Lully,” Mozart-Jahrbuch 2014, 205–25; pre-publication draft available online, https://www.academia.edu/7783771/Adding_to_the_Galant_Schematicon_The_Lully ; and for a Youtube video with more examples of this schema, https://www.youtube.com/watch?v=KqDR4hkszoY
Views: 424 Settecentista
Ramos-Kittrell - Literacy, Modern Music, and Difference: A Colonial Critique of the Enlightenment
 
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Lecture on galant style music in 18th century New Spain, race, and a reading of the Enlightenment from the vantage point of radicalized subjectivity. University of Illinois at Urbana-Champaign, April 23, 2018.
Gallant - Weight In Gold
 
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First on Beats 1 now here on Majestic Casual! Gallant with Weight In Gold! :) Majestic Casual - Experience music in a new way. https://open.spotify.com/user/majesticcasualofficial/playlist/6wjCvkAFovrVIRM8VfZLZG https://facebook.com/majesticcasual https://soundcloud.com/majesticcasual https://instagram.com/majesticcasual https://twitter.com/majesticcasual https://snapchat.com/add/majesticcasual https://smarturl.it/majesticcapple Follow Gallant https://facebook.com/sogallant https://soundcloud.com/gallant https://instagram.com/sogallant Picture © Yana Bokareva https://www.flickr.com/photos/bokarev...
Views: 6457061 Majestic Casual
Mitsubishi Galant 2002 (2,4)
 
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Страна: America Кузов: еа3а Двигатель: 4g64 Turbo music: Fresko Design By John Vasques
Views: 19353 John Vasques
Tyldesley - Sonata no. 4 for piano "Galant"
 
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Sonata in B-flat for piano, no. 4 "Galant" (2004) Joseph F. Tyldesley Shen Wen 沈文, piano The galant sonatas (nos. 1-7) are inspired by the great late-baroque early-classical composer Johann Adolph Hasse. He pioneered opera and was one of the principal forces in the development of the classical style. This sonata was recorded in 2005. Visit: http://josephtyldesley.com This: http://youtu.be/m6wdItjWqLE For more on Johann Adolph Hasse: http://en.wikipedia.org/wiki/Johann_Adolph_Hasse
Views: 377 Joseph Tyldesley
MY TOP 10 MUSIC BOOKS OF 2016
 
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Top 10 lists to end the year: here is my top 10 list of the books on music and/or history and/or performance practice that I have purchased this year ! All fantastic books that mostly we haven't discussed here on the channel. Book reviews is something I would love to do more with you, it is a matter of planning, organizing and creating the right frame for it. So do not despair... :-)... ! Titles are below in the description box. ================================================= Become a Patron for Authentic Sound: ▶https://www.patreon.com/authenticsound ================================================= The 3 'YOUR SELECTION' CDs now available on: ▶http://www.authenticsound.be/yourselection ================================================= Join the mailinglist of Authentic Sound here▶https://authenticsound.leadpages.co/join/ ================================================ Here is my top10 list: 1. Stephen L. Clark : The letters of C.P.E.Bach ; Oxford 2 - 3 - 4. Bach Dokumente, part 1-3 : Bärenreiter 5. David Schulenberg: The Keyboard Music of J.S.Bach, Routledge 6. J.G.Walther: Musikalisches Lexicon, 1732 7. C.P.E.Bach, The Complete Works, Series VII: Versuch Über die wahre ARt das Clavier zu spielen, 3 parts ; The Packard Humanities Institute 8. C.P.E.Bach : Essay on the true art of playing keyboard instruments : William J. Mitchell, W.W.Norton & Company, 1949 9.Robert O. Gjerdingen : Music in the Galant Style, Oxford Uiversity Press, 2007 10. Brauchli: De Clavichordio : Proceedings, 11 volumes: http://www.musicaanticamagnano.com/shop/shop.html =============================================== Subscribe to Authentic Sound ▶https://www.youtube.com/c/authenticsound?sub_confirmation=1 All recordings of this channel indexed by composer▶http://authenticsound.be/youtube.html ============================================== Listen / Buy in CD quality ▶https://authenticsound.bandcamp.com/ (and support Authentic Sound) ============================================== Connect with me on: Facebook ▶https://www.facebook.com/Authentic-Sound-601076609974303/ Twitter ▶https://twitter.com/_WimWinters Website: ▶http://www.authenticsound.be
Views: 538 AuthenticSound
The Triadic Ascent
 
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In his analysis of an Andante by J. C. Bach, Robert Gjerdingen refers in passing to a schema that he calls the Triadic Ascent, in which a musical idea is presented at two or more adjacent steps of an ascending tonic triad (see Music in the Galant Style, pp. 266–71). The Triadic Ascent most commonly features an idea built on scale degree 1 followed by the same idea on scale degree 3. Canonic imitation is typical, with the two canonic parts in parallel thirds. The Triadic Ascent sometimes unfolds over a tonic pedal, and sometimes over a cadential progression such as the Romanesca (as in Monteverdi's "Zefiro torna") and I-IV-V-I (as in "Dove sono" in Mozart's Figaro). The Do-Re-Mi often serves as the material repeated in a Triadic Ascent. In such cases the Triadic Ascent extends the Do-Re-Mi into a longer scalar ascent (Do-Re-Mi repeated up a third becomes Mi-Fa-Sol). One of the ancestors of the Triadic Ascent was the military and ceremonial trumpet fanfare, which often involved a line rising through the trumpet’s harmonic series. Triadic fanfares were already being incorporated into many kinds of music, including opera, in the seventeenth century; a well known example is Giuseppe Torelli’s Sinfonia in C, G. 33. As late as 1791 Mozart used a trumpet fanfare in the form of a Triadic Ascent to convey imperial pomp in his coronation opera La clemenza di Tito (listen to the march in act 1). I suspect that the Triadic Ascent in general, even when not so explicitly identified with the trumpet fanfare as it is this passage by Mozart, conveyed to eighteenth-century audiences something of the festivity, splendor, and majesty associated with the trumpet fanfare. This compilation of examples of the Triadic Ascent shows that composers of the second half of the eighteenth century, including Mozart, Haydn, Leopold Kozeluch, Johann Stamitz, Vanhal, Paisiello, Martín y Soler, J. C. Bach, and Georg Benda, used this schema to generate a large amount of melodic material.
Views: 396 Settecentista
Jan Zach (1713-1773) & Karl Anton von Gerstner (1713-1797) - Sinfonie D-Dur
 
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Autor: Jan Zach (1713-1773) & Karl Anton von Gerstner (1713-1797) Obra: Sinfonie D-Dur Intèrprets: Concerto Armonico Budapest Pintura: Jean-Baptiste Pillement (1728-1808) - A river landscape with a ruined tower and fishermen with their nets in the foreground --- Karl Anton von (Carlo) Gerstner (de Gerstner) (Treisheim/Schwaben, 11 November 1713 - Innsbruck, 2 March 1797) & Jan (Johann) Zach (Čelákovice, bap. 26 November 1713 - Ellwangen, 24 May 1773) German-Bohemian composer and organist. He received his earliest musical training in Prague, possibly under Bohuslav Černohorský (1684–1742). During this time he functioned as a violinist in several churches, as well as organist at St. Martín Church. In 1745 he accepted a post as Kapellmeister in Mainz, following travels to Italy and throughout southern Germany and Bohemia. His relationships there were problematic, resulting in his dismissal in 1756. A post at Trier failed to materialize, and he spent the last of his career in a variety of temporary posts, such as the court of Oettingen-Wallerstein in 1773. Included in these years were repeat visits to Italy, but he seems to have been closely associated with the monastery of Stams in the Austrian Tyrol. His music shows influences of the galant style, with a particular penchant for use of Bohemian dances and melodies. His music includes 26 Masses, three Requiems, four motets, two offertories, some 20 or more hymns and Psalms, nine vespers, eight sacred arias, 48 symphonies, six partitas, 10 concertos (for flute, harpsichord, oboe, and cello), three trio sonatas, six violin sonatas, and a large number of individual fugues and smaller pieces for organ and keyboard. His music is known by K (Komma) numbers.
Views: 497 Pau NG
L'Âge Galant (The Gallant age) - Baroque & Rococo
 
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Gallant age or the Enchanted voyage to the extinct world of Baroque & Rococo The promotional clip for my workshop. Music: Marin Marais (1656-1728), Chaconne from the opera "Sémélé" (1709)
Views: 184 delphiniani
Al Combate - Chicago Arts Orchestra
 
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Sample tracks from the Chicago Arts Orchestra's (Javier José Mendoza, Artistic Director) AL COMBATE, available February 26, 2013 on Navona Records. AL COMBATE, the debut release from the Chicago Arts Orchestra (Javier José Mendoza, Artistic Director), highlights New Spain as a mecca of baroque and galant music through a handpicked selection of works from two of eighteenth-century colonial Mexico's most prolific and influential composers, whose music explores the period's transatlantic cultural flow from Europe to New Spain: Ignacio Jerusalem, a master of the galant style who brought modern European styles and techniques across the Atlantic; and Santiago Billoni, whose harmonic experimentation and erudite voice helped shape late baroque repertoire. The album's title piece, Al Combate, is the premiere recording of one of the most significant works written in the eighteenth-century Americas. A piece rich in history, it represents a celebratory ode in honor of King Charles III, the single largest piece of secular music known to survive from eighteenth-century New Spain, and a paradigm of the galant style that proliferated in eighteenth-century New Spain. http://www.navonarecords.com
Views: 1341 PARMA Recordings