Search results “Music galant style”
J. C. Bach - Duet for Two Pianos in G Major - Mov. 1/2
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: 69926 HARMONICO101
Minuet in C Major (In the Galant Style) - Román Cano
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: 175 Román Cano
ADCA Gala Opening Concert "Galant Style"
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
Rococo Style 1700-1760
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: 81796 Stephnagle
The Sol-Fa-Mi
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: 834 Settecentista
Galant Schemata in Binary Form: Platti's Keyboard Sonata in C minor
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: 1431 Settecentista
Galuppi — Mass for the Delivery of Slaves (1765)
Mass for the Delivery of Slaves (1765) 00:05 — Kyrie 07:14 — Gloria 32:00 — Credo This mass setting was composed by Venetian composer Baldassare Galuppi (1706–1785) for the choir of St. Mark's Basilica in 1765, where he served as "maestro di capella" at the Doge's chapel. To the extent that he is remembered today, it is usually for his comic operas written in collaboration with Carlo Goldoni, or in the English-speaking world, as part of the title of the poem "A Toccata of Galuppi's" by Robert Browning. Clearly he was a composer of prodigious talents, writing music in the galant style of the mid-18th century. Soloists: Roberta Canzian (soprano), Laura Polverelli (mezzo-soprano) Lege Artis Chamber Choir I Solisti Veneti Conductor: Claudio Scimone
Views: 1695 musicanth
Galantis - No Money (Official Video)
Galantis' newest single 'Love On Me' available now via Big Beat Records! Spotify: http://smarturl.it/LoveOnMes iTunes: http://smarturl.it/LoveOnMei Apple Music: http://smarturl.it/LoveOnMea --- Directed by Andrew Donoho Available now via Big Beat Records! Spotify: http://smarturl.it/NoMoney_S Apple Music: http://smarturl.it/NoMoney_AM iTunes: http://smarturl.it/NoMoney_IT Download the acapella stems at http://www.smarturl.it/NoMoneyStems Lyrics: Sorry I ain't got no money I'm not trying to be funny but I left it all at home today You can call me what you wanna I ain't giving you a dollar this time I ain't gonna run away You might knock me down, you might knock me down, but i will get back up again You can call it how you wanna I ain't giving you a dollar this time I ain't gonna run away This time This time I ain't gonna run run run run Not this time -- Shop Galantis: http://www.smarturl.it/Galantis_Store Follow Galantis: Website: http://smarturl.it/GalantisFb Facebook: http://smarturl.it/GalantisFb Twitter: http://smarturl.it/GalantisTw Instagram: http://smarturl.it/GalantisInsta SoundCloud: http://smarturl.it/GalantisSc Spotify: http://smarturl.it/GalantisPharmacy_Sp YouTube: http://www.youtube.com/wearegalantis Snapchat: WeAreGalantis Galantis on tour Tour dates - http://smarturl.it/GalantisTour
Views: 474334773 Galantis
style galant
Views: 1278 nicolas martello
Johann Sebastian Bach - The Musical Offering {Musikalisches Opfer}
- 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: 209222 olla-vogala
Galant Schemata in Sonata Form: The First Movement of Abel's Keyboard Concerto in G
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: 718 Settecentista
Mitsubishi Galant | Legnum - Music Video
Mitsubishi Galant - Moscow "SVAO" (Russia) Как повстречались несколько любителей акул на ТЦ "Весна" в Алтуфьево =) #Galant #Legnum #6a13tt #MMC #Mitsubishi #VR4
Views: 250 MotoTour77
Fifth progressions in galant music
Fifth progressions in galant music
Views: 680 migjurado
Minuet in F Major (In the Galant Style) - Román Cano
Here is a new minuet in the manner of young Mozart, similar to the previous one, but using other galant schemata.
Views: 108 Román Cano
Galant Schemata and Ritornello Form in the First Movement of Corrette's "Le Phénix"
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: 264 Settecentista
The Quiescenza
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: 675 Settecentista
The Prinner
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: 1556 Settecentista
JC Bach: Keyboard Concerto in E-flat, Op.7 No.5 (Knauer)
Intervening between the dominance of the Baroque and the Classical styles was the Galant, which emphasised melody, symmetrical phrasing, distinction between soloist and ensemble, and decreased polyphony (1:18 and 1:35 are typical moments). One of the best practitioners of this style was Bach's youngest child, the London Bach (also known as John Bach) -- and this gem of a concerto illustrates much that was attractive about the Galant style: lyricism born out of harmonic stasis, urbane inventiveness, and a truly beautiful slow movement (just think of how close this is to Mozart!) The difference between JC Bach's style and that of his father is rather stark, but it should be borne in mind that when JC Bach was born JS Bach was already 50 (and a little out-of-date to contemporary ears), and CPE Bach was 21. It's a nice illustration, I think, of how fast music was moving along that all three Bachs composed in such distinct styles. Sebastian Knauer and the Zurich Chamber Orchestra give an inspired performance, sparking with wit and elegance (note the little cadenzas Knauer inserts, which could not work more perfectly with the music.) Knauer has a fantastic way with trills -- listen to the solo entrance at 1:11. 00:00 -- Allegro di molto 06:36 -- Andante (look out for the cadenza near the end, which is cleverly built from one of the themes from the 1st movement) 10:52 -- Allegro
Views: 60532 Ashish Xiangyi Kumar
Сегодня второе видео из РУБРИКИ воодушевляемся стилем известных мировых звезд и учимся его копировать. Героиней этого видео стала OLIVIA PALERMO/Оливия Палермо {МНОГО ПОЛЕЗНЫХ ССЫЛОК НИЖЕ ⬇️ } Мой ИНСТАГРАМ, наполненный КРАСОТОЙ - https://www.instagram.com/ellena_galant_girl/ ПОСЛЕДНИЕ НОВИНКИ моего бренда: ПОЛУПАЛЬТО в ч/б леопардовый принт http://bit.ly/Leo-King Шерстяные ЖИЛЕТЫ (из итальянской Virgin Wool): Нежно-сиреневый http://bit.ly/lilac-perfection ПЛАТЬЕ-трапеция в клетку http://bit.ly/cute-dress- ЮБКА-Карандаш с разрезом http://bit.ly/BW-pencil-skirt И Инстаграм страничка бренда - https://www.instagram.com/the.other.colours/ ______________ ССЫЛКИ И ОПИСАНИЕ КОЛЛАЖЕЙ: КОЛЛАЖ 1️⃣ КОСТЮМ в мелкую ч/б клетку - ASOS DESIGN http://fas.st/X9PP1 РУБАШКИ, которые я НЕ выбрала: http://fas.st/2Wu6Dv http://fas.st/gcbmxn И РУБАШКА, которую я выбрала с принтом тай-дай Stradivarius http://fas.st/UeOfis ЧЕРНЫЕ ЛОФЕРЫ http://fas.st/vUqja http://fas.st/C5g9k Или БРОГГИ http://fas.st/UPJ7f СУМКА Nico Giani http://fas.st/qCM2_u http://fas.st/MUNvSG Или еще подходит FURLA http://fas.st/huUHL Черные ОЧКИ кошачий глаз http://fas.st/14RSb КОЛЛАЖ 2️⃣ Горчичная ЮБКА http://fas.st/8i6C0 Или еще похожая MANGO http://bit.ly/2Y6Lvxw ДЖЕМПЕР http://fas.st/Poe-8 или http://fas.st/8K5dr или http://fas.st/7GnoA или http://fas.st/zgQ5s ТУФЛИ http://fas.st/T2C8q Или на широком устойчивом каблучке http://fas.st/ffcdRc и http://fas.st/zhbYW и http://fas.st/QTrQH Или на элегантной и острой шпильке http://fas.st/q50Fmq БОРДОВЫЙ ремень http://fas.st/RQjBl СУМКА MANGO http://fas.st/KWtYY КОЛЛАЖ 3️⃣ ДЖЕМПЕР Max&Co http://fas.st/HErqC4 БРЮКИ OODJI http://fas.st/wOldc или http://fas.st/TttHpR Или широкие как кюлоты http://fas.st/Ck6f9 Или классные укороченные c высокой талией http://fas.st/xHIGM2 ШЕЛКОВЫЙ ШАРФ KARL LAGERFELD http://fas.st/pK9Jm СУМКА ARMANI http://fas.st/vsP2V или Coccinelle http://fas.st/5Y8I3 ЛОФЕРЫ темно-синие http://fas.st/FlzFR или http://fas.st/4xG8b или http://fas.st/Q9nlO или http://fas.st/LSSH9B КОЛЛАЖ 4️⃣ КРАСНЫЙ КОСТЮМ MANGO http://bit.ly/2JlZmwI Или он же на LAMODA http://fas.st/z9zmS + http://fas.st/IYwNf Или еще КРАСНЫЙ КОСТЮМ http://bit.ly/2JplTZt + http://bit.ly/2JplXIH БЕЛАЯ БЛУЗА http://bit.ly/2Jpb9dA и http://fas.st/FZzWU Или еще хорошая для этого образа http://fas.st/Dj1_Z Или еще белая с черной ленточкой http://fas.st/DbHyJu И белая с тонким шарфом http://fas.st/U0BOeG БАРХАТНЫЙ ЧОКЕР под шею http://fas.st/WnclRO или http://fas.st/4HIrx и http://fas.st/KSZ-Rj ДОБАВИТЬ ВТОРОЙ ЧОКЕР металлический - http://fas.st/BuuXw или http://fas.st/rxoT0 или http://fas.st/q7b8kc И ЕЩЕ ДОБАВИТЬ СОТУАР http://fas.st/s1xChE ЧЕРНАЯ СУМКА COCCINELLE http://fas.st/14ZlPD или http://fas.st/nhhcI5 __________________ 📍📍ВЕЩИ В СТИЛЕ ОЛИВИИ📍📍 ⭕️⭕️АКСЕССУАРЫ⭕️⭕️ ЧОКЕРЫ: http://fas.st/fegByG http://fas.st/y_C_zQ http://fas.st/_Pw8EB ПОДВЕСКИ: На Lamoda: http://fas.st/BjumLn http://fas.st/dKB6k http://fas.st/M3bZdr http://fas.st/XGmgxy http://fas.st/wYjeVE Mango: http://bit.ly/2U4FJxc http://bit.ly/2JrengQ СЕРЬГИ: http://fas.st/vaDeVD http://fas.st/I23tAk БРАСЛЕТЫ: http://fas.st/znHVh http://fas.st/pIktMQ http://fas.st/DPrcB КОЛЬЦА: http://bit.ly/2U1wLkp http://bit.ly/2U1wLkp ⭕️⭕️БРЮЧНЫЕ КОСТЮМЫ:⭕️⭕️ MANGO: КОСТЮМ в плотном ПРИНТЕ http://bit.ly/2JrZZF4 + http://bit.ly/2Jnmmvb Костюм в крупную КЛЕТКУ http://bit.ly/2Jpotih + http://bit.ly/2JqUzdt Темно-ЗЕЛЕНЫЙ костюм http://bit.ly/2JplXIH + http://bit.ly/2JplTZt КРАСНЫЙ КОСТЮМ http://bit.ly/2JplTZt + http://bit.ly/2JplXIH ЕЩЕ КРАСНЫЙ http://bit.ly/2TX5pfn + http://bit.ly/2JrglOj Ярко-ЗЕЛЕНЫЙ КОСТЮМ http://bit.ly/2TSyUPx + http://bit.ly/2TX5pfn На ASOS Ярко-ЗЕЛЕНЫЙ КОСТЮМ http://fas.st/5Dx13 Еще ЗЕЛЕНЫЙ http://fas.st/WDSdto ОРАНЖЕВЫЙ http://fas.st/dJS2e В крупную ЗЕЛЕНУЮ КЛЕТКУ http://fas.st/WnL0E РОЗОВЫЙ http://fas.st/Qczju_ КОСТЮМ в пастельную сиреневую КЛЕТКУ http://fas.st/k9xRYy ЖАККАРДОВЫЙ КОСТЮМ http://fas.st/DDCOw1 ⭕️⭕️МИНИ-ЮБКИ трапеции:⭕️⭕️ В крупную КЛЕТКУ http://bit.ly/2JtZ7ja В цветную крупную клетку http://bit.ly/2TX5G1T + пиджак http://bit.ly/2JsLz7M В абстрактный ПРИНТ http://fas.st/vo2Ck ⭕️⭕️ОБУВЬ⭕️⭕️ ЛОФЕРЫ кожаные: ЧЕРНЫЕ http://bit.ly/2U2Nd3V КРАСНЫЕ http://bit.ly/2JsCL1H Бежевые http://bit.ly/2Jrm5HR МЮЛИ http://bit.ly/2JrmqKD ДЕРБИ http://bit.ly/2U1B0fP КУЛЬТОВЫЕ БРОГИ CHURCH’S http://bit.ly/2JsRsBS http://bit.ly/2JsDos5 http://bit.ly/2JBEOka ⭕️⭕️КУРТКИ/ПАЛЬТО С ПРИНТОМ:⭕️⭕️ Бомбер http://fas.st/yv_cc ПАЛЬТО http://fas.st/A_aSNQ ОЧень симпатичное светлое ПАЛЬТО на весну/начало лета http://fas.st/7QYp5 ________ На мне в видео: ЧЕРНАЯ ТУНИКА http://bit.ly/Top_in_black Серьги с перьями http://bit.ly/2JqAns1 кажется уже раскуплены! Или немного похожие СЕРЬГИ http://fas.st/lOahu и http://fas.st/Ln-gw и http://fas.st/PdkQ6j Production Music courtesy of Epidemic Sound www.epidemicsound.com
Views: 71320 Ellena Galant
Baroque Music for Studying & Brain Power
♫ Buy the MP3 album on the Official Halidon Music Store: http://bit.ly/2qVa3JD 🎧 Listen to our Baroque playlist on Spotify: http://spoti.fi/2hzrJXo 🍎 Stream the album on Apple Music: https://apple.co/2H86YRs ▶▶ Order “Baroque: 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 ▶▶ 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: 1258326 HALIDONMUSIC
Musical Sentences that begin with the Meyer
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: 292 Settecentista
The Galant Style - Concert #2
Anton Isselhardt (flute) My Huong Nguyen (violin) Matthias Diehner (violoncello) Jumat, 10 Agustus 2012 di Museum Tembi Rumah Budaya Yogyakarta
Vo' solcando un mar crudele
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: 25398 thebarroque
Galant Minuet (1770) of Antoine Albanese
A easy classical piece written for solo guitar in a galant style. Albanese (1729-1800) was a famous castrato who worked as a musician at the court of the King of France. He wrote many arias, ballads and songs with various accompaniments. This little minuet appeared in his collection "The pleasures of Melpomene" (Paris, ca 1770). http://www.forsologuitar.com
Views: 359 Solo guitar
Galant Music
Views: 366 Lucas Fernandez
Prinner Examples - Galant Schemata
*TURN ON SUBTITLES FOR SONG LISTINGS** This video presents examples of Prinners as codified by Robert Gjerdingen from Northwestern University. There are two types that I personally call "Prinner Antico" and "Prinner Moderno" (Gjerdingen might call them this as well). The circle-of-fifths/leaping bass is the Prinner Antico, and the smooth stepwise descent would be a Prinner Moderno. All Copyrights belong to their respective owners. This is meant for educational purposes only.
Views: 616 Opiter
The Triadic Ascent
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: 371 Settecentista
Schema Exercise No. 1
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: 492 Leslie Sanford
Galant Schemata in a Rondo by Dittersdorf: The Finale of the String Quartet No. 1 in D
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: 489 Settecentista
Musical Sentences that begin with the Triadic Ascent
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: 235 Settecentista
Impro on "The Meyer"
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: 252 Tobias Cramm
The Fonte
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: 847 Settecentista
J.G. Orschler: Triosonata in F minor
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: 2918 Dramma per musica
Bach, C.P.E. - Wq 136 - Sonata for Viola da gamba
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: 5103 George 1010th
Mozart: Complete Piano Sonatas
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/ Spotify Playlists: https://brilliant-classics.lnk.to/BeautifulPianoMusic Brilliant Classics Spotify: https://brilliant-classics.lnk.to/Spotify New classical releases: https://brilliant-classics.lnk.to/NewReleases The best of Liszt: https://brilliant-classics.lnk.to/Playliszt The best of Bach: https://brilliant-classics.lnk.to/BestOfBachPlaylist Most popular piano music: https://brilliant-classics.lnk.to/MostPopularPiano Beautiful classical Music: https://brilliant-classics.lnk.to/BeautifulClassicalMelodies Classical music for dinnertime: https://brilliant-classics.lnk.to/ClassicalMusicforDinnertime 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: 724159 Brilliant Classics
Amandus Ivanschiz (1727-1758) - Oratorium "An Video an mea Lumina Noctis Progenies"
Autor: Amandus Ivanschiz (1727-1758) Obra: Oratorium "An Video an mea Lumina Noctis Progenies" Intèrprets: Aleksander Kunach (tenor); Choir and orchestra LA TEMPESTA Pintura: Jean-François de Troy (1679-1752) - L'évanouissement d'Esther Comprar/Purchase: https://www.amazon.de/Musica-Claromontana-33-Oratorio-Burzynski/dp/B003V99WC4 --- Amandus (Matthias Leopold) Ivanschiz (bap. 24 December 1727 - 1758) Was an Austrian composer of the early classical period and a member of the Pauline order. Other spellings of his surname adopted in Slavic musicological literature ("Ivančić" or "Ivančič") are not evidenced in historical accounts. His father came from the village of Baumgarten (presently in the Austrian Burgenland) inhabited by the Croatian minority. Matthias Leopold was baptized on December 24, 1727 in Wiener Neustadt. He entered the Pauline order in his hometown and choose the name of Amandus likely by the end of 1742. After his novitiate in the Ranna monastery at the age of 16 (Dec. 25, 1743) he took his monastic vows. He then studied in Maria Trost and Wiener Neustadt, where he was ordained a priest on November 15, 1750. Between 1751 and 1754 he stayed in Rome as an assistant to the Procurator General of the order, from where he returned to Wiener Neustadt. In 1755 he was sent again to the Maria Trost monastery, where he died in 1758, at the young age of 31. Despite his early passing, Ivanschiz left behind a remarkable number of compositions. His output comprises about 20 symphonies, 15 string trios, 17 masses, 13 litanies, 7 short cantatas (each named "Oratorium"), 9 settings of Marian antiphons, 8 arias and duets to non-liturgical texts, vespers and Te Deum. Some of these works have survived in a few or even a dozen or so copies, which are now found in many, mainly Central European countries, such as Austria, Belgium, Croatia, Czech Republic, Germany, Hungary, Poland, Slovakia, Slovenia, Sweden and Switzerland. It proves that Father Amandus’ music was known to a wide audience and places him among the most popular monk-composers of the 18th century. Ivanschiz’s oeuvre attracts attention because of its modern musical language, clearly belonging to the early Classical and galant style. Fr. Amandus is one of the first Austrian composers who consistently used a four-movement cycle in his symphonies, a form that can be found in half of his extant works in this genre. He was also one of the first composers who wrote string trios for violin, alto viola and basso (cello), i.e. the characteristic scoring of a mature classical string trio. His instrumental compositions show a gradual development of the typical framework of sonata form.
Views: 414 Pau NG
Jan Zach (1713-1773) & Karl Anton von Gerstner (1713-1797) - Sinfonie D-Dur
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: 340 Pau NG
Resplendent Glory by Rossano Galante
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: 139699 Hal Leonard Concert Band
Galant Style - Lille (Thème de Gangnam Style)
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 !
Jean-Philippe Rameau - Les Indes Galantes (orchestral suite)
- Composer: Jean-Philippe Rameau (25 September 1683 -- 12 September 1764) - Orchestra: Orchestra of the 18th Century - Conductor: Frans Brüggen - Year of recording: 1992 Les Indes Galantes {The Gallant Indies}, suites from the opéra-ballet for orchestra, written between 1735-1761. Prologue. 00:00 - 01. Ouverture 02:55 - 02. Entrée des Quatre Nations 05:32 - 03. Air pour les esclaves africains 07:04 - 04. Air vif 09:05 - 05. Musette en rondeau 10:25 - 06. Air pour les amants et les amantes 11:33 - 07. Air pour deux Polonais 13:21 - 08. Menuets I - II 15:57 - 09. Contredanse Le Turc généreux. 17:54 - 10. Ritournelle pour le Turc généreux 18:53 - 11. Forlane des matelots 20:51 - 12. Tambourins I - II Les Incas du Pérou. 22:32 - 13. Ritournelle pour les Incas de Pérou 23:39 - 14. Air des Incas 25:52 - 15. Air pour l'adoration de soleil 28:15 - 16. Gavottes I - II Les Fleurs. 30:53 - 17. Ritournelle pour la fête persane 31:57 - 18. Marche 34:01 - 19. Air pour Zéphire 35:07 - 20. Air pour Borée et la Rose Les Sauvages. 36:40 - 21. Air pour les Sauvages 38:20 - 22. Chaconne The eighteenth-century fascination with exotic lands and peoples was largely sentimental and uninformed. The picturesque peasants, mythological characters and fabulous monsters that so long inspired French composers are replaced by scenes and character dances from distant countries, all suitably domesticated and prettified for home consumption. Such entertainments found perfect expression in the French opera-ballet, an elaborate art-form combining vocal and instrumental music and dancing much admired at the Versailles court of King Louis XIV. However, in this, his second stage work, Rameau does not appear to have had a popular success, though he made a quick recovery: in a preface to a revised edition in 1735 he wrote: "The public's having seemed less satisfied with scenes of the Indes Galantes than with the rest of the work ... I am here presenting only the Symphonies intermingled with [orchestral versions of] some of the sung airs ... out of which I have shaped four large Concerts in different keys". It is in this form that it is now heard. Not surprisingly little of dramatic coherence remains, and the suites can safely be regarded as lively examples of the light, informal series of short, contrasting movements that made up the Baroque suite, or Concert, in France, except that in this case it includes songs and dances by African slaves, "Savages", a Persian march, a Polish song and a "slow air for the Incas of Peru" interspersed with more conventional movements. With its traditional five-part homophony and distinctive use of color and clarity it bears the distinctive marks of Rameau at his most inventive. Written mainly as a popular entertainment rather than a royal occasion, the formal graces of French "court" music of the time are less prominent than cheerful, uncomplicated but very memorable tunes.
Views: 67008 olla-vogala
Mitsubishi Galant 2002 (2,4)
Страна: America Кузов: еа3а Двигатель: 4g64 Turbo music: Fresko Design By John Vasques
Views: 18684 John Vasques
Mattheson "Der Brauchbare Virtuoso" Sonata No.4 in D major
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: 2682 Deadlockcp
Auction Drift Car Is A Disaster!!!
This seems to be the one build that has the most hidden damages out of them all! However we have never let anything stop us before. This Nissan 370Z is going to be nice and clean before you know it. Follow along and watch us tackle this build!!! Thanks For Watching!!! -GOONZQUAD Merch!!!: https://goonzquad.com -Become A Patron: https://www.patreon.com/goonzquad -Instagram: https://www.instagram.com/goonzquad/ -Email: [email protected] P.O. Box 37 Rossville,GA 30741 MUSIC CREDITS: Far Away by Declan DP https://soundcloud.com/declandp Licensing Agreement 2.0 (READ) http://www.declandp.info/music-licensing Music promoted by Audio Library https://youtu.be/iTSpmnHMVS4 Curtains by Artificial.Music https://soundcloud.com/artificial-music Creative Commons — Attribution-ShareAlike 3.0 Unported — CC BY-SA 3.0 http://creativecommons.org/licenses/b... Music promoted by Audio Library https://youtu.be/Fivw7Q_67LI MUSIC: Song: LiQWYD - Explore (Vlog No Copyright Music) Music provided by Vlog No Copyright Music. Video Link: https://youtu.be/0X2TzATvpew It just makes me happy by Dj Quads https://soundcloud.com/aka-dj-quads https://www.youtube.com/channel/UCusF... https://open.spotify.com/artist/2VZrd... Music promoted by Audio Library https://youtu.be/TrvvBrNWhDQ Song: JayJen - Imaginary (Vlog No Copyright Music) Music promoted by Vlog No Copyright Music. Video Link: https://youtu.be/inac_Ax6Z20 Morning by LiQWYD https://soundcloud.com/liqwyd Creative Commons — Attribution 3.0 Unported — CC BY 3.0 http://creativecommons.org/licenses/b... Music promoted by Audio Library https://youtu.be/lv8LMI0NdaM Song: MBB - Palm Trees (Vlog No Copyright Music) Music provided by Vlog No Copyright Music. Video Link: https://youtu.be/jr0e9XzOPn4 https://www.youtube.com/channel/UCht8qITGkBvXKsR1Byln-wA Music: https://soundcloud.com/nocopyrightsounds https://soundcloud.com/7obu/sound-of-goodbye https://soundcloud.com/chillhopdotcom https://soundcloud.com/benmaxwellmusic/secrets https://soundcloud.com/aka-dj-quads/intersection https://soundcloud.com/jaricomusic/island-free https://soundcloud.com/ukiyoau/skyline https://www.youtube.com/channel/UCIe5hH0tk72w3Yyw0ZS9YWQ https://soundcloud.com/joakimkarud https://www.youtube.com/channel/UCEickjZj99-JJIU8_IJ7J-Q https://soundcloud.com/freemusicforvlogs/sappheiros-lights-free-download
Views: 525819 goonzquad
The Harmonic Periods of William Jones
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: 330 Settecentista
Sentences and Schemata in Mozart's Ave verum corpus
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
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The Best of Telemann
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
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Ramos-Kittrell - Literacy, Modern Music, and Difference: A Colonial Critique of the Enlightenment
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.
Little known organ composers 5 - J.H. Buttstett
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
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