Sonata Seconda A Soprano Solo - London Baroque - Von Venedig Nach Wien (Frühe Kammermusik Im 17. Jah
Label: His Masters Voice - 1C 069 1466961,EMI Electrola - 1C 069 1466961 • Series: Reflexe • Format: Vinyl LP • Country: Germany • Genre: Classical • Style: Baroque
Jahrhundert Dario Castello 1. Orgel: Justin Sillman, nach einer englischen Kammerorgel del His first book contains 12 sonatas in two and three parts. The second book is more enterprising and contains two sonatas for treble and bass, a number for larger forces, in which pairs of violins or cornetti are set against trombones or other strings, and two sonatas in four parts specifically for string ensemble. Similarly, the bass part can be British Blood - Irritant / Lovelace - Tomorrow We Live / Dusseldorf Nights either on a string bass or the dulcian, an early form of bassoon which was the most prominent solo bass instrument of Castello's Venice.
The bass trombone is an unlikely choice since many of the parts are extremely virtuoso. The Sonata quarta from Castell o' s first book is a typical Venetian sonata of the period: it alternates between fugal and homophonic textures and triple and duple time, and includes solo passages for each instrument.
The lower part is only intermittently independent of the bass line, so that the texture varies between two and three real parts. The Sonata seconda from his second book seems to have been composed more with the violin in mind: it goes below the range of the cornetto and soprano recorder, exploits the whole musical and emotional range of the violin and makes use of Sonata Seconda A Soprano Solo - London Baroque - Von Venedig Nach Wien (Frühe Kammermusik Im 17.
Jah arpeggio figuration. I n addition, some eastern-flavoured ornamentation towards the very end of the sonata as passages make this perhaps the most finely balanced piece in Castell o' s output and one of the most formally satisfying in all the classical period Мне отмщение (Vengeance Is Mine) - KYPCK - 3epo Venetian instrumental music.
Girolamo Frescobaldi was born in Ferrara in Frescobaldi studied with the court organist Luzzaschi and was presumbaly influenced in one way or another by the arrival in of the mannerist madrigal composer Gesualdo, whose chromatic style pushed the prevailing harmonic language to its absolute limit.
Here he enjoyed the patronage of the artistically influential and enormously wealthy Cardinal A l dobrandini. I n Frescobaldi spent ten months in Brussels with another patron, Guido Bentevoglio, who had been appointed Papal Nuncio there and took Frescobaldi with him in his entourage.
Here he would definitely have met the English keyboard virtuoso Peter Philips and also possibly Sweelinck, who was at Amsterdam. After an exasperating three months of negotiations with the Gonzagas at Mantua - the same administrative difficulties that Monteverdi encountered - Frescobaldi moved to Florence, where he was court organist until in he moved back to Rome, where he died some nine years later.
He seems to have been a rather rough and somewhat irregular personality: he was hardly able, if one report is to be believed, to write his own name and appeared to have married as a Sonata Seconda A Soprano Solo - London Baroque - Von Venedig Nach Wien (Frühe Kammermusik Im 17.
Jah of a bastard son. In addition to all the things mentioned on the title page it contains an interesting example of the old technique of setting a wellknown song as a keyboard piece with the parts embellished, something he must have learned from his teacher Luzzaschi. Frescobaldi ' s toccatas feature the closest possible juxtaposition of contrasting elements in an improvisatory style in which material is seldom repeated or used again.
His canzonas are rather stricter, with fewer free passages between the contrapuntal sections and the themes often telescoped towards the end for extra intensity. Probably one of the greatest violin virtuosos of all time was Heinrich I gnaz Franz Biber. I n about he moved to Salzburg, where his duties were to provide both sacred and secular compositions for the archbishop.
His first appointment at Salzburg was as trainer of the choirboys, from which he was promoted to second and eventually in first Kapellmeister. His output comprises several collections for all sorts of wind and string instruments, the most unusual being those for his own instrument, the violin. His first undated collection consists of 16 programmatic sonatas, each illustrating an event from the scriptures.
The sonatas also use every conceivable bowing refinement: ricochet arpeggiation, flying staccato in both directions, tremolos and unusual pairings and slurrings. The pieces of his set are mostly in the normal tuning and are generally longer and more virtuoso. The other great violinist of the German-speaking world in the 17th century was Johann Heinrich Schmelzer. I n contrast to Biber, Schmelzer Cursed Through Time - Element (28) - Aeons Past uses any other than the normal tuning of the violin only one instance is known and only rarely calls for double stops.
Born some time in the early s the son of a baker in Scheibbs in Lower Austria, he was already playing in the Hofkapelle in Vienna while still in his teens. He was not however formally appointed as a violinist in the court orchestra until He seems to have spent his whole life at the Viennese court, composing chamber and ballet music for court productions and even helping Emperor Leopold I with his compositions. His collection of violin sonatas, Sonatae Unarum Fidium Nuremberg,was the first outside I taly for violin and basso continuo.
Like Biber he exploits the full upper range of the instrument, going up as far as an octave and a third above the open E string. His manuscript sonata in D minor shows many of the same characteristics as the Sonata a due by Castello. Similar in form and dialogue between the instruments, the piece has a richer harmonic language and a later and more Germanic feel about it, and the lower string instrument ' s part shows a greater emancipation from the bass line.
Johann Jakob Froberger came from a family of Halle musicians but was born in Stuttgart, where his father and elder brother were employed in the Substitute - Pete Townshend - The Genuine Scoop orchestra.
He was in Vienna again between andhaving made various journeys in the meantime. His journey to London was less fortunate. I t appears that he was robbed on the boat to Dover and as result had to find employment as an organblower, a circumstance which was beneficial for posterity at least, as he wrote an exceptionally powerful allemande to document the experience.
A further period of study with Carissimi is mentioned, but sadly virtually no vocal compositions nor any for any instrument except the keyboard have come down to us. Froberger must have been one of the most cosmopolitan musicians of his age: he excelled in all the available forms and styles of his time. He is perhaps the first composer in the history of western music to define tonality with total precision. His toccatas and canzonas reproduce the form and spirit of those of his teacher Frescobaldi but show an additional organisation and classicism which stems from his advanced tonal vocabulary and resulting harmonic perspective.
He appears to have been a virtuoso dulcian player, to judge by the prefatory sonnet by a fellow padre in his collection of Canzoni, fantasie et correntiwhich describes him as the Orpheus of the bassoon, and some of his canzonas are variations for dulcian on popular songs. His sonata for two tenor instruments is the only one of its kind in the collection.
Johann Michael Nicolai appears to have been greatly respected in Building Up My Muscles - Toni Bellin - Building Up My Muscles own time. He published three collections of instrumental music, and the wide dispersal of manuscripts containing his works testifies to the great interest shown in his compositions and more specifically Sonata Seconda A Soprano Solo - London Baroque - Von Venedig Nach Wien (Frühe Kammermusik Im 17.
Jah those for unusual combinations, such as two and three bass viols. His A minor Sonata for two bass viols and continuo was probably conceived as the first movement of a dance suite and comes from an important collection of bass viol pieces from all countries and in all combinations in the library at Durham Cathedral. Nicolai was born near Weimar about and after a period in the service of the Duke of Saxe - Lauenburg moved to Stuttgart, where he spent the rest of his life as a member of the court orchestra.
Charles Medlam, 97 Bonnie & Clyde - Eminem & 50 Cent - DeLuxe Collection MP3 Electrola "Reflexe". Dario Castello 1. Girolamo Frescobaldi Heinrich Ignaz Franz Biber Johann Heinrich Schmelzer Johann Jakob Froberger Johann Nicolai Cembalo: Bill Dow, nach italienischem Vorbild an Italian model. Luogo e data di registrazione. Temple Church, London Inghilterra - giugno Prima Edizione LP.
Prima Edizione CD. Edizione CD.
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