Expression and Discrétion: Froberger, Bach, and Performance
... eighteenth century, certain types of Baroque music were also being performed regularly in North and South America. But it must be said that the music of Froberger and Bach did not achieve global status before the nineteenth and twentieth centuries. By the standards of their time, however, these two ...
... eighteenth century, certain types of Baroque music were also being performed regularly in North and South America. But it must be said that the music of Froberger and Bach did not achieve global status before the nineteenth and twentieth centuries. By the standards of their time, however, these two ...
please - Bay Area Music Association
... All Intervals by numbers and quality, augmented & diminished on any note Have to be able to use any rhythm combinations Music History ...
... All Intervals by numbers and quality, augmented & diminished on any note Have to be able to use any rhythm combinations Music History ...
Uri Golomb Rhetoric in the Performance of Baroque
... performers also emphasise metric regularity – an alternation of weak and strong beats – which could be compromised by over-drawn rubati. However, regularity should not be confused with rigidity; the ideal of rhetorical performance incorporates the flexibility of notes inegales, and regular metric p ...
... performers also emphasise metric regularity – an alternation of weak and strong beats – which could be compromised by over-drawn rubati. However, regularity should not be confused with rigidity; the ideal of rhetorical performance incorporates the flexibility of notes inegales, and regular metric p ...
Johann Sebastian Bach`s The Art of Fugue
... Rosen to describe The Art of Fugue as uniquely “sober and austere”; before this, he claims, Bach had not written anything “in which his art was so naked”. Paul Epstein (in the notes to the Emerson Quartet’s recording) hears it as “embodying divine order”, bringing to mind “natural forms, the growth ...
... Rosen to describe The Art of Fugue as uniquely “sober and austere”; before this, he claims, Bach had not written anything “in which his art was so naked”. Paul Epstein (in the notes to the Emerson Quartet’s recording) hears it as “embodying divine order”, bringing to mind “natural forms, the growth ...
ars combinatoria in selected works of cpe bach
... compositional craft thus may be found in tradition of ...
... compositional craft thus may be found in tradition of ...
The Understanding of Music - Cuyahoga Falls City School District
... mythology and history and the style is called “Opera Seria”. Two of the primary musical elements include the “aria” and “recitative. Arias are the most important solo songs, often dramatic, and sung by the most important characters of the story – the hero, heroine, or Gods. Arias are frequently hear ...
... mythology and history and the style is called “Opera Seria”. Two of the primary musical elements include the “aria” and “recitative. Arias are the most important solo songs, often dramatic, and sung by the most important characters of the story – the hero, heroine, or Gods. Arias are frequently hear ...
Schulenberg: Clavichord, p. 1 When Did the Clavichord Become
... Versuch, i.introduction.11, i.2.3.36. Donald H. Boalch, The Makers of the Harpsichord and Clavichord 1440–1840, 2d ed. (Oxford: Oxford University Press, 1974)], p. 46, translates the related word Tractament as “workmanship” in Bach's letter of Nov. 10, 1773, to Forkel. He is followed in this transla ...
... Versuch, i.introduction.11, i.2.3.36. Donald H. Boalch, The Makers of the Harpsichord and Clavichord 1440–1840, 2d ed. (Oxford: Oxford University Press, 1974)], p. 46, translates the related word Tractament as “workmanship” in Bach's letter of Nov. 10, 1773, to Forkel. He is followed in this transla ...
also available on signumvision
... The ‘Great’ A minor (distinguishing it from the lesser A minor, BWV 551) is a dazzling display of Baroque virtuosity, written before Bach was thirty to impress to his employers, the Dukes of Saxe-Weimar. The prelude is essentially a cadenza (free improvisatory piece, post-Buxtehude) with a manual so ...
... The ‘Great’ A minor (distinguishing it from the lesser A minor, BWV 551) is a dazzling display of Baroque virtuosity, written before Bach was thirty to impress to his employers, the Dukes of Saxe-Weimar. The prelude is essentially a cadenza (free improvisatory piece, post-Buxtehude) with a manual so ...
FLAUTI SENZA BASSO
... the subtle differences in sonority produced in the fingering of particular notes, wrote innumerable sonatas and concertos, often for their own use. Other composers, such as Bach and Vivaldi, were inspired to write for the flute by their meetings with very fine flute players or, like Telemann, simply ...
... the subtle differences in sonority produced in the fingering of particular notes, wrote innumerable sonatas and concertos, often for their own use. Other composers, such as Bach and Vivaldi, were inspired to write for the flute by their meetings with very fine flute players or, like Telemann, simply ...
Bach`s Prelude in E-flat Major, BWV 552I
... ‘fills’ in the second halves of mm. 41-43 are not as easy to play as they might seem and, as a result, can easily sound more ‘important’ than their place at the lightest part of the measure justifies. Indeed, these runs demand the lightest touch of the organist’s palette. Hearing the second half of ...
... ‘fills’ in the second halves of mm. 41-43 are not as easy to play as they might seem and, as a result, can easily sound more ‘important’ than their place at the lightest part of the measure justifies. Indeed, these runs demand the lightest touch of the organist’s palette. Hearing the second half of ...
Bach, Handel and the “Passionate” Listener
... complex rhetorical structure that brings to light the hermeneutical intent of Bach’s choice of text for this motet. In it he uses five verses from Paul’s epistle to the Romans to frame a theological argument that he embeds between six verses of Johann Crüger’s chorale Jesu meine Freude.3 A poetic ve ...
... complex rhetorical structure that brings to light the hermeneutical intent of Bach’s choice of text for this motet. In it he uses five verses from Paul’s epistle to the Romans to frame a theological argument that he embeds between six verses of Johann Crüger’s chorale Jesu meine Freude.3 A poetic ve ...
Program Notes - Chicago Symphony Orchestra
... whopping twenty percent of the court’s annual budget on his musical establishment.) The prince was an accomplished musician who not only played violin, viola da gamba, and harpsichord well enough to join with the professionals in his household orchestra, but who also had an exceptional bass voice. H ...
... whopping twenty percent of the court’s annual budget on his musical establishment.) The prince was an accomplished musician who not only played violin, viola da gamba, and harpsichord well enough to join with the professionals in his household orchestra, but who also had an exceptional bass voice. H ...
Bezuidenhout interview
... It’s clear too that both C.P.E. and J.C. Bach were enormously influential figures for the young Mozart. This is especially true of Johann Christian, the so-called London Bach, who met the eightyear old Wolfgang during his 1764-1765 London visit; the two remained in close contact until Johann Christi ...
... It’s clear too that both C.P.E. and J.C. Bach were enormously influential figures for the young Mozart. This is especially true of Johann Christian, the so-called London Bach, who met the eightyear old Wolfgang during his 1764-1765 London visit; the two remained in close contact until Johann Christi ...
The Development of the Shared Hand Technique in the 17 and 18
... achievements of the performer, which developed rapidly during this period. Specifically, the sharing of an independent voice between both hands brought a greater freedom to the composer in the derivation of thematic material and its subsequent manipulations over the duration of a work. Through an ex ...
... achievements of the performer, which developed rapidly during this period. Specifically, the sharing of an independent voice between both hands brought a greater freedom to the composer in the derivation of thematic material and its subsequent manipulations over the duration of a work. Through an ex ...
File - Eric Matthews` Efolio
... In Italy, a new tuning system was invented for ensemble use. This system was called scordatura. In a scordatura tuning system, an instrument would be tuned unconventionally so as to get a specific sound out of the instrument or the music called for the instrument to be tuned that way. An important c ...
... In Italy, a new tuning system was invented for ensemble use. This system was called scordatura. In a scordatura tuning system, an instrument would be tuned unconventionally so as to get a specific sound out of the instrument or the music called for the instrument to be tuned that way. An important c ...
js bach`s english suites - Academy of Ancient Music
... Bach composed the English Suites (BWV806–811) during the later years of his Weimar period, 1708–17. Preceded in all likelihood by a number of works in the same genre, of which only a few youthful works like the Suite in A major BWV832 have survived, they represent the first set of large-scale and ma ...
... Bach composed the English Suites (BWV806–811) during the later years of his Weimar period, 1708–17. Preceded in all likelihood by a number of works in the same genre, of which only a few youthful works like the Suite in A major BWV832 have survived, they represent the first set of large-scale and ma ...
INSTRUMENTAL MUSIC AUDITION INSTRUCTIONS
... auditions are conducted on the snare drum (alone). The applicant must bring all other instruments and music equipment to the audition. Applicants will be asked to sign-read music (supplied by the panel) with their instrument. Applicants will be asked to match pitches played on a piano with their voi ...
... auditions are conducted on the snare drum (alone). The applicant must bring all other instruments and music equipment to the audition. Applicants will be asked to sign-read music (supplied by the panel) with their instrument. Applicants will be asked to match pitches played on a piano with their voi ...
"Clavichord Music of Johann Kuhnau and CPE Bach" Joan Benson
... Side 1: Johann Kuhnau, Second Biblical Sonata, "Saul's Madness Soothed by Music" (3 movements: "The Depression and Fury of the King," 'The Refreshing Song of David's Harp," "The Calm and Happy Mind of Saul") Side 2: Carl Philipp Emanuel Bach, Rondo in B-flat Major, H.267; Rondo, "Farewell to my Silb ...
... Side 1: Johann Kuhnau, Second Biblical Sonata, "Saul's Madness Soothed by Music" (3 movements: "The Depression and Fury of the King," 'The Refreshing Song of David's Harp," "The Calm and Happy Mind of Saul") Side 2: Carl Philipp Emanuel Bach, Rondo in B-flat Major, H.267; Rondo, "Farewell to my Silb ...
BACH 740 - MUSIC for BACH`S DOMESTIC KEYBOARD
... This musical wealth was freely available to Bach, an opportunity which he seized with enthusiasm, choosing to perform and study these works, then to re-write them for solo keyboard. It seems that Bach was in fact on better terms with the lively Prince Johann Ernst than with his own stricter employer ...
... This musical wealth was freely available to Bach, an opportunity which he seized with enthusiasm, choosing to perform and study these works, then to re-write them for solo keyboard. It seems that Bach was in fact on better terms with the lively Prince Johann Ernst than with his own stricter employer ...
Document
... Program Notes, Three Pieces After Bach J.S. Bach’s The Well-Tempered Clavier is the point of departure for the three solo piano pieces I’ve composed. That work, written for keyboard instrument, contains a prelude and a fugue in all twelve keys, major and minor. He left us with two sets of these, Boo ...
... Program Notes, Three Pieces After Bach J.S. Bach’s The Well-Tempered Clavier is the point of departure for the three solo piano pieces I’ve composed. That work, written for keyboard instrument, contains a prelude and a fugue in all twelve keys, major and minor. He left us with two sets of these, Boo ...
Long Live the King P.D.Q. Bach (1807
... “the most dangerous musician since Nero,” and other things not quite so complimentary. They even started a rumor that P.D.Q. Bach, without a doubt Johann Sebastian’s last and least offspring, was not ...
... “the most dangerous musician since Nero,” and other things not quite so complimentary. They even started a rumor that P.D.Q. Bach, without a doubt Johann Sebastian’s last and least offspring, was not ...
Music During the Baroque Period
... • Even though the Baroque period has a time frame, what helped quantify when the Baroque period started and ended? ...
... • Even though the Baroque period has a time frame, what helped quantify when the Baroque period started and ended? ...
Slide 1
... His craft and power are great, and, armed with cruel hate, On earth is not his equal. ...
... His craft and power are great, and, armed with cruel hate, On earth is not his equal. ...
Carl Philipp Emanuel Bach
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.He was known as the ""Berlin Bach"" or the ""Hamburg Bach"".