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12 Fantasias For Solo Violin (Telemann)
Georg Philipp Telemann's collection of 12 Fantasias for Solo Violin, TWV 40:14–25, was published in Hamburg in 1735. It is one of Telemann's collections of music for unaccompanied instruments, the others being twelve fantasias for solo flute and thirty-six for solo harpsichord that were published in Hamburg in 1732–33, as well as a set of twelve fantasias for solo viola da gamba that was published in the same city in 1735, but were considered lost until a copy of the print was found in a private collection in 2015 by viola da gamba player and musicologist Thomas Fritzsch. This collection consists of the following works: # Fantasia in B-flat major (Largo—Allegro—Grave—Si replica l'allegro) # Fantasia in G major (Largo—Allegro—Allegro) # Fantasia in F minor (Adagio—Presto—Grave—Vivace) # Fantasia in D major (Vivace—Grave—Allegro) # Fantasia in A major (Allegro—Presto—Allegro—Presto—Andante—Allegro) # Fantasia in E minor (Grave—Presto—Siciliana†... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
12 Fantasias For Violin Without Bass
1 (one, unit, unity) is a number representing a single or the only entity. 1 is also a numerical digit and represents a single unit (measurement), unit of counting or measurement. For example, a line segment of ''unit length'' is a line segment of length 1. In conventions of sign where zero is considered neither positive nor negative, 1 is the first and smallest Positive number, positive integer. It is also sometimes considered the first of the sequence (mathematics), infinite sequence of natural numbers, followed by 2, although by other definitions 1 is the second natural number, following 0. The fundamental mathematical property of 1 is to be a multiplicative identity, meaning that any number multiplied by 1 equals the same number. Most if not all properties of 1 can be deduced from this. In advanced mathematics, a multiplicative identity is often denoted 1, even if it is not a number. 1 is by convention not considered a prime number; this was not universally ac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georg Philipp Telemann
Georg Philipp Telemann (; – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him. Telemann is one of the most prolific composers in history, at least in terms of surviving oeuvre. He was considered by his contemporaries to be one of the leading German composers of the time, and he was compared favourably bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamburg
(male), (female) en, Hamburger(s), Hamburgian(s) , timezone1 = Central (CET) , utc_offset1 = +1 , timezone1_DST = Central (CEST) , utc_offset1_DST = +2 , postal_code_type = Postal code(s) , postal_code = 20001–21149, 22001–22769 , area_code_type = Area code(s) , area_code = 040 , registration_plate = , blank_name_sec1 = GRP (nominal) , blank_info_sec1 = €123 billion (2019) , blank1_name_sec1 = GRP per capita , blank1_info_sec1 = €67,000 (2019) , blank1_name_sec2 = HDI (2018) , blank1_info_sec2 = 0.976 · 1st of 16 , iso_code = DE-HH , blank_name_sec2 = NUTS Region , blank_info_sec2 = DE6 , website = , footnotes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
12 Fantasias For Solo Flute (Telemann)
Georg Philipp Telemann's ''12 fantaisies à traversière sans basse'', 12 Fantasias for Solo Flute, TWV 40:2–13, were published in Hamburg in 1732–33. An extant copy of the publication, conserved in Brussels, has a spurious title page reading ''Fantasie per il Violino senza Basso'' (Fantasias for Solo Violin). The set is one of Telemann's collections of fantasias for unaccompanied instruments, the others being a set of , also published in 1732–33, and two sets published in 1735: twelve for solo violin and twelve for viola da gamba. Telemann's solo flute fantasias are alone in the Baroque repertoire to include movements seemingly impossible on flute: fugues (fantasias 2, 6, and 8–11), a French overture (fantasia 7) and a passacaglia (fantasia 5). In 2012, an arrangement for viola solo was published by Euprint. In this arrangement, through the use of double stops, some many-voiced parts appear as real polyphonic pieces. Structure This work comprises the fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Twelve Fantasias For Viola Da Gamba Solo
Georg Philipp Telemann's collection of Twelve Fantasias for Viola da Gamba Solo, TWV 40:26–37, was published in Hamburg in 1735, titled ''Fantaisies pour la Basse de Violle''. The Fantasia (music), fantasias for viola da gamba were considered lost until an original print was found in a private collection in 2015. They were published by Edition Güntersberg in 2016, and first recorded and performed again by Thomas Fritzsch the same year. History Telemann printed the Fantasia (music), fantasias for viola da gamba in 1735 in his own publishing house in Hamburg. He undertook self-publishing, offering works by subscription: His subscriber lists include buyers from Amsterdam, London and Paris. He offered a 20% discount to subscribers to the fantasias. The fantasias are among Telemann's collections of music for unaccompanied instruments, with others being 12 Fantasias for Solo Flute (Telemann), twelve fantasias for solo flute (1732/33), 12 Fantasias for Solo Violin (Telemann), twelve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola Da Gamba
The viol (), viola da gamba (), or informally gamba, is any one of a family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Frets on the viol are usually made of gut, tied on the fingerboard around the instrument's neck, to enable the performer to stop the strings more cleanly. Frets improve consistency of intonation and lend the stopped notes a tone that better matches the open strings. Viols first appeared in Spain in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic ''rebab'' and the medieval European vielle,Otterstedt, Annette. ''The Viol: History of an Instrument. ''Kassel: Barenreiter;-Verlag Karl Votterle GmbH & Co; 2002. but later, more direct possible ancestors include the Venetian ''viole'' and the 15th- and 16th-century Spanish ''vihuel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Double-stopping
In music, a double stop is the technique of playing two notes simultaneously on a stringed instrument such as a violin, a viola, a cello, or a double bass. On instruments such as the Hardanger fiddle it is common and often employed. In performing a double stop, two separate strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered (stopped), in practice one or both strings may be open. A triple stop is the same technique applied to three strings; a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping. Early extensive examples of the double stop and string chords appear in Carlo Farina's ''Capriccio Stravagante'' from 1627, and in certain of the sonatas of Biagio Marini's Op. 8 of 1629. Bowing On instruments with a curved bridge, it is difficult to bow more than two strings simultaneously. Early treatises make it clear that composers did not expect thr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Courier Dover Publications
Dover Publications, also known as Dover Books, is an American book publisher founded in 1941 by Hayward and Blanche Cirker. It primarily reissues books that are out of print from their original publishers. These are often, but not always, books in the public domain. The original published editions may be scarce or historically significant. Dover republishes these books, making them available at a significantly reduced cost. Classic reprints Dover reprints classic works of literature, classical sheet music, and public-domain images from the 18th and 19th centuries. Dover also publishes an extensive collection of mathematical, scientific, and engineering texts. It often targets its reprints at a niche market, such as woodworking. Starting in 2015, the company branched out into graphic novel reprints, overseen by Dover acquisitions editor and former comics writer and editor Drew Ford. Most Dover reprints are photo facsimiles of the originals, retaining the original pagination and t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compositions By Georg Philipp Telemann
Composition or Compositions may refer to: Arts and literature *Composition (dance), practice and teaching of choreography *Composition (language), in literature and rhetoric, producing a work in spoken tradition and written discourse, to include visuals and digital space *Composition (music), an original piece of music and its creation *Composition (visual arts), the plan, placement or arrangement of the elements of art in a work * ''Composition'' (Peeters), a 1921 painting by Jozef Peeters *Composition studies, the professional field of writing instruction * ''Compositions'' (album), an album by Anita Baker *Digital compositing, the practice of digitally piecing together a video Computer science *Function composition (computer science), an act or mechanism to combine simple functions to build more complicated ones *Object composition, combining simpler data types into more complex data types, or function calls into calling functions History *Composition of 1867, Austro-Hungarian/ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
