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1708 In Music
The year 1708 in music involved some significant musical events and new works. Events *Alessandro Scarlatti returns to Naples from Venice. *Johann Sebastian Bach becomes organist and concert-master at the Weimar court. * Arcangelo Corelli returns to Rome and joins the household of Cardinal Pietro Ottoboni. Published popular music *''Lyra Davidica'' (hymns) * Isaac Watts, ''Hymns and Spiritual Songs'' Published classical music *Tomaso Albinoni – ''6 Sonate da chiesa'', T.So 26–31, Op. 4 * Louis de Caix d'Hervelois – ''Pièces de viole, Livre 1'' * Andre Campra – ''Cantates françoises'' * Francisco José de Castro – ''8 Concertos'', Op. 4 * Evaristo Felice Dall'Abaco – 12 Violin Sonatas, Op. 1 * Pierre Du Mage – ''Livre d'orgue'' * Jean-Baptiste Stuck – ''Cantates françaises Livre II'' Classical music *Johann Sebastian Bach **'' Gott ist mein König'', BWV 71 **'' Lobe den Herrn, meine Seele'', BWV 143 **Kyrie in F major, BWV 233a ** ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prelude (Toccata) And Fugue In E Major, BWV 566
Prelude (Toccata) and Fugue in (C or) E major, BWV 566 is an organ work written by Johann Sebastian Bach probably during his 4 month-stay at Lübeck or afterwards in the winter of 1705–1706. It comprises five sections and is an early work in grand form of Bach. Its compositional form resembles that of Praeludia by Danish-German composer Dieterich Buxtehude. The first section alternates manual or pedal cadenzas with dense suspended chords. The second is a charming fugue with much repetition following the circle of fifths. The third section is a brief flourish for manuals, ending with an even briefer pedal cadenza punctuated with 9-voice chords. The fourth section, in time, is a second fugue with a rhythmic subject resembling the theme of the first fugue immediately followed by the fifth and final section that opens with a virtuous pedal-solo. Bach also wrote a transposed version of the piece in C major (BWV 566a), to play on organs tuned in meantone where E major would sound di ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Élisabeth Jacquet De La Guerre
Élisabeth Claude Jacquet de La Guerre (, née Jacquet, 17 March 1665 – 27 June 1729) was a French musician, harpsichordist and composer. Life and works Élisabeth-Claude Jacquet de La Guerre (née Jacquet) was born on March 17, 1665, into a family of musicians and master instrument-makers in the parish of Saint-Louis-en-l'Île, Paris. She came from a rich family of masons, musicians, composers, and instrument makers. Her grandfather, Jehan Jacquet, and her father, Claude Jacquet, were harpsichord makers. Rather than just teaching his sons, Claude Jacquet taught both his sons and daughters how to survive and thrive in the world. This upbringing, support from her father, and her family's rich history of musicianship was a major stepping stone for her musical career. She received her initial musical education from her father. At the age of five, Louis XIV took notice of her when she performed, evidently as a child prodigy, at his palace of Versailles. This eventually led to her ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacques-Martin Hotteterre
Jacques-Martin Hotteterre (29 September 167316 July 1763), also known as Jacques Martin or Jacques Hotteterre, was a French composer and flautist who was the most celebrated of a family of wind instrument makers and wind performers. Biography Hotteterre was born in Paris, France, the son of Martin Hotteterre (d. 1712) and Marie Crespy. In about 1704, Jacques-Martin Hotteterre succeeded his cousin Jacques in the post of ''basse de hautbois et taille de violon'' at the royal court. Hotteterre lived and studied in Rome early in his career, and his nickname ''le Romain'' (the Roman) came from this period. He spent two years (1698–1700) employed by Prince Francesco Ruspoli in Rome, before adopting the nickname of "Le Romain" at some point between 1705 and 1707. By 1708, he became a musician to the King of France, in the king's Grande Écurie,'' and in 1717, he inherited René Pignon Descoteaux's post as ''Jouëur de Fluste de la musique de chambre''. Hotteterre owed his fame l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dalla Guerra Amorosa
''Dalla guerra amorosa'' ( HWV 102) is a secular chamber cantata A cantata (; ; literally "sung", past participle feminine singular of the Italian verb ''cantare'', "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of ... for either bass (HWV 102a) or soprano (HWV 102b) written by Georg Frideric Handel in Italy during 1708–9. Other catalogues of Handel's music have referred to the work as Händel-Gesellschaft, HG l,34; (there is no Hallische Händel-Ausgabe, HHA numbering). The title of the cantata roughly translates as "From the war of amorous passion". Dalla guerra amorosa, is thought to be among the works written for Francesco Maria Marescotti Ruspoli, 1st Prince of Cerveteri, as the manuscript source is a copy made for Ruspoli in August 1709. This work is delicate and even poignant – the aria to the fading of beauty, ''La bellezza è come un fiore'', is reminiscent of ''Come ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aci, Galatea E Polifemo
Aci, Galatea e Polifemo ( HWV 72) is a dramatic cantata—also called a serenata—by George Frideric Handel. It was first performed at Naples on 19 July 1708; the completed score is dated to 16 June 1708. The serenata was commissioned by Duchess Donna Aurora Sanseverino for the wedding festivities of the Duke of Alvito, Tolomeo Saverio Gallo, and Beatrice Tocco di Montemiletto, Princess of Acaja and niece of Aurora Sanseverino.Hawks 2019 The Italian libretto was written by Nicola Giuvo, private secretary and literary adviser of Duchess Sanseverino. The plot is virtually the same as in Handel's later English-language pastoral opera '' Acis and Galatea'', but Handel drew little on the music of the cantata when he returned to the story in 1718, although he did take care to introduce the half-lovable villain — the one-eyed giant Polyphemus — with another signature comic aria, faster and demanding virtuosity of a different kind than the one in ''Aci'' (see below), namely, "O ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Resurrezione
''La resurrezione'' (''The Resurrection''), HWV 47, is an oratorio by George Frideric Handel, set to a libretto by Carlo Sigismondo Capece (1652–1728). Capece was court poet to Marie Casimire Louise de La Grange d'Arquien, Queen Marie Casimire of Poland, who was living in exile in Rome. It was first performed on Easter Sunday, 8 April 1708 at Rome, with the backing of the Marchese Francesco Maria Marescotti Ruspoli, 1st Prince of Cerveteri, Francesco Ruspoli, Handel's patron at this time. The work details the events between — and during — Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of mood taking place in the arias. The characters of the liturgical drama that appear in the oratorio are Lucifer (Bass (voice type), bass), Mary Magdalene (soprano), an angel (soprano), John the Evangelist (tenor), and Mary of Clopas, Mary Cleophas (alto). First performance A large orchestra was employed for the occasi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Frederic Handel
George Frideric (or Frederick) Handel (; baptised , ; 23 February 1685 – 14 April 1759) was a German-British Baroque music, Baroque composer well known for his opera#Baroque era, operas, oratorios, anthems, concerto grosso, concerti grossi, and organ concertos. Handel received his training in Halle (Saale), Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and Handel's Naturalisation Act 1727, became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphony, polyphonic choral tradition and by composers of the Italian Baroque. In turn, Handel's music forms one of the peaks of the "high baroque" style, bringing Italian opera to its highest development, creating the genres of English oratorio and organ concerto, and introducing a new style into English church music. He is consistently recognized as one of the greatest composers of his age. Handel started three c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henri Desmarets
Henri Desmarets (February 1661 Р7 September 1741) was a French composer of the Baroque period primarily known for his stage works, although he also composed sacred music as well as secular cantatas, songs and instrumental works. Biography Early years and first successes Henri Desmarets was born into a modest Paris household in February 1661. His mother, Madeleine ''n̩e'' Frottier, came from a bourgeois Parisian family. His father, Hugues Desmarets was a huissier in the cavalry at the Grand Ch̢telet. Desmarets' childhood was marked by his father's death when he was eight years old, his mother's subsequent remarriage in 1670, and the death of his two siblings. In 1674, he entered into the service of King Louis XIV as a page and choir singer in the Chapelle Royale (Chapel Royal). According to Duron and Ferraton, he may have also previously sung as a choir boy in Saint-Germain l'Auxerrois which was the parish church of the kings of France. While in the service of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Caldara
Antonio Caldara (ca 1670 – 28 December 1736) was an Italian Baroque composer. Life Caldara was born in Venice (exact date unknown), the son of a violinist. He became a chorister at St Mark's in Venice, where he learned several instruments, probably under the instruction of Giovanni Legrenzi. In 1699 he relocated to Mantua, where he became ''maestro di cappella'' to the inept Charles IV, Duke of Mantua, a pensionary of France with a French wife, who took the French side in the War of the Spanish Succession. Caldara removed from Mantua in 1707, after the French were expelled from Italy, then moved on to Barcelona as chamber composer to Charles III, the pretender to the Spanish throne (following the death of Charles II of Spain in 1700 without any direct heir) and who kept a royal court at Barcelona. There, he wrote some operas that are the first Italian operas performed in Spain. He moved on to Rome, becoming ''maestro di cappella'' to Francesco Maria Marescotti Ruspoli, 1st P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Maria Bononcini
Antonio Maria Bononcini (18 June 1677 – 8 July 1726) was an Italian cellist and composer, the younger brother of the better-known Giovanni Bononcini. Bononcini was born and died at Modena in Italy. Like his brother, he studied with Giovanni Paolo Colonna. Between 1690 and 1693, he played in the orchestra of Cardinal Pamphili. In 1698 he composed an allegory, ''La fama eroica'', for performance in Rome. He worked for some years with his brother, and joined him in the court orchestra at Vienna, where in 1705 he became ''Kapellmeister'' to the future Holy Roman Emperor Charles VI. In 1713 he returned to Italy, where he worked in Milan, Naples and Modena. In 1721 he became the ''maestro di cappella'' in Modena, where he remained for the rest of his life. In addition to his stage works, he composed over 40 cantatas (most of them for solo voice and harpsichord), as well as sacred music including a ''Mass in G minor'', a '' Stabat Mater in C Minor'', and a ''Salve Regina The "S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Keyboard And Lute Compositions By Johann Sebastian Bach
Keyboard works () by Johann Sebastian Bach traditionally refers to Chapter 8 in the BWV catalogue or the fifth series of the New Bach Edition, both of which list compositions for a solo keyboard instrument like the harpsichord or the clavichord. Despite the fact that the organ is also a keyboard instrument, and that in Bach's time the distinction wasn't always made whether a keyboard composition was for organ or another keyboard instrument, Wolfgang Schmieder ranged organ compositions in a separate section of the Bach-Werke-Verzeichnis ( Nos. 525-771). Also other compositions for keyboard, like compositions for lute-harpsichord and fortepiano were listed outside the "Klavierwerke" range by Schmieder. Lute works are in the range 995–1000, Chapter 9 in the BWV catalogue. Works for keyboard (BWV 772–994) Inventions and Sinfonias (772–801) * BWV 772 – Invention No. 1 in C major * BWV 772a – Invention No. 1 in C major (alternative version of BWV 772) * BWV 773 – Inve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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