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Cornettino
The cornettino (plural cornettini) is the descant instrument of the cornetto family. Cornettini usually have a primary scale of C or D major, with middle C or the adjacent D the pedal note of the instrument. The regular cornett is the 'treble' instrument of the family. Construction Like the cornetto, the cornettino was originally made from two pieces of wood, carved out and glued together. The instrument was covered in leather or parchment to prevent leaks and improve the grip for the player. Some instruments were made from ivory and these instruments were, accordingly, not covered in leather. The mouthpieces were made from animal horn, bone or ivory. Some instruments featured metal mountings at one or both ends of the instrument; these mountings help prevent the fraying of the leather or parchment and were decorative. Silver and gold were used for these mountings. Some modern instruments are made from a plastic such as ABS resin. History Cornettini were common in the high R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornettino
The cornettino (plural cornettini) is the descant instrument of the cornetto family. Cornettini usually have a primary scale of C or D major, with middle C or the adjacent D the pedal note of the instrument. The regular cornett is the 'treble' instrument of the family. Construction Like the cornetto, the cornettino was originally made from two pieces of wood, carved out and glued together. The instrument was covered in leather or parchment to prevent leaks and improve the grip for the player. Some instruments were made from ivory and these instruments were, accordingly, not covered in leather. The mouthpieces were made from animal horn, bone or ivory. Some instruments featured metal mountings at one or both ends of the instrument; these mountings help prevent the fraying of the leather or parchment and were decorative. Silver and gold were used for these mountings. Some modern instruments are made from a plastic such as ABS resin. History Cornettini were common in the high R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornett
The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the modern cornet. The sound of the cornett is produced by lip vibrations against a cup mouthpiece, similar to modern brass instruments. A cornett consists of a conical wooden pipe covered in leather, is about long, and has finger holes and a small horn, ivory, or bone mouthpiece. The range is from A3 to A5, however the bottom note can be lipped as far as G3 and a good player can get up to E6. Construction The ordinary treble cornett is made by splitting a length of wood and gouging out the two halves to make the gently conical, curved bore. The halves are then glued together, and the outside planed to an octagonal cross section, the whole being bound in thin black leather. Six front finger holes and a thumb hole on the back (like on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Descant
A descant, discant, or is any of several different things in music, depending on the period in question; etymologically, the word means a voice (''cantus'') above or removed from others. The Harvard Dictionary of Music states: A descant is a form of medieval music in which one singer sang a fixed melody, and others accompanied with improvisations. The word in this sense comes from the term ' (descant "above the book"), and is a form of Gregorian chant in which only the melody is notated but an improvised polyphony is understood. The ' had specific rules governing the improvisation of the additional voices. Later on, the term came to mean the treble or soprano singer in any group of voices, or the higher pitched line in a song. Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common. Descant can also refer to the highest pitched of a group of instruments, particularly the descant viol or recorder. Si ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andreas Hammerschmidt
Andreas Hammerschmidt (1611 or 1612 – 29 October 1675), the "Orpheus of Zittau," was a German Bohemian composer and organist of the early to middle Baroque era. He was one of the most significant and popular composers of sacred music in Germany in the middle 17th century. Life He was born at Brüx, a small Protestant community in Bohemia, to a Saxon father and a Bohemian mother. In 1626 the family had to flee Bohemia, during the Thirty Years' War, after it had become Catholic; they settled in Freiberg, Saxony, where Andreas must have received his musical education. He probably did not study with composer Christoph Demantius, who was ''Kantor'' at Freiberg and the most significant musician in the city while Hammerschmidt was there; however he may have known him. Many famous musicians of the early Baroque spent time in Freiberg but it is uncertain which of them taught Hammerschmidt; at any rate he received a superb musical training while there. Hammerschmidt left Freiberg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Melchior Gletle
Johann Melchior Gletle (July 1626 – 6 September 1683) was a Swiss organist, Kapellmeister and composer. Life Gletle was born in Bremgarten. He was a prolific composer of church music - masses, psalms, motets, and also several pieces for the tromba marina. He died, aged 57, in Augsburg. Works, editions and recordings Works * ''Motetta Sacra concertata'', Op. 1 (1667) * ''36 Trompeter-Stückle'' (1675), edited by Christian Blümel (Leverkusen: Mark Tezak, 1985) * ''Beatus Vir (Psalm 111)'' (1676/1677) (Ammerbuch: C. Hofius, 2010) * ''Expeditio musicae, classis IV'', Op. 5'' (1677) ** ''Cantate Domino'', motet for soprano, tenor, 2 violins, 2 violas, Cello and continuo, edited by Eberhard Hofmann (Ditzingen: Edition Musica Rinata, 2005) ** ''O wie ein so rauhe Krippen'' (Vilsbiburg: Musica pretiosa, 1996) ** ''Puellule decore'', pastorella (Magdeburg: Edition Walhall, 2005) * ''Litaneien op. 6'' (1681) * ''Marienvesper'' * ''O benignissime Jesu'', motet (Strasbourg: Les Cahiers De T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurizio Cazzati
Maurizio Cazzati (1 March 1616 – 28 September 1678) was a northern Italian composer of the seventeenth century. Biography Cazzati was born in Luzzara in the Duchy of Mantua. In spite of being almost unknown today, during his lifetime he served as a successful music director in many cities near his birthplace, including Mantua, Bozzolo, Ferrara and Bergamo, where he was succeeded by Pietro Andrea Ziani.Venetian instrumental music from Gabrieli to Vivaldi - Page 171 Eleanor Selfridge-Field - 1994 - In 1657 he succeeded Cazzati as ''maestro di cappella'' of Santa Maria He was so well-thought-of that in 1657 he was invited to take the position of ''maestro di cappella'' of San Petronio Basilica in Bologna, without needing to apply for it. Immediately after his appointment, he made some radical reforms that won him a general hostility from the musical community, and led to personal conflicts with other members of the ''cappella.'' In particular, he was bitterly criticized by Lorenz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samuel Friedrich Capricornus
Samuel Friedrich Capricornus, born Samuel Friedrich Bockshorn (21 December 1628, in Žerčice near Mladá Boleslav – 10 November 1665, in Stuttgart) was a Czech composer of the Baroque period. Life Capricornus' father was a Protestant minister, who fled with his family for fear of the Counter-Reformation to Bratislava in the former Kingdom of Hungary. After completing high school in Sopron, he studied languages and theology in Silesia before becoming a musician at the imperial court in Vienna. Here, he became acquainted with the music of Giovanni Valentini and Antonio Bertali. After a short stay in Reutlingen he worked for two years as a private music teacher in Bratislava and then from 1651 to 1657 he was active as a music director in various churches and as a music teacher at a high school there. In May 1657 he became '' Kapellmeister'' in Stuttgart and soon became engaged in a bitter dispute with the organist of the collegiate church, Philipp Friedrich Böddecker, who ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Crato Bütner
Crato Bütner (Sonneberg, 1616—1679) was a German Baroque composer who was ''kantor'' and organist in Danzig (Polish: Gdańsk), first at the hospital church of St Salvator, then at Gdańsk's oldest church, St Catherine's. His collection of baroque works disappeared in 1945. Works, editions and recordings Works His works survive in manuscript in Stuttgart and in the Düben collection. * songs in Georg Neumark's ''Lustwäldchen'' 1652, 1657 * songs in Johann Franck Johann Fran(c)k (1 June 1618 – 18 June 1677) was a German politician (serving as mayor of Guben and a member of the Landtag of Lower Lusatia) and a lyric poet and hymnist. Life Franck was born in Guben, Margraviate of Lower Lusatia. After vis ...'s ''Geistliche Sion'' * ''Geistliche Konzerte,'' Hamburg 1651 * Psalm 147, Danzig 1661 * Te Deum a l2, Danzig 1662 Editions * Edition: cantata ''Fürwahr, er trug unsere Krankheit''Historical sets, collected editions, and monuments of music Anna Harriet Heyer - 1980 BÜ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Valentini
Giovanni Valentini (ca. 1582 – 29/30 April 1649) was an Italian Baroque composer, poet and keyboard virtuoso. Overshadowed by his contemporaries, Claudio Monteverdi and Heinrich Schütz, Valentini is practically forgotten today, although he occupied one of the most prestigious musical posts of his time. He is best remembered for his innovative usage of asymmetric meters and the fact that he was Johann Kaspar Kerll's first teacher. Life Little is known about Valentini's life. He was born around 1582/3, probably in Venice, and almost certainly studied music under Giovanni Gabrieli there. Although the typical graduation Opus 1 of madrigals to be expected from a Gabrieli pupil – such as Opus 1 of Mogens Pedersøn (1608), Johann Grabbe (1609) and Heinrich Schütz (1611) – is not extant, Antimo Liberati (1617–1692) who worked in Venice in the 1640s records him in a letter of the 1680s as ''"Giovanni Valentini Veneziano, della famosa Schola de' Gabrielli."'' In approximately 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola Da Braccio (instrument)
Viola da braccio (from Italian "arm viola", plural ''viole da braccio'') is a term variously applied during the baroque period to instruments of the violin family, in distinction to the viola da gamba ("leg viola") and the viol family to which the latter belongs. At first "''da braccio''" seems to encompass the entire violin family. Monteverdi's ''Orfeo'' (printed 1609) designates an entire six-part string section "''viole da brazzo''", apparently including bass instruments held between the knees like the cello and bass violin. His '' Selva morale'' (1641) contains a piece calling for "''due violini & 3 viole da brazzo ouero 3 Tronboni''" (2 violins & 3 viole da braccio or trombones), reflecting a general shift in meaning towards the lower instruments. Eventually it came to be reserved for the alto member, the viola. A famous example is Bach's Sixth Brandenburg Concerto (1721), combining two viole da braccio with two viole da gamba. The German word for viola, ''Bratsche'', is a r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kaspar Förster
Kaspar Förster (also Caspar Foerster) (baptized 28 February 1616 in Danzig – 2 February 1673 in Oliva, near Danzig) was a German singer and composer. Förster studied music under his father Kaspar (1574-1652) and then under Marco Scacchi in Warsaw. He sang bass and conducted choirs at the Polish court in Warsaw from 1638 to about 1643, then served as '' kapellmeister'' to Frederik III of Denmark in Copenhagen between 1652 and 1655. In 1655, a war broke out between Denmark and Sweden, and Förster returned to Danzig, working as ''cantor'' at the Marienkirche there. He returned to the employ of Frederik from 1661 to 1667. During this time he visited Venice several times and played a role in bringing aspects of Italian musical style to northern Europe. He also studied under Giacomo Carissimi in the 1660s. Late in his life he worked briefly in Hamburg before returning to his birthplace. Förster's surviving works are mostly sacred cantatas for three voices, with two violi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Vierdanck
Johann Vierdanck (also ''Virdanck, Vyrdanck, Feyertagk, Feyerdank, Fierdanck''; ca. 1605–1646) was a German violinist, cornettist, and composer of the Baroque period. Life Vierdanck was born near Dresden. In 1615 he joined the court chapel of Dresden, where he became a student of Heinrich Schütz and of William Brade. His instrumental works were influenced by the Italian violinist Carlo Farina, also active in the Dresden court. After visits to Copenhagen and Lübeck, Vierdanck occupied the post of organist in Stralsund from 1635 until his death. He was buried in Stralsund on 1 April 1646. The group Parnassi Musici has recorded several of his instrumental works, from his 1641 publication, for the CD label Classic Produktion Osnabrück. Compositions *Instrumental **''Erster Theil Newer Pavanen, Gagliarden, Balletten vnd Correnten m. 2 V. u. einem Violon nebenst dem basso continuo'' (1637, Greifswald) Gives source for 1637 date for Vierdanck's publication as G. Weiss: Vier ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
