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Musicalische Ergötzung
''Musicalische Ergötzung'' (English: Musical Delight, PWC 370a–375, T. 331–336, PC 348–353) is a collection of chamber music by Johann Pachelbel. Published during his lifetime, it contains six suites for two violins and basso continuo. The exact circumstances of the German-titled work's publication are unknown. The only extant copy of the original print was published in or after 1699 in Nuremberg, by Johann Christoph Weigel, a publisher who also issued several other works by Pachelbel. Yet Johann Mattheson, writing some decades after Pachelbel's death, claimed that ''Musicalische Ergötzung'' was first published in 1691. The collection contains six ''parties'', or suites: # Partie I in F major: Sonata (Allegro) – Allemande – Courante – Ballet – Sarabande – Gigue # Partie II in C minor: Sonata – Gavotte – Trezza – Aria – Sarabande – Gigue # Partie III in E major: Sonata (Allegro) – Allemande – Courante – Gavotte – Sarabande – Gigue # Partie I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Compositions By Johann Pachelbel
Approximately 530 compositions have been attributed to Johann Pachelbel. , no standard numbering system exists for Pachelbel's work. This article presents a thematically organized list and provides catalogue numbers from three different catalogues: * P = catalogue by Jean M. Perreault, 2001 * T = catalogue by Hideo Tsukamoto, 2002available online (archive from 18 October 2014)* PC = catalogue by Kathryn J. Welter, 1998 For organ works, POP catalogue numbers are provided, from catalogue by Antoine Bouchard for his 1998–2001 recording of Pachelbel's organ oeuvre (this catalogue only covers organ works). Perreault numbers are used as the basis of the list, making individual sections organized alphabetically (i.e. the chorales) and/or by tonality. Because the Welter catalogue does not provide incipits, many of the works with identical titles will share a single PC number (which is in such cases denoted by a question mark). The following symbols are used: * * denotes that the asc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allemande
An ''allemande'' (''allemanda'', ''almain(e)'', or ''alman(d)'', French: "German (dance)") is a Renaissance and Baroque dance, and one of the most common instrumental dance styles in Baroque music, with examples by Couperin, Purcell, Bach and Handel. It is often the first movement of a Baroque suite of dances, paired with a subsequent courante, though it is sometimes preceded by an introduction or prelude. A quite different, later, Allemande, named as such in the time of Mozart and Beethoven, still survives in Germany and Switzerland and is a lively triple-time social dance related to the waltz and the ''Ländler''.Scholes P., 1970, article: ''Allemande''. History The allemande originated in the 16th century as a duple metre dance of moderate tempo, already considered very old, with a characteristic "double-knocking" upbeat of two or occasionally three sixteenth notes.Bach. ''The French Suites: Embellished version''. Bärenreiter Urtext It appears to have derived from a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Ignaz Biber
Heinrich Ignaz Franz Biber ( bapt. 12 August 1644, Stráž pod Ralskem – 3 May 1704, Salzburg) was a Bohemian-Austrian composer and violinist. Biber worked in Graz and Kroměříž before he illegally left his employer, Prince-Bishop Karl Liechtenstein-Kastelkorn, and settled in Salzburg. He remained there for the rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours. Biber was among the major composers for the violin in the history of the instrument. His own technique allowed him to easily reach the 6th and 7th positions, employ multiple stops in intricate polyphonic passages, and explore the various possibilities of scordatura tuning.A Survey of the Unaccompanied Violin Repertoire, Centering on Work ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scordatura
Scordatura (; literally, Italian for "discord", or "mistuning") is a tuning of a string instrument that is different from the normal, standard tuning. It typically attempts to allow special effects or unusual chords or timbre, or to make certain passages easier to play. It is common to notate the finger position as if played in regular tuning, while the actual pitch resulting is altered (scordatura notation). When all the strings are tuned by the same interval up or down, as in the case of the viola in Mozart's ''Sinfonia Concertante for Violin, Viola and Orchestra'', the part is transposed as a whole. Bowed string instruments The invention of scordatura tuning has been attributed to Thomas Baltzar, a prodigious German violinist and composer who is known to have used the technique in around the 1660s, at least a decade before Biber composed his ''Rosary Sonatas'' in which he employed the tuning technique. Of course, German violinist Hans Hake (1628 – after 1667) includes three ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chaconne
A chaconne (; ; es, chacona, links=no; it, ciaccona, links=no, ; earlier English: ''chacony'') is a type of musical composition often used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line (ground bass) which offers a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. It originates and was particularly popular in the Baroque era; a large number of Chaconnes exist from the 17th- and 18th- centuries. The ground bass, if there is one, may typically descend stepwise from the tonic to the dominant pitch of the scale; the harmonies given to the upper parts may emphasize the circle of fifths or a derivative pattern thereof. History Though it originally emerged during the late sixteenth century in Spanish culture, having reputedly been introduced from the New World, as a quick dance-song characterized by suggestive movements and mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gavotte
The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source. According to another reference, the word ''gavotte'' is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time and is usually of moderate tempo, though the folk dances also use meters such as and . In late 16th-century Renaissance dance, the gavotte is first mentioned as the last of a suite of branles. Popular at the court of Louis XIV, it became one of many optional dances in the classical suite of dances. Many were composed by Lully, Rameau and Gluck, and the 17th-century cibell is a variety. The dance was popular in France throughout the 18th century and spread w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gigue
The gigue (; ) or giga () is a lively baroque dance originating from the English jig. It was imported into France in the mid-17th centuryBellingham, Jane"gigue."''The Oxford Companion to Music''. Ed. Alison Latham. Oxford Music Online. 6 July 2008 and usually appears at the end of a suite. The gigue was probably never a court dance, but it was danced by nobility on social occasions and several court composers wrote gigues.Louis Horst, ''Pre-Classic Dance Forms'', (Princeton, NJ: Princeton Book Company, 1987), 54–60. A gigue is usually in or in one of its compound metre derivatives, such as , , or , although there are some gigues written in other metres, as for example the gigue from Johann Sebastian Bach's first ''French Suite'' (BWV 812), which is written in and has a distinctive strutting "dotted" rhythm. Gigues often have a contrapuntal texture as well as often having accents on the third beats in the bar, making the gigue a lively folk dance. In early French theatr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sarabande
The sarabande (from es, zarabanda) is a dance in triple metre, or the music written for such a dance. History The Sarabande evolved from a Spanish dance with Arab influences, danced by a lively double line of couples with castanets. A dance called ''zarabanda'' is first mentioned in 1539 in Central America in the poem ''Vida y tiempo de Maricastaña'', written in Panama by Fernando de Guzmán Mejía. In 1596, Alonso López, "el Pinciano", traces its origins even to the Dionysian cult. The dance seems to have been especially popular in the 16th and 17th centuries, initially in Spain and in the Spanish colonies. The Jesuit priest Juan de Mariana thought it indecent, describing it in his ''Tratato contra los juegos públicos'' (Treatise Against Public Amusements, 1609) as "a dance and song so loose in its words and so ugly in its motions that it is enough to excite bad emotions in even very decent people".Jane Bellingham, "Sarabande", ''The Oxford Companion to Music'', edited by A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Courante
The ''courante'', ''corrente'', ''coranto'' and ''corant'' are some of the names given to a family of triple metre dances from the late Renaissance and the Baroque era. In a Baroque dance suite an Italian or French courante is typically paired with a preceding allemande, making it the second movement of the suite or the third if there is a prelude. Types ''Courante'' literally means "running", and in the later Renaissance the courante was danced with fast running and jumping steps, as described by Thoinot Arbeau. But the courante commonly used in the baroque period was described by Johann Mattheson in ''Der vollkommene Capellmeister'' (Hamburg, 1739) as "chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this melody: clearly music on which hopes are built."Quoted in Alfred Dürr, preface to Johann Sebastian Bach, ''Französische Suiten: die verzierte Fassung / The French Suites: Embel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Mattheson
Johann Mattheson (28 September 1681 – 17 April 1764) was a German composer, singer, writer, lexicographer, diplomat and music theorist. Early life and career The son of a prosperous tax collector, Mattheson received a broad liberal education and, aside from general musical training, took lessons in keyboard instruments, violin, composition and singing. By age nine he was singing and playing organ in church and was a member of the chorus of the Hamburg opera. He made his solo debut with the Hamburg opera in 1696 in female roles and, after his voice changed, sang tenor at the opera, conducted rehearsals and composed operas himself. He was cantor at St. Mary's Cathedral from 1718 until increasing deafness led to his retirement from that post in 1728. Mattheson's chief occupation from 1706 was as a professional diplomat. He had studied English in school and spoke it fluently. He became tutor to the son of the English ambassador Sir John Wich and then secretary to the ambassador. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chamber Music
Chamber music is a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part (in contrast to orchestral music, in which each string part is played by a number of performers). However, by convention, it usually does not include solo instrument performances. Because of its intimate nature, chamber music has been described as "the music of friends". For more than 100 years, chamber music was played primarily by amateur musicians in their homes, and even today, when chamber music performance has migrated from the home to the concert hall, many musicians, amateur and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Christoph Weigel
Johann Christoph Weigel, known as Christoph Weigel the Elder (9 November 1654 – 5 February 1725), was a German engraver, art dealer and publisher. He was born at Redwitz, Free imperial city of Cheb, Eger in Egerland, and died in Nuremberg, aged 70. References * External links * 1654 births 1725 deaths German engravers German art dealers German publishers (people) {{Germany-publisher-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
