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Pièces De Viole
Pièces de viole were collections of suites for bass viol and usually continuo written by several French Baroque composers, most notably Marin Marais, whose five Livres form a core of the viol repertoire. Early pièces did not include continuo parts; examples of these may be found in the oeuvres of Sieur de Sainte-Colombe and Nicolas Hotman. Derived from lute and theorbo music, they often featured preludes sans mesures, and virtuosic bowed trills, whilst remaining French in their dance rhythms and melodies. Formally they also mirrored the pièces de clavecin being written by virtuoso harpsichordists. Marais and his contemporaries further established a uniquely French tradition of virtuosic pieces for viol and continuo. The pièces were typically written in dance forms like the Allemande, Gavotte, Sarabande, and Gigue, augmented by a Prélude or a Fantaisie and with additional character pieces like Plaintes and Tombeaux. The French pièce de viole is also recognizable ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass Viol
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 ''vihuela' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fantaisie
A fantasia (; also English: ''fantasy'', ''fancy'', ''fantazy'', ''phantasy'', german: Fantasie, ''Phantasie'', french: fantaisie) is a musical composition with roots in improvisation. The fantasia, like the impromptu, seldom follows the textbook rules of any strict musical form. History The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms. One of the most important composers in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Dollé
Charles Dollé ( fl. 1735 – 1755) was a French viol player and composer. Very little is known about his life. He was active in Paris and was a sought-after teacher of viol. His music, all of which involves the viol in some way, was influenced by Marin Marais (whose death the composer commemorated in a ''tombeau'') and Italian style, which is most prominent in Dollé's late works (although they retain the characteristically French ornamentation). Dollé's music survives in five printed collections (all published in Paris): *''Sonates en trio pour les violons, flûtes-traversières et violes avec la basse continue'', op. 1 (1737) *''Pièces de viole'' (for bass viol and basso continuo), op. 2 (1737) *''Pièces pour le pardessus de viole The pardessus de viole is the highest-pitched member of the viol family of instruments. It is a bowed string instrument with either five or six strings and a fretted neck. The pardessus first appeared in the early 18th century, and was commonly ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Baptiste Forqueray
__NOTOC__ Jean-Baptiste Forqueray (3 April 1699 – 28 June 1782), the son of Antoine Forqueray, was a player of the viol and a composer. Forqueray was born in Paris. He is most famous today for his 1747 publication of twenty-nine pieces for viol and continuo which he attributed to his father (except for three, for which he himself took credit). In the ''avertissement'' he states that he was responsible for the bass line (thus the figures as well) and the viol fingerings. Stylistically, they are very much influenced by Italian music and belong to the generation of Jean-Marie Leclair (1697–1764) and Jean-Pierre Guignon (1702–1774). Modern violists regard these '' Pieces de viole'' as the most virtuosic music for the instrument. Paolo Pandolfo and Lorenz Duftschmid have both recorded the complete publication. Forqueray published the same pieces for harpsichord, possibly in arrangements made by his wife Marie-Rose, in 1749 (ed. Colin Tilney, Paris, 1970) but remarkably d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antoine Forqueray
Antoine Forqueray (September 1672 – 28 June 1745) was a French composer and virtuoso of the viola da gamba. Forqueray, born in Paris, was the first in a line of composers which included his sons Jean-Baptiste (1699–1782) and Nicolas Gilles (1703–1761) as well as his brother Michel (1681–1757). Career at Versailles Forqueray's exceptional talents as a player led to his performing before Louis XIV at the age of ten. The king was so pleased with him that he arranged for Forqueray to have music lessons at his own expense and then, seven years later, in 1689, named him ''musicien ordinaire'' of ''La chambre du Roy'', a position Forqueray held until the end of his life. To supplement his official income he gave lucrative private lessons to members of the royal family and the aristocracy. In Louis XIV's later years the normal routine of concerts at the court of Versailles was augmented by Mme de Maintenon. She arranged almost daily performances in her apartments by such musicians ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joseph Bodin De Boismortier
Joseph Bodin de Boismortier (23 December 1689 – 28 October 1755) was a French baroque composer of instrumental music, cantatas, opéra-ballets, and vocal music. Boismortier was one of the first composers to have no patrons: having obtained a royal licence for engraving music in 1724, he made enormous sums of money by publishing his music for sale to the public. Biography The Boismortier family moved from the composer's birthplace in Thionville (in Lorraine) to the town of Metz where he received his musical education from Joseph Valette de Montigny, a well-known composer of motets. The Boismortier family then followed Montigny and moved to Perpignan in 1713 where Boismortier found employment in the Royal Tobacco Control. Boismortier married Marie Valette, the daughter of a rich goldsmith and a relative of his teacher Montigny. In 1724 Boismortier and his wife moved to Paris where he began a prodigious composition career, writing for many instruments and voices. He was pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis De Caix D'Hervelois
Louis de Caix d'Hervelois (; c. 1670 in France – 18 October 1759 in France) was a composer of chamber music. Biography Caix d'Hervelois wrote music almost exclusively for the viol. Most of his other works exist as transcriptions from his viol music. A native of the north of France, almost nothing is known of his life. However, his changing addresses appear in his published music as well as in passing in contemporary discussions of the viol, and in brief notes in archives. The longest archival text (1697) documents a request by a canon of Sainte-Chapelle, annoyed by the noise of the young ''chapelain ordinaire'' Caix learning to play the viol, that Caix practice in a room under the stairs. Louis de Caix d'Hervelois was a pupil of the great Marin Marais. Caix's tuneful, graceful music is firmly in the French tradition of character pieces in dance suites. It is among the most idiomatic music written for the viol, its apparent simplicity deepening when interpreted in the light of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François Couperin
François Couperin (; 10 November 1668 – 11 September 1733) was a French Baroque composer, organist and harpsichordist. He was known as ''Couperin le Grand'' ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family. Life Couperin was born in Paris, into a prominent musical family. His father Charles was organist at the Church of Saint-Gervais in the city, a position previously held by Charles's brother Louis Couperin, the esteemed keyboard virtuoso and composer whose career was cut short by an early death. As a boy François must have received his first music lessons from his father, but Charles died in 1679 leaving the position at Saint-Gervais to his son, a common practice known as ''survivance'' that few churches ignored. With their hands tied, the churchwardens at Saint-Gervais hired Michel Richard Delalande to serve as new organist on the understanding that François would replace him at age 18. However, it is likely Couperin b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sieur De Danoville
Lord of the Manor is a title that, in Anglo-Saxon England, referred to the landholder of a rural estate. The lord enjoyed manorial rights (the rights to establish and occupy a residence, known as the manor house and demesne) as well as seignory, the right to grant or draw benefit from the estate. The title continues in modern England and Wales as a legally recognised form of property that can be held independently of its historical rights. It may belong entirely to one person or be a moiety shared with other people. A title similar to such a lordship is known in French as ''Sieur'' or , in German, (Kaleagasi) in Turkish, in Norwegian and Swedish, in Welsh, in Dutch, and or in Italian. Types Historically a lord of the manor could either be a tenant-in-chief if he held a capital manor directly from the Crown, or a mesne lord if he was the vassal of another lord. The origins of the lordship of manors arose in the Anglo-Saxon system of manorialism. Following the Norm ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
