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Tafelmusik (Telemann)
is a collection of instrumental compositions by Georg Philipp Telemann (1681–1767), published in 1733. The original title is . The work is one of Telemann's most widely known compositions; it is the climax and at the same time one of the last examples of courtly table music. Publication The composition addressed predominantly wealthy music lovers. The complete set of parts of the extensive work, engraved in copper, cost 8 Reichsthaler — an exorbitant price, considering the fact that Johann Sebastian Bach received the same sum as remuneration for a complete orchestra at a court concert. More than 200 subscribers were found who were willing to pay the price in advance and whose name, social status, and address were published in the first edition. The illustrious list comprised crowned heads, noblewomen, and merchants as well as German and non-German musicians and composers — among others George Frideric Handel from London, Johann Georg Pisendel and Johann Joachim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Table Music
Tafelmusik (German: literally, "table-music") is a term used since the mid-16th century for music played at feasts and banquets. Table music could be either instrumental, vocal, or both. As might be expected, it was often of a somewhat lighter character than music for other occasions. In solemn banquets, starting with wedding dinners, the presence of singers and instrumentalists is customary and almost obligatory. Origin The custom of accompanying banquets and symposia with music has been attested by ancient Egyptian, Hebrew, Greek and the Romans in Roman temples. The term was often used as a title for collections of music, some of which were intended to be used at banquets as a musical background, or during outdoor events. The tradition lasts in the Middle Ages and takes on new vigor in the 15th century. The short compositions of Gioachino Rossini, a composer who also gained fame as a gourmet, titles "antipasto" and "dessert" are recognized as related to "table music". Practi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music. A double bass may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Denkmäler Deutscher Tonkunst
''Denkmäler deutscher Tonkunst'' (literally "Monuments of German musical art") is a historical edition of music from Germany, covering the Baroque and Classical periods. The edition comprises two series: the first appeared in sixty-five volumes between 1892 and 1931, and the second, which was subtitled ''Denkmäler der Tonkunst in Bayern'' (Monuments of musical art in Bavaria), in thirty-six volumes between 1900 and 1931. The first series was issued by a Prussian royal commission of celebrity musicians and musicologists in instalments through the music publishers Breitkopf & Härtel in Leipzig, and the second by the Society for the Publication of Monuments of Musical Art in Bavaria. A parallel series of volumes on Austrian composers, '' Denkmäler der Tonkunst in Österreich'' (Monuments of musical art in Austria), was begun in 1959, and as at 2015-10-25 is in progress at one hundred and fifteen volumes. References to these editions in this article in common with general prac ... [...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] |
Air (music)
An air ( it, aria; also ''ayr'', ''ayre'' in French) is a song-like vocal or instrumental composition. The term can also be applied to the interchangeable melodies of folk songs and ballads. It is a variant of the musical song form often referred to (in opera, cantata and oratorio) as aria. English lute ayres Lute airs were first produced in the royal court of England toward the end of the 16th century and enjoyed considerable popularity until the 1620s. Probably based on Italian monody and French ''air de cour'', they were solo songs, occasionally with more (usually three) parts, accompanied on a lute.G. J. Buelow, ''History of Baroque Music: Music in the 17th and First Half of the 18th Centuries'', Indiana University Press, 2004 (p. 306). Their popularity began with the publication of John Dowland's (1563–1626) ''First Booke of Songs or Ayres'' (1597). His most famous airs include " Come again", "Flow, my tears", " I saw my Lady weepe", and " In darkness let me dwell". The gen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passepied
The passepied (, "pass-foot", from a characteristic dance step) is a French court dance. Originating as a kind of Breton branle, it was adapted to courtly use in the 16th century and is found frequently in 18th-century French opera and ballet, particularly in pastoral scenes, and latterly also in baroque instrumental suites of dances. In English the passepied has been spelled "paspy" as well as "paspie" or "paspe", phonetic approximations of the French pronunciation. History The earliest historical mention of the passepied was by Noël du Fail in 1548, who said it was common at Breton courts. François Rabelais and Thoinot Arbeau, writing later in the 16th century, identify the dance as a type of branle characteristic of Brittany. At this time it was a fast duple-time dance with three-bar phrases, therefore of the ''branle simple'' type. Like many folk-dances it was popular at the court of Louis XIV. The passepied was remodelled by Jean-Baptiste Lully as a pastoral concert da ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Loure
The loure, also known as the gigue lourée or gigue lente (slow gigue), is a French Baroque dance, probably originating in Normandy and named after the sound of the instrument of the same name (a type of ''musette''). It is of slow or moderate tempo, sometimes in simple triple meter but more often in compound duple meter. The weight is on the first beat, a characteristic emphasised by the preceding anacrusis, which begins the traditional loure. Another feature is the lilting dotted rhythm. In his ''Musicalisches Lexicon'' (Leipzig, 1732), Johann Gottfried Walther wrote that the loure "is slow and ceremonious; the first note of each half-measure is dotted which should be well observed". Examples of loures are found in the works of Lully (e.g., '' Alceste''), Rameau (e.g. Les Indes galantes) and of Bach Johann Sebastian Bach (28 July 1750) was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the ''Brandenburg Concerto ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondo
The rondo is an instrumental musical form introduced in the Classical period. Etymology The English word ''rondo'' comes from the Italian form of the French ''rondeau'', which means "a little round". Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondeau is a ''vocal'' musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century). Notably, both vocal forms of rondeau nearly disappeared from the repertoire by the beginning of the 16th century. In French, ''rondeau'' is used for both forms, while in English ''rondeau'' is generally used for the ''vocal'' musical form, while ''rondo'' is used for the ''instrumental'' musical form.Don Neville, "Rondò", ''The New Grove Dictionary of Opera'', 4 vols., edited by Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and edit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Telemann-Werke-Verzeichnis
The Telemann-Werke-Verzeichnis (Telemann Works Catalogue), abbreviated TWV, is the numbering system identifying compositions by Georg Philipp Telemann, published by musicologist Martin Ruhnke. The prefix TWV is generally followed by a genre number, a letter indicating the key (in some cases), and a work number. The genre number indicates the general type or medium of the work. A major key is in upper case, a minor key in lower case. The second number is the work's number within the genre. For example, Telemann's ''Concerto polonois in B flat major for strings and basso continuo'' is TWV 43:B3. His ''Orchestral suite in D major'' is TWV 55:D18, and his ''Overture in G minor'' is TWV 55:g4. Vocal works were catalogued in a similar way by Werner Menke in the Telemann-Vokalwerke-Verzeichnis (Telemann Vocal Works Catalogue), abbreviated TVWV. For example, Telemann's ''Johannes-Passion'' is TVWV 5:42. His ''Times of the Day'' cantata is TVWV 20:39. Genre numbering Genres of vocal wor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
