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Triple Concerto, BWV 1044
The Triple Concerto, BWV 1044, is a concerto in A minor for traverso, violin, harpsichord, and string orchestra by Johann Sebastian Bach. He based the composition on his Prelude and Fugue BWV 894 for harpsichord and on the middle movement of his Organ Sonata BWV 527, or on earlier lost models for these compositions. History Bach based the Triple Concerto on two earlier compositions. The outer movements of BWV 1044 are based on a lost model which was also a model for the ''Prelude and Fugue in A minor'' for solo harpsichord, BWV 894.Schulenberg 2006pp. 145–146/ref> However, BWV 894 is listed as the model for the outer movements of BWV 1044.Spitta 1899 Vol. 1p. 420/ref> BDW The middle movement of BWV 1044 is based on the middle movement of the '' Trio Sonata for Organ in D minor'', BWV 527,Spitta 1899 Vol. 3pp. 142–146/ref>Rust 1869p. XXI (Preface)/ref> or on an earlier model for the midd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Keyboard Concertos By Johann Sebastian Bach
The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and ''Brandenburg Concerto'' No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th ''Brandenburg Concerto'') are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Peter Kellner
Johann Peter Kellner (variants: Keller, Kelner; 28 September 1705 – 19 April 1772) was a German pipe organ, organist and composer. He was the father of Johann Christoph Kellner. Biography He was born in Gräfenroda, Thuringia, and was intended by his parents to follow his father into a career as a lamp-black merchant. He was devoted to music from childhood, and first learnt singing from the cantor Johann Peter Nagel and keyboard from his son Johann Heinrich Nagel. He studied for a year from 1720 with the organist Johann Schmidt (organist), Johann Schmidt in Anrode, Zella, followed by a year with the organist Hieronymus Florentinus Quehl (or Kehl) in Suhl, during which time he also studied composition. He knew Johann Sebastian Bach well, although it is not known whether he was taught by him. He was also acquainted with George Frideric Handel. In 1722, he returned to work as a tutor at Gräfenroda for three years. He was appointed cantor of Frankenhain in October 1725, returning to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ma Non Tanto
Many musical terms are in Italian because, in Europe, the vast majority of the most important early composers from the Renaissance to the Baroque period were Italian. That period is when numerous musical indications were used extensively for the first time. Italian terms and English translations Musical instruments Voices Tempo Dynamics – volume Moods Musical expression (general) Patterns within the musical score Directions Techniques Roles Criticism Musical direction and staging See also * Musical terminology * Sheet music References External links 8notes glossary {{English words of foreign origin *Italian Musical Music Italian Italian(s) may refer to: * Anything of, from, or related to the people of Italy over the centuries ** Italians, a Romance ethnic group related to or simply a citizen of the Italian Republic or Italian Kingdom ** Italian language, a Romance languag ... Wikipedia glossaries using tables ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adagio (music)
In musical terminology, tempo (Italian for 'time'; plural 'tempos', or from the Italian plural), measured in beats per minute, is the speed or pace of a given composition, and is often also an indication of the composition's character or atmosphere. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and, if a specific metrical pace is desired, is usually measured in beats per minute (bpm or BPM). In modern classical compositions, a " metronome mark" in beats per minute, indicating only measured speed and not any form of expression, may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo (the underlying pulse of the music) is one of the three factors that give a piece of music its texture. The others are meter, which is indicated by a time signature, and articulation, which determines how each not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allegro (music)
In musical terminology, tempo (Italian for 'time'; plural 'tempos', or from the Italian plural), measured in beats per minute, is the speed or pace of a given musical composition, composition, and is often also an indication of the composition's character or atmosphere. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and, if a specific metrical pace is desired, is usually measured in beat (music), beats per minute (bpm or BPM). In modern classical compositions, a "metronome mark" in beats per minute, indicating only measured speed and not any form of expression, may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo (the underlying pulse of the music) is one of the three factors that give a piece of music its texture (music), texture. The others are meter (music), meter, which is indicated by a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concertino (group)
The concerto grosso (; Italian for ''big concert(o)'', plural ''concerti grossi'' ) is a form of baroque music in which the musical material is passed between a small group of soloists (the '' concertino'') and full orchestra (the ''ripieno'', ''tutti'' or ''concerto grosso''). This is in contrast to the solo concerto which features a single solo instrument with the melody line, accompanied by the orchestra. History The form developed in the late seventeenth century, although the name was not used at first. Alessandro Stradella seems to have written the first music in which two groups of different sizes are combined in the characteristic way. The name was first used by Giovanni Lorenzo Gregori in a set of ten compositions published in Lucca in 1698. The first major composer to use the term ''concerto grosso'' was Arcangelo Corelli. After Corelli's death, a collection of twelve of his ''concerti grossi'' was published. Not long after, composers such as Francesco Geminiani, Pietr ... [...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 The violoncello ( , ), commonly abbreviated as cello ( ), is a middle pitched bowed (sometimes pizzicato, plucked and occasionally col legno, hit) string instrument of the violin family. Its four strings are usually intonation (music), tuned i ..., ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola
The viola ( , () ) is a string instrument of the violin family, and is usually bowed when played. Violas are slightly larger than violins, and have a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth higher) and the cello (which is tuned an octave lower). The strings from low to high are typically tuned to C3, G3, D4, and A4. In the past, the viola varied in size and style, as did its names. The word ''viola'' originates from the Italian language. The Italians often used the term '' viola da braccio'', meaning, literally, 'of the arm'. "Brazzo" was another Italian word for the viola, which the Germans adopted as ''Bratsche''. The French had their own names: ''cinquiesme'' was a small viola, ''haute contre'' was a large viola, and ''taile'' was a tenor. Today, the French use the term ''alto'', a reference to its range. The viola was popular in the heyday of five-part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Obbligato
In Western classical music, ''obbligato'' (, also spelled ''obligato'') usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking '' ad libitum''. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning ''mandatory''; from Latin ''obligatus'' p.p. of '' obligare'', to oblige); the spelling ''obligato'' is not acceptable in British English, but it is often used as an alternative spelling in the US. The word can stand on its own, in English, as a noun, or appear as a modifier in a noun phrase (e.g. ''organ obbligato''). The term has also come to refer to a countermelody. Independence ''Obbligato'' includes the idea of independence, as in C. P. E. Bach's 1780 Symphonies (with twelve ''obbligato'' parts) by which Bach was referring to the independent w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ripieno
The ripieno (, Italian for "stuffing" or "padding") is the bulk of instrumental parts of a musical ensemble who do not play as soloists, especially in Baroque music. These are the players who would play in sections marked ''tutti'', as opposed to soloist sections. An individual member of the ripieno is called a ripienista. In the concerto grosso, it refers to the larger of the two ensembles as opposed to the group of soloists called the ''concertino''.''The New Grove Dictionary of Music and Musicians'', 2nd Ed. (2001) In a ripieno concerto, there are no solo parts. The term can also refer to the main body of an orchestra in early orchestral music, although this use is today often disregarded. In band music, the term (or its variant spellings ''repiano'' and ''ripiano'') is used similarly to designate the players not at the leading desk, especially the clarinet and cornet players in military bands. The expression ''senza ripieni'' is an instruction to play without the ripienistas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 1050
Johann Sebastian Bach wrote his fifth ''Brandenburg Concerto'', BWV 1050.2 (formerly 1050), for harpsichord, flute and violin as soloists, and an orchestral accompaniment consisting of strings and continuo. An early version of the concerto, BWV 1050.1 (formerly 1050a), originated in the late 1710s. On 24 March 1721 Bach dedicated the final form of the concerto to Margrave Christian Ludwig of Brandenburg. History In his Weimar period (1708–1717) Bach was involved in the concerto genre, mainly through copying and transcribing. The earliest extant sources of Bach's own concerto compositions date from his Köthen period (1717–1723), where the 1721 autograph of the six ''Brandenburg Concertos'' takes a central place. Nonetheless, around half a dozen of Bach's extant concertos, including some of the ''Brandenburg Concertos'' and lost models of his later harpsichord concertos, seem to have had their roots in his Weimar period. Most of what Bach may have left wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brandenburg Concerto
The ''Brandenburg Concertos'' (BWV 1046–1051) by Johann Sebastian Bach are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). The original French title is ''Six Concerts Avec plusieurs instruments'', meaning "Six Concertos for several instruments". Some of the pieces feature several solo instruments in combination. They are widely regarded as some of the greatest orchestral compositions of the Baroque era. History It is uncertain when most of the material for the Brandenburg Concertos was written. It is clear that the first movement of Concerto No. 1 (BWV 1046) was based on an introduction to Bach's 1713 cantata '' Was mir behagt'', and the second and last may have been as well. It also seems likely that Concerto No. 5 was the last to be written; it features a prominent harpsichord part, which is presumed to be for a new instrument ordered for Prince Leopold from the i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
