Seyr-e roshanaa'i Ways of candor.
Saamaan-e saayeh'haa Voices of the shades. Toccata - Prologo 2. Act I 3. Act II 4. Act III 5. Act IV 6.
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Claudio Monteverdi. Concerto No. Sonata No. Johann Sebastian Bach. Michel Richard Delalande. Marc-Antoine Charpentier c. Te Deum, grand polyphonic motet for soloists, chorus and orchestra, H. Baldassare Galuppi — Concerto a quattro no 4 in C minor 2. Baldassare Galuppi — Concerto a quattro no 1 in G minor 3. Tomaso Albinoni — Sinfonie 6 a quattro: Sinfonia in F major 4. Baldassare Galuppi. Concerto a Quattro No. Tomaso Albinoni. Giovanni Benedetto Platti. Antonio Vivaldi. Settecento Veneziano. Martin-in-the-Fields; Choir of St.
John's College, Cambridge; George Guest. Messe B-dur Hob. John's College, Cambridge; George Guest - conductor Wolfgang Amadeus Mozart — Ave verum corpus K. Franz Joseph Haydn. John's College, Cambridge; George Guest , Michael Haydn. Ave Regina Choir of St. Wolfgang Amadeus Mozart. Ave verum corpus K. Haydn — Theresienmesse Guest. Kommt, ihr Herzen, kommt ihr Lippen  2. Nun danket alle Gott  Johann Daniel Pucklitz 3.
Ist jemand in Christo  4. Johann Theoderich Roemhild. Johann Daniel Pucklitz. Johann Jeremias Du Grain. Friedrich Christian Mohrheim. Concerto a cinque No.
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Concerto f. Arcangelo Corelli — Concerto Grosso No. Christmas Concerto I Solisti di Zagreb 4. In Merulo, however, the "passaggiato" style is more complex and sophisticated: on the one hand, the melodic arc-is often fragmented into shorter sections which, carefully articulated in terms of their contours and rhythmic scansion, lend themselves to free imitative treatment; on the other, the chords no longer serve merely to sustain the figurations in the other hand, but take on a subtle contrapuntal character with more attention given to the movement of the parts.
Considerations such as the above concerning the linear nature and plasticity of the overall conception and the quest for formal perfection - a final testimony, almost, to the Renaissance spirit - pass to some extent into second place when we turn our attention to the output of composers of the Neapolitan school such as Ascanio Mayone and Giovanni Maria Trabaci.
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Marks in Venice. In their toccatas. In comparison with the toccatas of the Venetian school, the examples of Mayone five in the Primo libra di diversi Capricci per sonare. But this is not the whole story. The works in question provide vivid witness to the ferment and the tensions that, at the end of the sixteenth and beginning of the seventeenth centuries, threatened the traditional system of modes and prepared for the advent of the tonal system and the predominance of harmony.
The incredible wealth of sonority to be found in these toccatas, the chromaticism - at times almost excessive - that permeates every part of the musical discourse, the continual adoption of delayed and unexpected resolutions, the very "aura" that the works breathe, cannot but recall Frescobaldi, in whose works the ever-changing expression of the "affeels" was to find its full expression.
Born in Ferrara in and died in Rome sixty years later. Frescobaldi is the emblematic figure of that period of transition from the late Renaissance to the early Baroque: an era which - in the field of instrumental music and. It is in this period that musical theory and practice came to a crossroads: the painful move from a horizontal to a vertical conception, from music in which the individual voice tended to follow autonomous lines with their own significance this despite the relations between the parts resulting from techniques of imitation , to music in which chords and their relation to one number increasingly take the upper hand, music based on the concept that every grouping of notes has its own significance, existing a priori and not as the result - whether by design or by chance - of the movement of the individual parts.
This radical move from a contrapuntal conception of music to a harmonic one coincided with another fundamental change in the world of sound, as the system of reference based upon the ancient ecclesiastical modes modal music began to disintegrate as the result of oversaturation, and move ever more clearly and decidedly towards a new system of reference based upon the concept of major and minor tonality and harmony tonal music. Frescobaldi stands in the history of music right at the centre of this period of change.
The 23 toccatas contained in his two collections 12 in the Libro I of and 11 in the Libro II of toghether with those contained in his Fiori musicali of bear full witness to all the complexities of this transitional phase. Despite the variety of forms and the different character of the individual works which makes it difficult to categorise them. Frescobaldi's toccatas are without doubt the meeting point of the highest achievements of the Venetian and Neapolitan schools.
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It was Frescobaldi who managed to fuse the plastic, architectonic constructions of the Venetian school and the warm, expressive lines of the Neapolitan composers into perfect equilibrium, to combine the sense of form and proportion of the former with the rich, expressive sonorities of the latter. It is here that his greatness lies. Three years alter Il primo libro di Capricci fatti sopra diversi soggetti et arie in partitura Rome, , Frescobaldi published his fifth collection of instrumental music, Il secondo libro di toccate The impression of an almost uninterrupted flow, that slightly forced feeling that we may sometimes sense in the earlier collection of toccatas, is here replaced by the impression of an organism that breathes easily, without labour, producing an alternating play of tension and relaxation.
The individual episodes no longer follow one another with the same urgency as before, but with a greater sense of calm and composure, concluded and announced by a clear cadence.
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- Girolamo Frescobaldi: Harpsichord Works.
As in most of his Roman publications, Frescobaldi is listed only as organist at St. Peter's, with no mention of his simultaneous appointment to the household of Cardinal Francesco. The volume does not even contain a dedication to his generous patron omitted for unknown, but perhaps political considerations , although the cardinal would seem to have been amply awarded by the prominent placement of his crest in this landmark edition and by the immortality its presence there has bestowed upon him.
At the very bottom——barely visible——the name of the printer Borboni, who also was the engraver of the music in the edition, and who probably created this title page. Turning the page once again, we encounter someone looking back at us with a proud and self-assured gaze. The image of the author enhances the 10 Darbellay, Genesi, Most importantly, his presence assures us that this is not merely a collection of music for utilitarian use, which might as well have appeared anonymously.
Keyboard music is witnessing the birth of the author.
Peter in the Vatican at age And yet— —the paradox——now these notes disseminate their beautiful melodies to the most learned i. Along the borders of the page clusters of instruments are tangled amidst the vines. One can make out cornetti of both the curved and straight mute kind, a kind of violin with its bow, serpents, trombones, shawms, panpipes, and in the corners, more putti, two with quills poised to attack books of music. The four musical fragments——the two upper ones with soprano clefs and two lower ones with tenor clefs——look like real music, but have not been identified.
They do not make sense as four voices of a single composition. Another turn of the page finally brings us to the notes see Fig. In the notation of most recent editions, such sense of baroque caprice and vitality is altogether missing. By contrast, the graceful caption and evenly paced notation of the Aria sopra la Romanesca are in character with the gentle, pensive Romanesca melody Fig.
Its title page hardly takes second place to that of the first book. The title, in similar fashion to that of the Libro Primo, summarizes the diverse content, this time also incorporating items tailored for the church. As in the first book, the emblems of the dedicatee, in this case Monsignor Luigi Gallo, Bishop of Ancona and Papal Nuncio of Savoy, are presented underneath the title. Gallo was a prominent musical patron, recipient of other dedications, but also, reportedly, a harpsichordist of more than ordinary accomplishments.
In this volume a dedication, lacking in the first book, is included, elegantly engraved by Borboni and signed by the composer, who waxes poetical over Gallo's playing.
The genre originated as doodling to break the silence, to test the instrument, and to prepare the mode or mood of what was to follow. But Frescobaldi transformed them into instrumental madrigals. In addition to the elevation toccatas for the Mass, the church is present in these books with responses for Vespers services. While returning on St. Nicholas day, I met three nuns The galliard, an ancient court dance, appears without its partner, the pavan which in Italy was nearly obsolete. As to Frescobaldi's correnti, the recent discovery of two excerpts from a courante by Gautier embedded in one of them, confirms the French inspiration for these volatile dances.
He may have chosen the title for the pieces in his new collection because it would not give rise to any clearly defined genre expectations. After having shown his command of traditional genres, such as the toccata, ricercar, and canzona, he appeared keen to explore new compositional paths without being tied down by formal traditions. Another possible source of inspiration could have been a set of etchings by Jacques Callot c.
Related Gagliarda Quarta, Nos. 30 from Toccate, canzone ... di cimbalo et organo, Vol. II
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