DOCSLIB.ORG

JOHANN SEBASTIAN BACH the Well-Tempered Clavier I LUCA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOHANN SEBASTIAN BACH the Well-Tempered Clavier I LUCA JOHANN SEBASTIAN BACH The Well-tempered Clavier I LUCA GUGLIELMI Harpsichord JOHANN SEBASTIAN BACH (1685-1750) Das Wohltemperirte Clavier Band I / The Well-Tempered Clavier Book I – PRELUDES & FUGUES No. 1 in C major BWV 846 No. 7 in E flat major BWV 852 No. 13 in F sharp major BWV 858 No. 19 in A major BWV 864 1 Prelude 02:28 13 Prelude 04:25 25 Prelude 01:44 37 Prelude 01:17 2 Fugue I à 4 02:02 14 Fugue VII à 02:01 26 Fugue XIII à 3 01:51 38 Fugue XIV à 3 02:40 No. 2 in C minor BWV 847 No. 8 in E flat minor BWV 853 No. 14 in F sharp minor BWV 859 No. 20 in A minor BWV 865 3 Prelude [without tempo indication] 15 Prelude (lute stop) 03:03 27 Prelude 01:36 39 Prelude 01:17 presto – adagio – allegro 01:43 16 Fugue VIII à 3 04:57 28 Fugue XIV à 4 02:57 40 Fugue XX à 4 05:34 4 Fugue II à 3 01:51 No. 9 in E major BWV 854 No. 15 in G major BWV 860 No. 21 in B flat major BWV 866 No. 3 in C sharp major BWV 848 17 Prelude 01:39 29 Prelude 01:04 41 Prelude 01:26 5 Prelude 01:44 18 Fugue IX à 3 01:27 30 Fugue XV à 3 03:08 42 Fugue XXI à 3 02:03 6 Fugue III à 3 02:41 No. 10 in E minor BWV 855 No. 16 in G minor BWV 861 No. 22 in B flat minor BWV 867 No. 4 in C sharp minor BWV 849 19 Prelude 02:19 31 Prelude 02:04 43 Prelude 02:41 7 Prelude 03:01 20 Fugue X à 2 01:41 32 Fugue XVI à 4 01:57 44 Fugue XXII à 5 02:32 8 Fugue IV à 5 03:27 No. 11 in F major BWV 856 No. 17 in A flat major BWV 862 No. 23 in B major BWV 868 No. 5 in D major BWV 850 21 Prelude 01:43 33 Prelude 01:26 45 Prelude 01:19 9 Prelude 01:31 22 Fugue XI à 3 01:44 34 Fugue XVII à 4 02:32 46 Fugue XXIII à 4 02:15 10 Fugue V à 4 02:00 No. 12 in F minor BWV 857 No. 18 in G sharp minor BWV 863 No. 24 in B minor BWV 869 No. 6 in D minor BWV 851 23 Prelude 02:06 35 Prelude 01:54 47 Prelude Andante 02:27 11 Prelude 02:32 24 Fugue XII à 4 04:02 36 Fugue XVIII à 4 02:40 48 Fugue XXIV à 4 Largo 06:29 12 Fugue VI à 3 02:21 Total Time 1:55:47 Recording: May 2017, Museu de la Musica, Edifici L’Auditori, Barcelona (Catalunya) Spain Recording Producer & Balance Engineer: Davide Ficco · Sound Engineer & Digital Editing: Roberto Chinellato Tuning & Maintenance of the Zell Harpsichord: Paul Poletti (A= Hz 415 Temperament Neidhart Kleine Stadt 1724/Grosse Stadt 1732) g 2017 Luca Guglielmi, exclusively licensed to Avi-Service for music P 2021 Avi-Service for music, Cologne/Germany 42 6008553993 2 · Made in Germany · All rights reserved · LC 15080 · STEREO · DDD · Publisher: Bärenreiter Photos: Guglielmi g Marco Borggreve, instruments © Museu de la Música, Barcelona Translations: Stanley Hanks · Design: www.BABELgum.de www.avi-music.de · www.lucaguglielmi.com DAS WOHLTEMPERIERTE CLAVIER At the first lesson he set his Inventions before him. Given that we are in the presence of a “beautiful manuscript copy”, we can calmly state that When he had studied these through to Bach’s satisfaction, there followed a series of the interpreter has privilege of access to an absolutely “definitive” version, and that the suites, then The Well-Tempered Clavier. scholar is also freed from having to deal with the quandary of several different musicological This latter work Bach played altogether three times through for him with his unmatchable art, exegeses. Nonetheless, the entire creative process through which Bach achieved this masterpiece and my father counted these among his happiest hours, can be clearly reconstructed: he adapted, revised, and expanded several of his previous works when Bach, under the pretext of not feeling in the mood to teach, (the preludes in C, c, d, D, e, E, F, C#, c#, eb, f, contained, for example, in frühere Fassungen sat himself at one of his splendid instruments and thus turned these hours into minutes. in the Clavierbüchlein für Wilhelm Friedemann, from 1720). Furthermore, although we regard this autograph manuscript in its last form dated 1722 as “definitive”, Bach himself did not see Ernst Ludwig Gerber about his father’s* musical apprentiship with Bach, in 1724 it that way. He kept it – literally – as an “open manuscript” on the rack of his harpsichord *Heinrich Nicolaus Gerber (1702-1775) up to his death, using it as a “textbook” for the lessons he gave to his students and/or Historisch-Biografisches Lexicon der Tonkünstler […], Leipzig, 1790 [Bach-Dokumente III, nr. 950] boarders, never ceasing to insert a series of corrections, reworkings, improvements, small variants, ornaments here and there, even performance instructions! [cf. the illustration from BWV Das Wohltemperirte Clavier, a collection of preludes and fugues in all major and minor keys 852]. The latest source studies have uncovered four different strata, ranging over a period from completed by Johann Sebastian Bach in 1722, was clearly modelled along the lines of Ariadne 1722 to 1750, the year of Bach’s death. More than two centuries prior to Umberto Eco’s concept Musica by Johann Caspar Ferdinand Fischer (1662-1746, Kapellmeister in Baden from 1715 to of the “open work” and two centuries after Michelangelo’s “unfinished” approach to art, Bach’s 1746) – an organ music anthology published for the first time in 1702 and probably known hands-on approach to his work in progress proves just who modern he actually was and remains. by Bach in its second 1715 edition. Bach took Fischer’s original layout of 20 keys and expanded it to a total of 24, thereby creating the first self-contained collection of music The perennial (and, if one so will, futile) question regarding which “temperament” Bach written for the entire corpus of existing keys. envisaged for performing these pieces (while a certain branch of musicology continues to affirm that they are to be exclusively performed in equal temperament) has been resolved, Bach, who, on the handwritten title page of the beautiful copy now preserved in the Berlin and remains at the same time unresolved. In view of the (fortunately!) human impossibility Staatsbibliothek (Mus. Ms. P 415), signed as Hochf. Anhalt-Cöthenischen Capel-Meistern und of achieving equal temperament without the aid of an electronic tuning instrument (meanwhile, Directore derer Cammer Musiquen, clearly indicated his purpose in composing this incomparable a number of professional organ and piano tuners continue to assert that more “equable collection: “for the profit of musical youth desirous of learning, and especially for the temperaments” are possible, while most highly regarding whatever tuning variant they pastime of those already skilled in this study.” have invented themselves…!), we can calmly certify that “Wohltemperirt” (well-tempered) 4 stands for any variety of subtly unequal temperament of the kind postulated in Bach’s time of fugues. Johann Philipp Kirnberger (1720-1783, a pupil of Bach’s in the years 1739-41) by theoreticians such as Werckmeister and Neidhart (who had Bach’s full esteem, since remarked in the learned preface to his collection Recueil d’Airs de danse Caractéristiques (1777) the composer recommended that the Naumburg organ, built by Zacharias Hildebrandt in that fugues were all composed on the basis of well-determined dance rhythms and figures. 1746 and tested by him, should be tuned “following Neidhart”). The crux of the matter is In the harshest of terms, he deplored the total ignorance and disinterest he observed whether today’s performers, scholars and listeners (who, in any case, have spent decades regarding that subject: “Above all, it is impossible to compose or to perform a fugue well if one listening to the Wohltemperirtes Clavier on the modern piano tuned with equal temperament) does not know every type of rhythm, and therefore, because this study is neglected today, music has can accept the fact that in Bach’s day several keys were considered to belong to a special fallen from its ancient dignity and fugues are not appreciated as they once were, because through “palette” of sound: like colors in a painting, they could be graded by a series of subtle miserable performance which does not know how to differentiate the variety of phrases and semiphrases, nuances, variations, and hues. The Affektenlehre (theory of affects) in music was closely or more or less accented beats, can only generate nothing else than a mere chaos of notes”. We have connected with the particular character ascribed to each key, the attributes of which still therefore attempted to do justice to Kirnberger’s reflections on fugues by applying, as much caused a great deal of disagreement among theoreticians. as possible, the step or rhetorical gesture of the corresponding dance. In this sense, even an “extreme” proposal of temperament such as Bradley Lehman’s interpretation The result is undoubtedly fascinating, since it achieves an objectivity of rhythmic accentuation of the ornament featured on the frontispiece can find its raison-d’être if it is viewed as a valid that enriches our perception of the ancient tactus on which every form of composition and alternative to the various unequal temperaments applied until now in the performance of performance was based.
Load more

Recommended publications
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • NEWSLETTER American Musical Instrument Society
    NEWSLETTER Of The American Musical Instrument Society Vol. XVIII, No.1 February 1989 Courtesy of The Metropolitan Museum of Art AM IS members attending the annual meeting in New York City will be able to view this exhibition of recently-acquired Korean instruments in the Andre' Mertens Galleries for Musical Instruments. sions, musical interludes, and other activities struments, will be on view in the Amsterdam AMIS MEETS MAY 25-28 follow on the next two days, with the AMIS Gallery of the Library & Museum of the Per­ IN NEW YORK CITY business meeting and extra events on Sunday. forming Arts at Lincoln Center, and the The schedule (see pp. 2-3 of this Newsletter) American Museum of Natural History has In honor of the centennial of the Crosby allows ample time to visit the Andre Mertens deployed many of its non-Western instruments Brown Collection at The Metropolitan Museum Galleries for Musical Instruments at the in new galleries. of Art, the 18th-annual AMIS meeting will be Metropolitan Museum and to enjoy A Musical Other highlights of the meeting include a held in New York City, May 25-28, 1989. Most Offering, a special, NEA-funded exhibition of concert by the Mozartean Players, during of the official sessions will occur at Barnard about 100 outstanding recent acquisitions, which the Curt Sachs Award for 1989 will be College, which marks its centenary at the same many of which have not been displayed before. prllsented; this program will be followed by a time. Low-cost lodging is available in Bar­ The Museum is also planning a display of ex­ reception at the lovely townhouse of AMIS nard's dormitory, located directly across the citing new instruments by Ben Hume, a young member, Frederick R.
    [Show full text]
  • LCSH Section L
    L (The sound) Formal languages La Boderie family (Not Subd Geog) [P235.5] Machine theory UF Boderie family BT Consonants L1 algebras La Bonte Creek (Wyo.) Phonetics UF Algebras, L1 UF LaBonte Creek (Wyo.) L.17 (Transport plane) BT Harmonic analysis BT Rivers—Wyoming USE Scylla (Transport plane) Locally compact groups La Bonte Station (Wyo.) L-29 (Training plane) L2TP (Computer network protocol) UF Camp Marshall (Wyo.) USE Delfin (Training plane) [TK5105.572] Labonte Station (Wyo.) L-98 (Whale) UF Layer 2 Tunneling Protocol (Computer network BT Pony express stations—Wyoming USE Luna (Whale) protocol) Stagecoach stations—Wyoming L. A. Franco (Fictitious character) BT Computer network protocols La Borde Site (France) USE Franco, L. A. (Fictitious character) L98 (Whale) USE Borde Site (France) L.A.K. Reservoir (Wyo.) USE Luna (Whale) La Bourdonnaye family (Not Subd Geog) USE LAK Reservoir (Wyo.) LA 1 (La.) La Braña Region (Spain) L.A. Noire (Game) USE Louisiana Highway 1 (La.) USE Braña Region (Spain) UF Los Angeles Noire (Game) La-5 (Fighter plane) La Branche, Bayou (La.) BT Video games USE Lavochkin La-5 (Fighter plane) UF Bayou La Branche (La.) L.C.C. (Life cycle costing) La-7 (Fighter plane) Bayou Labranche (La.) USE Life cycle costing USE Lavochkin La-7 (Fighter plane) Labranche, Bayou (La.) L.C. Smith shotgun (Not Subd Geog) La Albarrada, Battle of, Chile, 1631 BT Bayous—Louisiana UF Smith shotgun USE Albarrada, Battle of, Chile, 1631 La Brea Avenue (Los Angeles, Calif.) BT Shotguns La Albufereta de Alicante Site (Spain) This heading is not valid for use as a geographic L Class (Destroyers : 1939-1948) (Not Subd Geog) USE Albufereta de Alicante Site (Spain) subdivision.
    [Show full text]
  • December 3, 2006 2595Th Concert
    For the convenience of concertgoers the Garden Cafe remains open until 6:00 pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-fifth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art Music Department 2,595th Concert National Gallery of Art Sixth Street and Constitution Avenue nw Washington, DC Shaun Tirrell, pianist Mailing address 2000B South Club Drive Landover, md 20785 www.nga.gov December 3, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Domenico Scarlatti (1685-1757) Sonata in F Minor, K. 466 (1738) Frederic Chopin (1810-1849) Ballade in F Major, op. 38 (1840) Franz Liszt (1811-1886) Funerailles (1849) Vallot d’Obtrmann (1855) INTERMISSION Sergey Rachmaninoff (1873-1943) Sonata no. 2 in B-flat Minor, op. 36 (1913) The Mason and Hamlin concert grand piano used in this performance Allegro agitato was provided by Piano Craft of Gaithersburg, Maryland. Lento Allegro molto The Musician Program Notes Shaun Tirrell is an internationally acclaimed pianist who has made his In this program, Shaun Tirrell shares with the National Gallery audience his home in the Washington, dc, area since 1995. A graduate of the Peabody skill in interpreting both baroque and romantic music. To represent the music Conservatory of Music in Baltimore, where he studied under Julian Martin of the early eighteenth-century masters of the harpsichord (the keyboard and earned a master of music degree and an artist diploma, he received a instrument of choice in that era), he has chosen a sonata by Domenico rave review in the Washington Post for his 1995 debut recital at the Kennedy Scarlatti.
    [Show full text]
  • Prelude | Grove Music
    Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed.
    [Show full text]
  • Breathtaking-Program-Notes
    PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice.
    [Show full text]
  • Bach2000.Pdf
    Teldec | Bach 2000 | home http://www.warnerclassics.com/teldec/bach2000/home.html 1 of 1 2000.01.02. 10:59 Teldec | Bach 2000 | An Introduction http://www.warnerclassics.com/teldec/bach2000/introd.html A Note on the Edition TELDEC will be the first record company to release the complete works of Johann Sebastian Bach in a uniformly packaged edition 153 CDs. BACH 2000 will be launched at the Salzburg Festival on 28 July 1999 and be available from the very beginning of celebrations to mark the 250th anniversary of the composer's death in 1750. The title BACH 2000 is a protected trademark. The artists taking part in BACH 2000 include: Nikolaus Harnoncourt, Gustav Leonhardt, Concentus musicus Wien, Ton Koopman, Il Giardino Armonico, Andreas Staier, Michele Barchi, Luca Pianca, Werner Ehrhardt, Bob van Asperen, Arnold Schoenberg Chor, Rundfunkchor Berlin, Tragicomedia, Thomas Zehetmair, Glen Wilson, Christoph Prégardien, Klaus Mertens, Barbara Bonney, Thomas Hampson, Herbert Tachezi, Frans Brüggen and many others ... BACH 2000 - A Summary Teldec's BACH 2000 Edition, 153 CDs in 12 volumes comprising Bach's complete works performed by world renowned Bach interpreters on period instruments, constitutes one of the most ambitious projects in recording history. BACH 2000 represents the culmination of a process that began four decades ago in 1958 with the creation of the DAS ALTE WERK label. After initially triggering an impassioned controversy, Nikolaus Harnoncourt's belief that "Early music is a foreign language which must be learned by musicians and listeners alike" has found widespread acceptance. He and his colleagues searched for original instruments to throw new light on composers and their works and significantly influenced the history of music interpretation in the second half of this century.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Simone Dinnerstein, Piano Sat, Jan 30 Virtual Performance Simone Dinnerstein Piano
    SIMONE DINNERSTEIN, PIANO SAT, JAN 30 VIRTUAL PERFORMANCE SIMONE DINNERSTEIN PIANO SAT, JAN 30 VIRTUAL PERFORMANCE PROGRAM Ich Ruf Zu Dir Frederico Busoni (1866-1924) Johann Sebastian Bach (1685-1750) Three Chorales Johann Sebastian Bach Ich Ruf Zu Dir Richard Danielpour Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) (b, 1956) Les Barricades Mysterieuses François Couperin (1688-1733) Arabesque in C major, Op. 18 Robert Schumann (1810-1856) Mad Rush Philip Glass (b. 1937) Tic Toc Choc François Couperin BACH: “ICH RUF’ ZU DIR,” BWV 639 (ARR. BUSONI) Relatively early in his career, Bach worked in Weimar as the court organist. While serving in this capacity, he produced his Orgelbüchlein (little organ book): a collection of 46 chorale preludes. Each piece borrows a Lutheran hymn tune, set in long notes against a freer backdrop. “Ich ruf’ zu dir,” a general prayer for God’s grace, takes a particularly plaintive approach. The melody is presented with light ornamentation in the right hand, a flowing middle voice is carried by the left, and the organ’s pedals offer a steady walking bassline. The work is further colored by Bach’s uncommon choice of key, F Minor, which he tended to reserve for more wrought contrapuntal works. In this context, though, it lends a warmth to the original text’s supplication. In arranging the work for piano, around the year 1900, Busoni’s main challenge was to condense the original three-limbed texture to two. Not only did he manage to do this, while preserving the original pitches almost exactly, he found a way to imitate the organ’s timbral fullness.
    [Show full text]
  • Problematic Differences Between the Ricercar and Fantasia
    I. Introduction The fantasia was an instrumental genre first cultivated in Italy and Spain in the early 1530’s and was quite popular among composers because it imposed no set rules or form, thus allowing experimentation with numerous styles and compositional techniques. Composers used the fantasia as a way to write with complete freedom, not restrained by any preexisting structure; this often resulted in improvisatory treatment of musical material. First developed by Italian lutenists such as Francesco Canova da Milano and Spanish vihuelists such as Luis Milán, the fantasia eventually became known all over Europe. Throughout the history of this genre, the fantasia is often connected to an earlier form called the ricercare. Composers and writers of the sixteenth century either made loose distinctions between these genres, or could not agree on how to explain them, which resulted in some confusion about the terms. II. Purpose In this paper, I will supply a historical background and draw a distinction between the genres of the ricercare and fantasia, with references to influential composers such as Francesco Canova da Milano and Luis Milán. In addition, I will select a fantasia from Luis Milán’s El Maestro (1536) to be transcribed for modern guitar. I will supply a brief historical overview of Milán’s works, as well as an outline of the transcription process, a style analysis of the selected work, and solutions to some performance issues. My adaptation will attempt to make a clearer realization of Milán’s contrapuntal writing in ways that are idiomatic to the guitar. 1 III. Problematic differences between ricercare and fantasia There is much information on the connection between the genres of ricercare and fantasia.
    [Show full text]
  • HOW to FIND RELATIVE MINOR and MAJOR SCALES Relative
    HOW TO FIND RELATIVE MINOR AND MAJOR SCALES Relative minor and major scales share all the same notes–each one just has a different tonic. The best example of this is the relative relationship between C-major and A-minor. These two scales have a relative relationship and therefore share all the same notes. C-major: C D E F G A B C A-minor: A B C D E F G A Finding the relative minor from a known major scale (using the 6th scale degree) scale degrees: 1 2 3 4 5 6 7 1 C-major: C D E F G A B C A-(natural) minor: A B C D E F G A A-minor starts on the 6th scale degree of C-major. This relationship holds true for ALL major and minor scale relative relationships. To find the relative minor scale from a given major scale, count up six scale degrees in the major scale–that is where the relative minor scale begins. This minor scale will be the natural minor mode. 1 2 3 4 5 6 C-D-E-F-G-A The relative minor scale can also be found by counting backwards (down) by three scale degrees in the major scale. C-major: C D E F G A B C ←←← count DOWN three scale degrees and arrive at A 1 2 3 C-B-A Finding the relative major from a known minor scale (using the 3rd scale degree) scale degrees: 1 2 3 4 5 6 7 1 A-(natural) minor: A B C D E F G A C-major: C D E F G A B C C-major starts on the 3rd scale of A-minor.
    [Show full text]
  • Practice Guide Sonata in F Minor, Op. 2, No. 1, I. Allegro Ludwig Van Beethoven
    Practice Guide Sonata in F Minor, Op. 2, No. 1, I. Allegro Ludwig van Beethoven Composed in 1795, the Sonata in F Minor, Op. 2, No. 1 was dedicated to Haydn, whom Beethoven admired and had briefly studied with three years earlier. Also in 1795, Beethoven gave his first major public performance in Vienna as the soloist for his Piano Concerto in B-flat major, Op. 19. Table of Contents 1. Score…………..………...…………………….…………….………..….......…2 2. Articulation and Phrasing....………………………….………………………..3 3. Dynamic Contrast……………………….…….………………..………………3 4. Rhythm Tempo and Passagework.………………….……….……...…….…4 5. Pedaling……..…………………………….…………………………….………4 © 2017 The Juilliard School All rights reserved. SONATE Ludwig van Beethoven Op 2 Nr 1 Allegro œ. œ™ œ œ œ. œ. œ™ œ œ œ œ. bbbbC œ œ. nœ Œ œ. nœ Œ & œ œ. œ. 3 3 ? p œ œ œ œœ œœ œœ œœ { bbbbC Œ ∑ Œ nœ Œ Ó Œ nœ œ œ 5 ™ œ™ . ˙ œ œ . œ ∏ ˙ œ j œœ œ j œœœ ∏ ˙ œ œ œ œ œ U b b nœ ∏ nœ nœ b œ Œ œ Œ ∏ ˙ Œ Œ ∑ & b ∏ sf sf ff p nœ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ U . œ. œ {?bb b Œ œ œ œ Œ Œ Œ Œ Œ œ bœ b œ. 10 . Œ ‰ ™ Œ ‰ bbbb ∑ w œbœœœ œ œw™ œœ œ œ œ œœœœ œ w œœnœœ œ & 3 œ w bœ™ nœ . w w . w w ? œnœœ œ w w w w { bbbb 3 15 b œ œ bœ &b bb œ b˙ œ œ bœ œ œ ˙ œ œ bœ œ œ ˙ œ œ Œ Œ w .
    [Show full text]