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Johann Sebastian Bach Pau Casals Christian Ferdinand Abel 1717 1720 1723
#J.S.Bach#CelloSuite1#TESEO#DoubleBass Johann Sebastian Bach's Suites for Solo Cello are known to be among the best known and most virtuosic works ever written for cello, and it is generally believed that it was Pau Casals who gave them fame. They were written between 1717 and 1723 presumably for one of the cellists who at the time worked at the court of Köthen, but there are also reasons to suppose that the last suites were conceived independently, perhaps for instruments other than the cello. They were probably composed in the period 1717–1723, when Bach was kapellmeister in Köthen; the uniformity and coherence of these works suggests that they may have been conceived together or consequentially, presumably for one of Köthen's cellists, such as Christian Bernhard Linigke or Christian Ferdinand Abel, much better known as a gambler. It is impossible to establish an exact and precise chronology of the suites, there is no certain data regarding the order in which they were conceived and / or whether they were written before or after the Sonatas and Partis for solo violin. In any case, scholars - based on a comparative analysis of the styles of these different works - believe that the cello suites were written first, dating them before 1720, the year indicated on the cover of Johann Sebastian Bach's autographed copy of the Sonatas and matches for solo violin. These works are particularly significant in the history of stringed instruments: while until the time of Bach it was customary for the cello to play accompaniment parts and the more melodic parts in the same register were entrusted to instruments of the viola da gamba family, in these suites, as in parts of Brandenburg concerts, the cello is entrusted with a part alone. Bach can be considered an innovator who favors the supplanting of the viola da gamba, but some also suppose that it is likely that Bach would have done this because he found it difficult to give virtuosic parts to the viola da gamba. [12] In fact, Prince Leopold of Anhalt-Köthen, with whom he worked at that time, was a gambler and played Bach's works, but he was not a particular virtuoso, so it could have been difficult to give the viola da gamba complicated parts, so Bach, not having the ability to write complex parts for the viola da gamba, he would have written more ambitious works for the cello. Played by Francesco Tesei Abbonati a questo canale per accedere ai vantaggi: (http•••) (http•••)
Delsarte Fogg Witt George Berg Berg Signac Pellet Rothschild Hofer Krasner Pollock Straus 1653 1754 1894 1945 1969 1995 2007 2011 2018 2020 2021
Join curator Elizabeth Rudy for a preview of the upcoming exhibition, “States of Play: Prints from Rembrandt to Picasso,” to open at the Harvard Art Museums in September 2021. Joined in conversation with print curator and scholar Jerry Cohn, they will take an informative look at the iterative nature of printmaking as they explore the variable meaning of a “print state” from the 17th-21st centuries. Multiple states, or versions, of individual prints illuminate the artists’ creative processes and even the lives of prints beyond those of their creators. Director Martha Tedeschi, herself a former curator of prints and drawings at the Art Institute of Chicago, offers welcoming remarks. TAKE A CLOSER LOOK: + Take a virtual tour of "States of Play:" (http•••) + Exhibition—”States of Play: Prints from Rembrandt to Delsarte”: (http•••) + Giuseppe Longhi, Italian, “Bonaparte Crossing the Alps,” 19th century. Etching on off-white laid paper. Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall, R1148NA: (http•••) + Marco Alvise Pitteri, Italian, “Carlo Goldoni,” 1754. Engraving on off-white antique laid paper. Harvard Art Museums/Fogg Museum, Henry George Berg Bequest Fund, Gift in gratitude to John Coolidge, M21453: (http•••) + Paul Signac, printed by Auguste Clot, edited by Gustave Pellet, French, “La Bouée (Port of St. Tropez),” 1894. Color lithograph on off-white wove paper, annotated by Signac. Harvard Art Museums/Fogg Museum, Gift of Robert and Margaret Rothschild, 2011.509: (http•••) + Rembrandt Harmensz. van Rijn, Dutch, “Christ Crucified between the Two Thieves,” 1653. Drypoint on off-white antique laid paper. Harvard Art Museums/Fogg Museum, Gift of Mr. and Mrs. Philip Hofer, M12864: (http•••) + Louis Delsarte, American, “Unity (mylar/separation 1),” 1995. Ink on mylar. Harvard Art Museums/Fogg Museum, Gift of Brandywine Workshop and Archives, Philadelphia, Pennsylvania, 2018.33.6.1. Estate of Louis Delsarte: (http•••) + Lee Krasner, American, “Long Lines for Lee Krasner,” 1969. Portfolio of 9 lithographs on white wove paper. Harvard Art Museums/Fogg Museum, Walter A. Compton, Jr., Bequest Fund, M24398-M24400. Pollock-Krasner Foundation / Artists Rights Society (ARS), NY. (http•••) + André Racz, American, “Perseus beheading Medusa IV,” 1945. Softground etching, engraving, and aquatint with gauffrage on white, wove paper. Harvard Art Museums/Fogg Museum, Bequest of William S. Lieberman, 2007.67. 1945 Estate of Andre Racz. (http•••) / Speakers: + Elizabeth Rudy, Carl A. Weyerhaeuser Associate Curator of Prints; + Marjorie (Jerry) Cohn, Carl A. Weyerhaeuser Curator of Prints, Emerita. In a long career at the Harvard Art Museums, she was also director of the Center for Conservation and Technical Studies (now the Straus Center), and twice served as acting director of the museums; + Martha Tedeschi, Elizabeth and John Moors Cabot Director of the Harvard Art Museums. This conversation was made possible by our generous supporters; an international community of art lovers who generously support the Harvard Art Museums’ mission to promote knowledge about and appreciation of art through exhibitions, teaching, research, professional training, and public education. Learn more (http•••) Recorded October 7, 2020. President and Fellows of Harvard College. For questions related to permission for commercial use of this video, please contact the Department of Digital Imaging and Visual Resources at •••@•••.
Hildegard Bingen Fassler 1098 1150 1165 1179
Blessed Hildegard of Bingen (German: Hildegard von Bingen) +••.••(...) September 1179), also known as Saint Hildegard, and Sibyl of the Rhine, was a Christian mystic, German Benedictine abbess, visionary, and polymath. Elected a magistra by her fellow nuns in 1136, she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama. Attention in recent decades to women of the medieval church has led to a great deal of popular interest in Hildegard, particularly her music. Between 70 and 80 compositions have survived, which is one of the largest repertoires among medieval composers. Hildegard left behind over 100 letters, 72 songs, seventy poems, and 9 books. One of her better known works, Ordo Virtutum (Play of the Virtues), is a morality play. It is unsure when some of Hildegard's compositions were composed, though the Ordo Virtutum is thought to have been composed as early as 1151. The morality play consists of monophonic melodies for the Anima (human soul) and 16 Virtues. In addition to the Ordo Virtutum Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from Symphonia are set to Hildegard's own text and range from antiphons, hymns, sequences, to responsories. Her music is described as monophonic; that is, consisting of exactly one melodic line. Hildegard's compositional style is characterized by soaring melodies, often well outside of the normal range of chant at the time. Additionally, scholars such as Margot Fassler and Marianna Richert Pfau describe Hildegard's music as highly melismatic, often with recurrent melodic units, and also note her close attention to the relationship between music and text, which was a rare occurrence in monastic chant of the twelfth century. Hildegard of Bingen's songs are left open for rhythmic interpreation because of the use of neumes without a staff. The reverence for the Virgin Mary reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by the Virgin Mary and the saints. The definition of 'greenness' is an earthly expression of the heavenly in an integrity that overcomes dualisms. This 'greenness' or power of life appears frequently in Hildegard's works. Hildegard's musical, literary, and scientific writings are housed primarily in two manuscripts: the Dendermonde manuscript and the Riesenkodex. The Dendermonde manuscript was copied under Hildegard's supervision at Rupertsberg, while the Riesencodex was copied in the century after Hildegard's death.