Angelo Gamba Vídeos
cantante de ópera italiano
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- Reino de Italia
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2024-06-17
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Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 04:06 - II. Allegro ma non tanto 07:38 - III. Andante 09:54 - IV. Allegro moderato / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Carl Friedrich Abel Johann Sebastian Bach Christian Ferdinand Abel Johann Adolf Hasse Johann Christian Bach Haydn 1723 1759 1785 1787
Kick back, relax, and unwind to Viola da Gamba Sonata in G Major, WK 155 by Friedrich Carl Abel, performed by Phillip Serna This music is from Creative Commons, is non-copyright and royalty-free via musopen.org Born on December 22, 1723 in Cöthen, Carl Friedrich Abel was a renowned viola da gamba player during his time. Johann Sebastian Bach is said to have composed his famous solo cello suites for Carl's father, Christian Ferdinand Abel. After his education under J.S. Bach at the Thomasschule, he joined the Dresden court orchestra under Johann Adolf Hasse, where he stayed for a decade before moving to London in 1759. There, he formed a close relationship with Johann Christian Bach, with whom he presented a series of subscription concerts featuring Haydn's symphonies, which were first performed in London. Even after J.C. Bach's death in 1785, Abel continued his association with the concerts in London until his own death on June 20, 1787. Abel's symphonies, overtures, string quartets, concertos and sonatas were highly regarded and widely published during his time. As a virtuoso gambist, his chamber works for the viola da gamba, although unpublished, are among his most developed and interesting compositions. #ClassicalTracks #ClassicalMusic #Violin #CarlAbel #ClassicalViolin #Classical
Johann Sebastian Bach Capelle Christian Ferdinand Abel Collegium Musicum 1720 1723 1740
Sonata No. 1 in G major, BWV 1027, Sonata No.2 in D major, BWV 1028, and Sonata No.3 in G minor, BWV 1029, respectively, are three sonatas that Johann Sebastian Bach wrote for viola da gamba and harpsichord. There is no certainty as to when Bach wrote his three viola da gamba sonatas. Various musicologists suggest that they were composed as early as 1720, during Bach's Köthen period, at the court of Prince Leopold, where the Court Capelle included the well-known gamba player Christian Ferdinand Abel. Other evidence suggests that the sonatas were composed in Leipzig around 1740, where Bach was cantor at the St. Thomas Church, as well as director of the Collegium Musicum from 1723 onwards. The Sonata in G Minor (BWV 1029) consists of three movements: Vivace, Adagio & Allegro. Baroque scholar Ulrich Siegele has suggested that Bach's last viola da gamba sonata began as a full concerto, possibly for two traverso flutes. The historian Philipp Spitta has called it "of the greatest beauty and most striking originality." The sonata begins with a theme by the viola da gamba, which is soon joined by the harpsichord. This is driven forward with lively figuration. The middle movement, in B flat major, allows the parts to intertwine even more, ending with the allegro, which begins with repeated notes in the gamba part soon to be taken up by the lower harpsichord part. Source: Wikipedia ((http•••) Although originally written for viola da gamba and harpsichord, I created this arrangement for String trio (Violin, Viola & Cello). Sheet music made with MuseScore - (http•••)
Orquesta Filarmónica Unam Cuarteto Latinoamericano Johann Sebastian Bach Christian Ferdinand Abel Aram Khachaturian Durango Silvestre Revueltas José Pablo Moncayo 1685 1720 1750 2010 2012
César Bourguet es integrante de la sección de violonchelos de la Orquesta Filarmónica de la UNAM. César Bourguet, violonchelo Johann Sebastian Bach +••.••(...)) «Suite para violonchelo núm. 3 en do mayor, BWV 1009» I. Prélude II. Allemande III. Courante IV. Sarabande V. Bourrée I y II VI. Gigue / El violonchelo es un instrumento de la familia del violín, y al igual que sus pares, su origen es relativamente antiguo. Y si bien ya se encuentran referencias desde la primera mitad del siglo XVI, hasta bastante avanzado el periodo barroco era mucho más popular la viola da gamba. Y aunque para la época de Bach había varios tipos de violonchelo, no parece que antes de él se hubieran escrito obras tan demandantes para los intérpretes, por lo que las seis suites para violonchelo solo representan un hito en la historia del instrumento. Por la dificultad técnica que presentan al ejecutante, es claro que fueron compuestas para un músico de mucha capacidad. En algunas fuentes se señala a Christian Ferdinand Abel, mientras que otras hacen suponer que fueron dedicadas a C. B. Linike. Fueron compuestas en Cöthen alrededor de 1720. César Bourguet Violonchelo Originario de Oaxaca, César Martínez Bourguet comenzó su formación musical con su padre, Arturo Martínez San Juan, a los 7 años. A los 15 ingresó al Centro Cultural Ollin Yoliztli en la Ciudad de México. Realizó estudios en la Escuela de Música Moores de la Universidad de Houston, la Universidad Internacional de Florida en Miami y una maestría en la Universidad Estatal de Nuevo México. Ha ganado premios en el Concurso Internacional de Violonchelo Aram Khachaturian en Armenia, el Concurso Internacional de Voëls Am Schlern, el Festival de Música de Texas en Estados Unidos y el Grammy Latino en colaboración con el Cuarteto Latinoamericano. Ha sido solista con la Orquesta Filarmónica de la Ciudad de México, la Sinfónica de Yucatán, la Sinfónica de la Universidad Juárez de Durango, la Sinfónica de Oaxaca, la Sinfónica de Las Cruces y la Orquesta de Cámara Moores, entre otras. Está interesado en la interpretación y difusión de obras para violonchelo de compositores mexicanos y extranjeros. Imparte clases magistrales y sesiones individuales en diversos estados del país y de 2010 a 2012 dio clases en la Universidad Estatal de Nuevo México. Ha grabado música de Silvestre Revueltas (con el Cuarteto Martínez Bourguet), la obra de cámara de José Pablo Moncayo y su álbum más reciente, Dans un sommeil, incluye música de compositores del siglo XIX. / ¡Síguenos en nuestras redes sociales! Twitter: (http•••) Facebook: (http•••) Instagram: (http•••) Sitio Web: (http•••) #QuédateEnCasa #CulturaUNAMenCasa #MúsicaUNAM
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): G...