Burke Thumoth Vídeos
compositor
- Irlanda
Última actualización
2024-05-08
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Franciscus Cannabich Friedrich Cannabich Burk Thumoth 1609 1630 1660 1690 1706 1715 1716 1718 1720 1723 1725 1727 1741 1752 1756 1773 1774 1976
Autor: Matthias Franciscus Cannabich (c.1690-1773) Obra: Sonata for flute & continuo in E minor Intèrprets: Nеuе DussеIdorfеr Hofmusik Pintura: Judith Leyster +••.••(...)) - Boy playing the Flute (c.1630) / Matthias [Martin] Franciscus [Franz, Friedrich] Cannabich (c.1690 - 12 Oct 1773) Flautist and composer. The earliest known reference to him occurs in a list of the musicians at the Margrave of Baden's court in Rastatt in 1706. In Düsseldorf on 1 January 1715 he married Anna Margaretha Essers (d 1725), by whom he had four children; he served there as flautist to the Palatine electors Johann Wilhelm and (from 1716) Carl Philipp. He later moved with the court to Heidelberg (1718) and to Mannheim (1720). In 1727 he married his second wife Rosina Arnold (d 8 February 1774), who bore him five children. His name appears, in various forms, in the Mannheim orchestra lists from 1723 to 1773, although by 1756 he had retired; he earned a substantial salary and gave flute lessons to Elector Carl Theodor until 1752. He composed a set of six Sonate a flauto traversiere solo e basso, op.1 (Paris, 1741–2), one of which has been edited by P. Anspacher (Wilhelmshaven, 1976), and three of the pieces in Burk Thumoth's Six Solos for a German Flute, Violin or Harpsichord (London, c1746); his name is given in both publications as ‘Canaby’.
William McGibbon Burke Burke Thumoth Rondeau 1690 1746 1756
Christopher Bagan, harpsichord "Scottish Suite" in D major, based on arrangements by William McGibbon +••.••(...)) I. Allemande: The Lass of Paties Mill 0:00 II. Courante: Bonnocks of Beer Meal 2:05 III. Sarabande: Mary Scot 4:17 IV. Bourée: Leithwynd 6:36 V. Air with variations: Maggie Lawder 8:02 VI. Gigue in Rondo Form: Jigg/Bessie Bell 10:41 Contact through www.christopherbagan.com to order sheet music. Notes to the piece: While the harpsichord enjoyed use in Scotland through the 18th century, it seems to have been mostly as an accompanying instrument. With very few exceptions, solo music from Scottish composers is almost nonexistent. The title page of Twelve Scotch and Twelve Irish Airs with Variations by Burke Thumoth (1746), a simple and facile collection accessible to amateur players, gives the option of performing a violin or flute part in the right hand of the harpsichord, with the bass line accompaniment in the left. A much more extensive and technically demanding collection is furnished by the Scottish violin virtuoso William McGibbon +••.••(...)). While the option of solo harpsichord performance is not expressly indicated in this collection, with certain modifications they can suit the instrument quite well. McGibbon provides a simple bass line and harmonization for the theme, writing out only the treble part for the subsequent variations. To make the material more interesting, I have rewritten many of the bass parts and filled out harmonic and contrapuntal lines to match the character of the variations in the upper part, and to better fit the texture of the solo keyboard. In the case of the Air with Variations, most of the variations are newly written. The original strophic form of these songs, iterated for each verse of text, has been modified by McGibbon to the repeated binary scheme (AABB) characteristic of most instrumental dance forms. Following each are any number of variations, also in AABB form. To best give structure to a set of these pieces in the absence of their texts, I have assembled them into a typical Baroque dance-suite. This format allows for a logical pattern of tempo and metrical contrast, as well as a unification of key. At times I have embedded sections of McGibbon's variations as ornamented repeats of the binary dance sections. At other times, I have returned to the strophic structure of the original song, allowing the variations to act as 'verses' of the missing text. For the Gigue, I have chosen two short 6/8 pieces from the collection, using one as a recurring Rondeau, and the sections and variations of the other as the alternating Couplets.
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