Georg Friedrich Haendel Chaconne en do majeur Vidéos
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2024-04-29
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Georg Friedrich Händel / George Frideric Handel +••.••(...)) Chaconne in C-Dur / C Major, HWV 484 Aus: Stücke der Aylesford-Sammlung, Band I From: Pieces of the Aylesford Collection, Vol. I Komponiert/composed ca. 1700~1705 (Jugendwerk/early work) Eberhard Kraus, Cembalo/Harpsichord (Gräbner) Timings (for those who care): 00:04 Chaconne 00:37 Variation 1 01:05 Variation 2 01:31 Variation 3 01:55 Variation 4 02:19 Variation 5 02:48 Variation 6 03:17 Variation 7 03:47 Variation 8 04:18 Variation 9 04:49 Variation 10 05:19 Variation 11 05:53 Variation 12 06:21 Variation 13 06:48 Variation 14 07:15 Variation 15 07:41 Variation 16 08:06 Variation 17 08:33 Variation 18 09:00 Variation 19 09:27 Variation 20 09:53 Variation 21 10:20 Variation 22 10:47 Variation 23 11:13 Variation 24 11:40 Variation 25 12:09 Variation 26 12:36 Variation 27 13:03 Variation 28 13:31 Variation 29 14:00 Variation 30 14:31 Variation 31 15:02 Variation 32 15:30 Variation 33 15:59 Variation 34 16:28 Variation 35 16:57 Variation 36 17:35 Variation 37 18:09 Variation 38 18:43 Variation 39 19:17 Variation 40 19:54 Variation 41 20:23 Variation 42 20:54 Variation 43 21:26 Variation 44 21:44 Variation 45 22:20 Variation 46 22:55 Variation 47 23:41 Variation 48 24:23 Variation 49
Smythe Levin Dawes Schott Ferguson Hugh Aston William Byrd Galliard Giles Farnaby Marlow Stainer Thomas Tallis Stevens Shakespeare Forster 1480 1522 1525 1548 1591 1623 1693 1972
Gigges and Dompes and other Keyborde Musicke, Alan Cuckston, harpsichord Alan Cuckston plays on a copy of an Italian 16th century harpsichord tuned in mean-tone (Side One) and on a copy of a French 18th century harpsichord (SideTwo, both made by John Rooks, Ticknall, Derbyshire. Released 1972 by Vista, RCA – VICS 1693, RCA Victrola A Vista Productions Recording, Recorded and Produced by Michael Smythe Front sleeve: English Harpsichord dated 1623 from the Michael Thomas collection at the Harpsichord Centre, 47 Chiltern St., London. Photo by David Levin. Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection Side 1 00:00 1 Anon The short mesure of my Lady Wynkfylds Rownde, ed. Dawes Schott (MC PS) 01:51 2 Anon My lady caryes dompe, ed. and annotated Howard Ferguson OUP (MC PS) 03:44 3 Hugh Aston A Hornpype, ed. Dawes Schott (MC PS) 07:17 4 William Byrd The Galliard Jig, tr. and ed. Alan Brown 09:39 5 Richard Farnaby Nobodyes Gigge, ed. Richard Marlow Stainer & Bell (MC PS) 13:15 6. William Byrd Will you walke the woodes soe wylde, arr. Alan Brown Stainer & Bell (MC PS) 17:30 7 Thomas Tallis Offertory: Felix namque (I), ed. Denis Stevens Side 2 27:09 1 Händel Chaconne in C major, ed. W. Rehberg (Aylesfort No. 15) 39:35 2 Händel Sonatina in A minor, ed. W. Rehberg (Aylesfort No. 44) 3 Händel Suite in A major, ed. W. Rehberg 43:43 Allemande 47:01 Courante 48:36 Sarabande 51:00 Gigue 1. THE SHORT ME SURE OFF MY LADY WYNKFYLDS ROWNDE Anon. The source of this ·and the following two pieces on this side is the British Museum Manuscript Royal App. 58. They date from the mid-sixteenth century and are the earliest kno~n genuinely idiomatic English virginal music. Among the interpretative liberties taken for granted by performers of early music was the use of a type of rubato known generally today by its French name of "Notes inegales". In this piece, the evenly written quavers are played with such rubato. 2. MY LADY CAREYS DOMPE Anon A Dompe is generally considered to be a sort oflament. Shakespeare mentions both "doleful dumps" and (probably ironically), "merry dumps" in Romeo and Juliet. My Lady Careys Dompe features a series of continuous variatIons on a tonic-dominant harmony, with the characteristic left-hand broken-chord figuration so typical of sixteenth-century English harpsichord writing. 3. A HORNEPYPE Hugh Aston Aston's dates arc usually given as c. 1480-1522, but HowardFerguson has suggested that his idiomatic key- board writing probably dates from a quarter century later. Perhaps, as Frank Harrison has pointed out, the composer is really "Hugo Asseton" who was master of. the choristers at Newark College from 1525 to 1548. The Hornepype is broadly divided into two halves, the first in 3/4 time; the second in 6/8. Phraseology is largely symmetrical, in mainly two or four bar phra-ses. Near the beginning of the second half of the piece, there is a sequence of almost Scarlattian skips for the right hand, starting with an inte.rval of a third, and extending to an octave plus a sixth. Perhaps these mirror the leaps of the dancers? 4. THE GALLIARD JIG William Byrd This piece is No. 7 in My Ladye Nevells Booke of 1591, which contains keyboard music from Ryrd's "middle period" and is notable for its unusual form. Each eight bar section consists of four bars, plus a varied repeat; the fourth section is a varied repeat of the second, and sections five to eight are a variation of sections one to four. 5. NOBODYES GIGGE Richard Farnaby Only four keyboard pieces survive by the son of Giles Farnaby. Evidently his father taught him composition as Richard's pieces reflect his father's distinctive style. Nobodyes Gigge is his most successful work. Entitled "Fleet Street" in one source, Richard Marlow has suggested that Giles Farnaby must have been partly responsible for composing it originally. 6. WILL YOU WALKE THE WOODES SOE WYLDE William Byrd Byrd was nearly fifty years old when the earliest extensive source of his keyboard music, My Ladye Nevells Booke, was completed. This piece must have been copied into the manuscript almost as soon as it was composed, for it is dated I 59o-the only keyboard work of Byrd's actually dated . in the sout:Ces. The fourteen variations · achieve their mellow, pastoral effect by the simplest of means. The twelfth and thirteenth variations are found in the Fitzwilliam Virginal Book and Will Forster's Virginal Book, but not in Lady Nevell, which suggests they are probably later additions. #JohnRooks #AlanCuckston
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