Ferdinand Tobias Richter Video
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Ignazio Albertini Albertini Hélène Schmitt Schmitt Angelo Michele Bartolotti Ferdinand Tobias Richter Johann Kaspar Kerll Bötticher Schröder Sinclair Biber Drescher 1601 1644 1663 1681 1685 1690 1947 2001 2002 2022
Ignazio Albertini +••.••(...)) Sonatas for Violin and Basso Continuo. Click to activate the English subtitles for the presentation (00:00-05:36) 00:00 Sonata I, ré mineur violon, orgue, théorbe 08:01 Sonata II, Fa majeur violon, clavecin 13:51 Sonata III, si mineur violon, orgue, théorbe 19:47 Prélude pour théorbe (Angelo Michele Bartolotti) 23:43 Sonata IV, do mineur violon, clavecin, théorbe 30:19 Sonata V, La majeur violon, clavecin, violone 37:11 Sonata VII, la mineur violon, orgue, théorbe 44:04 Toccatina pour clavecin (Ferdinand Tobias Richter) 48:33 Sonata VIII, ré mineur violon, clavecin, théorbe 55:36 Prélude pour théorbe (Bartolotti) 56:31 Sonata X, mi mineur violon, violone, théorbe, orgue 1:04:48 Toccata V pour clavecin (Johann Kaspar Kerll) 1:07:36 Sonata XI, sol mineur violon, clavecin 1:12:58 Sonata XII, la mineur violon, violone, orgue Violon: Hélène Schmitt Clavecin et Orgue: Jörg-Andreas Bötticher Théorbe: Karl-Ernst Schröder Violone: David Sinclair Recorded in 2001, at Paris New mastering in 2022 by AB for CMRR Painting: Guido Cagnacci +••.••(...)) The death of Cleopatra FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) ️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••) The title page bears the name 'Sonatinae' (Sonatinas', rather than 'Sonatas'). This may be simply a sign of humility (the work being dedicated to the emperor). Indeed, each piece is entitled 'Sonata' on the inside pages. At any rate, both compositionally and technically, these pieces easily hold their own against the other great violin sonatas of the time. The technical demands on the violinist are very high, with swift passage work, sometimes including great leaps, which not only bring about sudden changes of register but also provide motivic material, as for example in the 'Praeludium' of Sonata V. Double stopping is used only sparingly, except in the last sonata, where it is most conspicuous. Albertini thus took up an idea that had been used by Biber in his sonata collection of 1681, which ends with a 'trio sonata' for a single violin and continuo. Albertini was an Italian musician who adopted the stylistic features of the northern culture in which he was active. Furthermore, his contemporaries regarded him as a fine representative of that culture. And it is interesting to note that his music appears in a Viennese manuscript of 1690 containing over a hundred sonatas, practically all of them written b German-speaking composers. These hitherto little known works by Albertini undoubtedly make a remarkable contribution to the sonata repertoire. Thomas Drescher, 9 June 2002 (Translation: Mary Pardoe) Click to activate the English subtitles for the presentation (00:00-05:36) Baroque Composers (XVII-XVIII Centuries): (http•••)
Johann Pachelbel Secunda Ferdinand Tobias Richter Richter Dietrich Buxtehude Bach Alberti 1637 1649 1653 1699 1706 1707 1711 1978
Huguette Grémy-Chauliac (harpsichord) Johann Pachelbel +••.••(...)) Hexachordus Apollinis (1699) Harpsichord by William Dowd Recorded September 1978 by François Carbou Christian Pannier a assure la maintenance de l'instrument durant les seances d'enregistrement. Released 1978 by FY Record FY074 RC 350 00:00 1. Ciacona d-moll 05:37 2. Aria quartia 11:40 3. Aria tertia 16:48 4. Aria prima 23:03 5. Aria quinta 29:18 6. Arietta F-dur 37:25 7. Aria secunda 44:02 8. Aria sesta 51:47 9. Ciacona C-dur Here Huguette Gremy-Chauliac plays an instrument of recent make by William Dowd, whose reputation in the field of historic harpsichord construction is beyond qualification. It was conceived in the Flemish tradition and in accordance with the ravalement accruing towards the end of the seventeenth century. Thus, the originally transposing manuals have been replaced by manuals coupled at the samc pitch. with a second set of strings at 8-foot pitch. On the other hand, the sounding-board, wooden parts and string lengths have remained unchanged. preserving the instrument's typical sound-quality. The specification is as follows: 2 manuals with manual coupling; 2 sets of 8-foot strings and I of 4· foot 1 8-foot stop and 1 4-foot on the lower manual 1 8-foot stop on the upper manual, with a lute stop. The "Hexachordum Apollinis" was the best known of Pachelbel's keyboard works during his lifetime and the greatest single contribution to the firm establishment of his reputation. It therefore seems a particularly engaging and interesting introduction to the composer's oeuvre as a whole and his personality. Its dual dedication to Ferdinand Tobias Richter +••.••(...)) in Vienna and Dietrich Buxtehude +••.••(...)) in Lubeck bears witness to the high regard Pachelbel +••.••(...)) had for both northern and southern Germanic composers. Here a comparison is called for between the Hexachordum Apollinis and Buxtehude's harpsichord works. Like the latter, Pachelbel possesses a technique rich in variety, an extremely inventive melodic and rhythmic style and an instrumental technique containing well-judged effects without excessive concessions to virtuosity for its own sake. Both of them employ three-part counterpoint; but while Buxtehude makes free use of chromaticism, Pachelbel remains essentially diatonic within a very simple harmonic scheme. Their thematic subjects, which are melodic and finely shaped, are genenilly in two equal sections with reprises; but whereas Buxtehude chooses them from chorale tunes or searches the popular repertoire, Pachelbel prefers to write them himself (one of the first to make a practice of this, by the way). It is perhaps in the chaconnes -otherwise equal in stature- that the divergences in style are clearest-cut. With Buxtehude the thematic material and the realisation of ostinati have a finer structural balance and greater interior content. In the case of Pachelbel, however, one is surprised by the inventiveness and the remarkable contrasts which are invariably found in his works. It is scarlely necessary to recite every particular of Bach's indebtedness to them, and to Pachelbel in particular. Right up to his full maturity Bach, expressed his admiration for the economy of means and technical sureness fo the Nuremberg master. He too liked to substitute a figured for a fugal chorale, as we see from one of his pieces: "Figured chorale alIa Pachelbel"; and again, there is the unhampered skill in this treatment of the chorale melodies, making use of imitation and extension of the original theme. Pachelbel was close to Buxtehude and foreshadowed Bach, but nonetheless had a distinctive style ot" his own, characterised by limpidity, melodic elegance, rhythmic inventiveness (often in dance-metre), an instrumental language well adapted to the capabilities of the harpsichord and, if not entirely innovative, at least highly original. With the exception of Variation 5 of the Arietta in F, where the presence of the theme in the middle voice reminds us of Pachelbel the organist, the techniques adopted are calculated to show off the resources of the harpsichord to their best advantage. One is conscious, for example, of the rich effects of sonority produced in syncopation by the many broken chord figurations in the Aria sebaldina (no. 6), and an early example of an Alberti bass, in the left hand, can be seen in the 4th variation of Aria no. 4. Probably the clearest and most vital instances of the fundamental elements of this instrumental style -also characteristic of Italian and southern German musical works- appear in the two chaconnes. Though the harmonic bases are occasionally abandoned, the theme, transformed by rhythmic alterations, is still presented almost without modification in the middle of these sequences of variations, or discreetly ornamented with virtuosic passages. Then we come to some truly ornate variations which put the instrument through its paces. #WilliamDowd #HuguetteGrémyChauliac
Johann Pachelbel Dieterich Buxtehude Ferdinand Tobias Richter 1699 1970
The fourth aria g-moll with six variations, from "Hexachordum Apollinis" - a collection of keyboard music by Johann Pachelbel, published in 1699. It comprises six arias with variations, on original themes, and is generally regarded as one of the pinnacles of Pachelbel's musical legacy. The collection includes a preface in which Pachelbel dedicates the work to Dieterich Buxtehude and Ferdinand Tobias Richter and briefly discusses the nature of music. Performed by Marga Scheurich on Cembalo (1970). Visual background comprises images of six star clusters: open clusters, NGC 6791, NGC 4755, M34, M37 and Hyades and globular cluster M15.
Pachelbel Ferdinand Tobias Richter Richter Dietrich Buxtehude Secunda 1595 1699
HEXACHORDUM APOLLINIS (PWC 193--98 ; T. 211--16 ; PC 131--36 ; POP 1--6) [Nuremberg, Cornelius Nicolaus Schurtz, 1699] Sex Arias exhibens Organo pnevmatico, vel clavato cymbalo modulandas quarum singulis suae sunt subjectae Variationes, Philomusorum in gratiam adornatum. Studio ac industria: Joannis Pachelbel Nurembergensis in Aede Patria Sebaldina Organoedi. ["six arias to be played on the organ, or the harpsichord, to whose simple melodies are added variations for the pleasure of Friends of the Muses".] Dedicated to Ferdinand Tobias Richter, and Dietrich Buxtehude I. Aria Prima in D minor II. Aria Secunda in E minor III. Aria Tertia in F major IV. Aria Quarta in G minor V. Aria Quinta in A minor VI. Aria Sexta Sebaldina in F minor Performed by Huguette Gremy-Chauliac (harpsichord, built by W. Dowd)/ / / Picture: Still-Life with Flowers and Fruit (1595) by Caravaggio.
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