Joseph Riepel Video
compositore tedesco
- Germania
- musicologo, compositore, teorico della musica
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2024-04-27
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Corelli Mozart Haydn Luigi Boccherini Kozeluch Andrea Bernasconi Johann Baptist Vanhal Tommaso Traetta Giuseppe Sarti Leonardo Leo Antonio Salieri Carl Heinrich Graun Anna Bon Franz Ignaz Beck Bach Johann Adolf Hasse Vicente Martín Soler Soler Francesco Benucci Brazil José Maurício Nunes Garcia Nunes Marcos Portugal Guilherme Lobo Weiss 1794 1832 2014 2015 2017 2018
Here are some manifestations of a formula that eighteenth-century composers used to produce a vast amount of music. In conventional harmonic terms we can describe it as I - IV - I (or more rarely i - iv - i) over a tonic pedal. In the context of Robert Gjerdingen's schema theory we can describe it as a treble line tracing the scale degrees 5 - 6 - 5 over a tonic pedal. I named this schema after Daniel Heartz, my professor at the University of California, Berkeley, in acknowledgment of his recognition of it as a characteristic and expressively potent element of the galant style. For more information see my article "The Heartz: A Galant Schema from Corelli to Mozart," in Music Theory Spectrum 37 (2014): (http•••) A pre-publication version of the article is available at (http•••) This compilation includes music by Mozart, Haydn, Luigi Boccherini, Leopold Kozeluch, Andrea Bernasconi, Johann Baptist Vanhal, Tommaso Traetta, Giuseppe Sarti, Leonardo Leo, Antonio Salieri, Carl Heinrich Graun, Anna Bon, Franz Ignaz Beck, J. C. Bach, Johann Adolf Hasse, and Vicente Martín y Soler Other examples of the Heartz include. . . Druschetzky, Symphony in C: (http•••) Mozart, Don Giovanni, "Dalla sua pace" (http•••) and "Per queste tue manine" (http•••) Honauer, Keyboard Sonata in G, I: (http•••) Hummel, Concertino in G, I: (http•••) Fils, Missa Solemnis in C: (http•••) Bononcini, overture to Camilla: (http•••) Winter, Symphonie concertante: (http•••) Mozart, "Rivolgete a lui lo sguardo": (http•••) Paisiello, "Non dubitar o Figaro": (http•••) Schroeter, Piano Concerto Op. 3 No. 1, I: (http•••) Bortiansky, "Cara deh torna in pace": (http•••) Salieri, "All'idea de' tuoi perigli": (http•••) Mozart, C minor Mass, Laudamus te: (http•••) Fils, Symphony in G minor, I: (http•••) Bernasconi, Stabat Mater, "Eia mater, fons amoris": (http•••) Graun, Te Deum, "Te gloriosus apostolorum chorus": (http•••) J. C. Bach, Sonata in G, Op. 17 No. 4: (http•••) Mozart, Kyrie in D minor, K. 341: (http•••) Honauer, Sonata for keyboard and violin in C, I: (http•••) Cimarosa, Concerto for two flutes, slow movement: (http•••) Eybler, Clarinet Concerto: (http•••) Haydn, Symphony No. 63, Allegro (m. 29): (http•••) Mozart, Oboe Quartet, Rondo: (http•••) Fils, Symphony in E flat, I: (http•••) J. C. Bach, overture to Artaserse: (http•••) Martines, Dixit Dominus, "Tecum principium": (http•••) Michael Haydn, Symphony No. 7 in E major, III: (http•••) Joseph Riepel provides some plain examples of the Heartz in his Baßschlüssel (1786): (http•••) The Heartz was among the many galant schemata imported to the New World and used by composers in Mexico, Brazil, and elsewhere. For some early nineteenth-century Brazilian examples, see Mítia Ganade D'Acol, "Decoro musical e esquemas galantes: um estudo de caso das seções de canto solo das Missas de Requiem de José Maurício Nunes Garcia e Marcos Portugal," Universidade de São Paulo, 2015, online at (http•••) and Guilherme Aleixo da Silva Monteiro, "Análise das schematae galantes nos seis responsórios fúnebres de João de Deus de Castro Lobo (1794–1832)," Universidade do Estado do Amazonas, 2017, online at (http•••) Michael Weiss gave a paper entitled "Phrase Structure and Formal Function in Galant Schemata: The 'Heartz' in Nineteenth-Century Themes" at the joint meeting of the Society for Music Theory and the American Musicological Society in San Antonio in November 2018. For many examples of the Heartz in the music of Hasse, see: (http•••) .
František Xaver Pokorný Checa Capella Istropolitana 1729 1794
František Xaver Pokorný (20 de diciembre de 1729, Městec Králové, República Checa - 2 de julio de 1794, Ratisbona, Alemania). Violinista y compositor checo de la época clásica . Cuando era joven, dejó su ciudad natal para establecerse en Regensburg, donde estudió violín con Joseph Riepel . En 1750 fue a Wallerstein donde tocó el violín en la orquesta de la corte Oettingen-Wallerstein . En 1753 fue a Mannheim donde estudió con Johann Stamitz e Ignaz Holzbauer, entre otros. Después de la muerte de Philip Charles Domenic Oettingen-Wallerstein en 1766, pidió permiso para abandonar la corte durante tres o cuatro años. Pasó la última parte de su vida en la orquesta de Karl Anselm, cuarto Príncipe de Thurn y Taxis , nuevamente en Regensburg. Se le atribuyen casi 150 sinfonías, pero se disputa su autoría en más de cincuenta de ellas, ya que tras su muerte su apellido fue borrado de sus obras y sustituido por nombres de otros autores por el intendente de la orquesta de Ratisbona Theodor von Schacht . Además, se le atribuyen numerosas obras para instrumentos de viento, decenas de conciertos solistas, entre ellos 45 para clavecín y 3 para dos trompas. Concierto en Fa mayor para dos trompas Mov.I: Allegro 00:00 Mov.II: Larghetto poco andante 07:35 Mov.III: Finale: Presto assai 12:22 Bedrich Tylšar, trompa I. Zdenek Tylšar, trompa II. Capella Istropolitana. Frantisek Vajnar, director.
Joseph Riepel Georg Reutter II Reutter
Robert J. (Bahb) Civiletti. An international Baroque trumpet Soloist plays the works of Joseph Riepel. Frans Querfurth and Georg von Reutter II on the Valveless Baroque trumpet .These photos are from his latest European tour and sound tracks from his latest cd 'The Art of the High Baroque".
Joseph Riepel Mozart Weiss William Boyce Gaetano Latilla Domenico Scarlatti Haydn Johann Baptist Vanhal Domenico Gallo Giovanni Benedetto Platti Leonardo Vinci Giovanni Battista Pergolesi Giovanni Paisiello Johann Gottlieb Naumann Georg Benda Benda 2010
The eighteenth-century music theorist Joseph Riepel adopted the term "fonte" (Italian for fountain or spring) for a pattern that composers used often: a two-stage descending sequence in which the first stage is in the minor mode and the second stage, a whole step lower, is in the major mode. Composers found this schema especially useful at or near the beginning of the second part of binary-form movements, both instrumental (e.g. dance movements) and vocal (e.g. the A-section of da-capo arias); but we also find it frequently in other contexts, such as the modulatory passage in sonata-form expositions. Robert Gjerdingen incorporated the Fonte into his theory of galant schemata; see Music in the Galant Style, chapter 4; also Gjerdingen's video (http•••) and his article "Mozart's Obviously Corrupt Minuet," in Music Analysis 29 +••.••(...)–81. Michael Weiss has shown that composers continued to rely on the Fonte in the nineteenth century: (http•••) For more on the Fonte see Open Music Theory: (http•••) This compilation of examples of the Fonte consists of music by William Boyce, Gaetano Latilla, Mozart, King Frederick the Great, Domenico Scarlatti, Haydn, Johann Baptist Vanhal, Domenico Gallo, Giovanni Benedetto Platti, Leonardo Vinci, Giovanni Battista Pergolesi, Giovanni Paisiello, Johann Gottlieb Naumann, and Georg Benda. Other examples of the Fonte include . . . Mozart, Divertimento for String Trio, K. 563, I: (http•••) Rossini, Il barbiere di Siviglia, overture: (http•••) Bach, Toccata, Adagio, and Fugue in C, BWV 564: (http•••) (this example contributed by Václav Hřebec) Mozart, Missa solemnis, K. 337, Credo: (http•••)
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