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Bradford Tracey am Cembalo von Christian Zell (1728) im Museum fúr Kunst und Gewerbe Hamburg. Released 1978 by Harmonia Mundi 1C 065-99 788, Aufnahmeort: Museum für Kunst und Gewerbe Hamburg. Aufnahme: P. Dery, Technik: Sonart. Titelbild: Cembalo von Zell 1728 Gestaltung: B&M Wiesinger, Photo: Beatrice Frehn Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection. SEITE 1 Ouverture in g 00:00 Lento-Allegro-Lento 05:09 Larghetto e scherzando 08:26 Allegro Solo C-dur aus "Essercizii Musici" 11:25 Largo 13:49 Allemanda 18:51 Lura 21:59 Corrente 24:45 Minuet I - Minuet II 27:55 Giga SEITE 2 Ouverture in Es 30:50 Lento-Allegro-Lento 36:08 Souave e scherzando 39:19 Allegro Solo F-dur aus "Essercizii Musici" 42:25 Cantabile 47:46 Bourree 49:35 Sarabande 51:53 Gavotte I - Gavotte II 54:07 Passepied 55:25 Gigue The music of the rococo excelled in the intimate art of the miniature. In order to find " recreation at the Clavier for the spirit wearied by other studies" the bourgeois dilettante or the lady with musical tastes resorted to the character-pieces and dances which, since the end of the 17th century, had been appearing on the market, either singly or in cycles, in ever greater numbers. Franyois Couperin published his Pieces de Clavecin in fairly informal Ordres, while Domenico Scarlatti preferred Essercizii in one movement. The Clavier-collections of the German composers presented a colourful assortment of pieces with the most flowery titles. Numerous were the composers of such music ; Johann Kuhnau, J. S. Bach 's official predecessor in Leipzig ; the Bach sons and pupils ; Johann Joseph Fux, court director of music in Vienna, together with his pupils Gottlieb Muffat and Georg Christoph Wagenseil; Christoph Graupner from Darmstadt and Johann Mattheson and Georg Philipp Telemann from Hamburg; all of these prepared for print collections with such titles as: "Componimenti Musicali, Monthly Fruits for the Clavier, Bouquet, Musical Leisure Hours for the Heart's Delight" or, in a more schoolmasterly tone, plainly and simply "Clavier-Übung " (Exercises for the Keyboard). Even a great master like J. S. Bach did not compose exclusively fugues and other " pieces of pro- - found art" for the organists, but deigned also to favour the "heart's delight" of the dilettante with dances and "other pieces in the gallant style ". Part I of the Clavier-Ubung illustrates this. Around the year 1740, Georg Philipp Telemann (1681-1767), who as director of the music in Hamburg from 1721 on had a whole variety of tasks to perform, still found time to have published in his own firm a collection of Essercizii MusicL These contained not only Trios for different instruments but also two Soli for Clavier. About the year 1755 Telemann, now over seventy, had published by the Nuremberg publisher Balthasar Schmid " VI Overtures, each provided with two following movements, trifles in the French, Polish and Italian manner, for the Clavier". As the titles indicates, this music contained elements of the French, Polish and Italian styles. With these Telemann will have gained aquaintance in a variety of ways; as a student in Leipzig, celebrated for its trade fair; at the courts of Sorau and Eisenach where he was musical director (Kapellmeister) and as director of music in the free imperial town of Frankfurt. In comparison with the baroque gravity of some of Bach's suite movements, the style of Telemann's composition is rather more "trifling", in spite of its smoothness and finish . In his largely twopart ant three-part writing - the harmony may be further filled out at will - Simple harmony, catchy melodies and dance-like rhythms are the rule . In the Soli from the Essercizii the basic plan of the baroque suite is still recognisable; but in the groups of thirds, in the 'sighing ' figures, in the triplets and bizarre suspensions we see typical characteristics of the empfindsamer Stil ('sensitive' or 'affected' style) such as it began to appear in the years directly after 1740. In the overtures the French model retains formal importance, while the "two following movements" come close to the two-part sonata-form of Scarlatti. Form, however, provides here little more than a frame-work for graceful ' figuration, charming melodies and cheerful, carefree rhythms. This is " light" music of the most nobre kind , unique Creation of an epoch in which galanterie was a principle. #ChristianZell #BradfordTracey