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The Lancer's Quadrilles. The Virtuoso Pianist. Listen Details. Similar items. For Organ. Published by MorningStar Music Publishers. Composed by Mark Sedio. JavaScript is required. Composer :. Johann Sebastian Bach - Download: Are parts of this score outside of your desired range? Try transposing this FlexScore. General Settings.
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Hence, care, be packing! No mirth be lacking! Let spare no treasure To live in pleasure. The first documented evidence of this melody is found in a collection of 5-part vocal Balletti set by Giovanni Giacomo Gastoldi c. The printed collection also contains settings for 6 and 8 voices as well. In Italy at the end of the 16 th century, the terms bal , ballo or balletto referred generically to dances of foreign origin bal boemo , ballo francese and baletto polaco.
Unfortunately, the original source has not yet been documented. The Italian instrumental balletti , primarily in the form of lute and keyboard compositions, were mainly of the Germanic type with only rare examples indicating other national origins; hence, the term balletto toward the end of the 16 th century was soon applied generically to mean the Germanic type of dance unless it was followed by a descriptive adjective as indicated above.
It was Gastoldi who transformed the instrumental balletto into a vocal one that may have constituted part of a costumed dance that originally might have been performed at the Mantuan court or at an academy.
His 5-voice collection from contains the earliest documented balletti of this new, primarily vocal type of composition. As early as , Johannes Lindemann ? Following are some of the sources for the information given above. Furthermore, the same dance music might appear in duple or triple meter in different sources e. Phrasings were usually regular but could occasionally be irregular, and changing meters or hemiola provided charm and interest.
National differences in style emerged in dance music as elsewhere: the English, for instance, were in general more tuneful than the Italians, who tended to emphasize the basses and chordal schemes romanesca, folia, passo e mezzo. Nonetheless, most of the music is rather commonplace; obviously the physical delights suggested by dance music and the social status dance enjoyed were more responsible for its great vogue than the quality of the music itself.
Among the stage works it is Monteverdi, once again, whose ballos and Orfeo are masterpieces pervaded by dance; appreciation of these is increased by recognition of the dancing they evoke. These works enjoyed great popularity, being reprinted many times in Italy and northern Europe up to the mid th century. Nearly all consist of two repeated strains AABB and the nonsense syllables, sometimes set contrapuntally, act as a refrain at the end of each section. The songs are syllabic and rather repetitious, the strophic form limiting the opportunities to depict the content of the verses, and all are highly rhythmic.
Each has a descriptive title e. The six-voice Mascherata di cacciatori , more complex than the usual simple form and style of the ballettos, is the only piece that shows any musical reflection of the presumed spectacle.
Author: Suzanne G. Cusick The Italian instrumental balletto appeared from about to mainly for lute and from to for chamber ensemble. Similar terminology continued in the guitar books of the first half of the 17th century.
Curiously, vocal ballettos seem to have appeared mainly between about and , thus filling the gap, as it were, between the 16th-century lute and 17th-century chamber developments. A number of sources from the early 17th century contain both vocal and instrumental examples. The Terzo scherzo delle ariose vaghezze of Carlo Milanuzzi contains 12 ballettos for solo voice and continuo, as well as seven for guitar alone. A 16 th -century genre of polyphonic song that satirizes Germans attempting to speak Italian.
Mispronounced words, garbled syntax and verbs rendered as infinitives are standard features in the texts e. The earliest todescas form a substantial category in sources of Florentine carnival songs or Canti Carnascialeschi, especially I-Fn Magl. Stock characters are German lancers and bakers, whose descriptions of their trades and ability to play instruments are merely pretexts for boasting about sexual prowess.
Bavarian courtiers were evidently amused by the parodies of their countrymen offered by Lassus Mi me chiamere Mistre Righe and Bottegari Mi stare pone totesche. Yet his achievement in connection with the Italian style does not depend upon his ability simply as a composer but also as an editor, translator, arranger, propagandist and entrepreneur, roles which are all reflected in his publications.
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