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Vidéo :
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| Composer : | Scarlatti, Alessandro (1660 - 1725) | ||
| Instrumentation : | Harp | ||
| Style : | Baroque | ||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Publisher : | MAGATAGAN, MICHAEL | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 02 Nov 2012 Alessandro Scarlatti (1660 – 1725) was an Italian Baroque composer especially famous for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti. Scarlatti's music forms an important link between the early Baroque Italian vocal styles of the 17th century, with their centers in Florence, Venice and Rome, and the classical school of the 18th century. Scarlatti's style, however, is more than a transitional element in Western music; like most of his Naples colleagues he shows an almost modern understanding of the psychology of modulation and also frequently makes use of the ever-changing phrase lengths so typical of the Napoli school. The gavotte (also gavot or gavote) originated as a French folk dance, taking its name from the Gavot people of the Pays de Gap region of Dauphiné, where the dance originated. The gavotte became popular in the court of Louis XIV where Jean-Baptiste Lully was the leading court composer. Consequently several other composers of the Baroque period incorporated the dance as one of many optional additions to the standard instrumental suite of the era. The examples in suites and partitas by Johann Sebastian Bach are best known. When present in the Baroque suite, the gavotte is often played after the sarabande and before the gigue, along with other optional dances such as the minuet, bourrée, rigaudon, and passepied. The gavotte could be played at a variety of tempi; in his Musicalisches Lexicon (Leipzig, 1732), Johann Gottfried Walther wrote that the gavotte is "often quick, but occasionally slow"; and Johann Joachim Quantz wrote in Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752) that "A gavotte is almost like a rigaudon, but is a little more moderate in tempo." In the Baroque period, it is typically in binary form. A notable exception is the rondo form of the Gavotte from Bach's Partita No. 3 in E Major for solo violin, BWV 1006. Although originally composed for period instruments (possibly Lute and Voice), I created this arrangement for Concert (Pedal) Harp. | |||
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