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(by Magatagan, Mike)32x⬇ 81x
(by Magatagan, Mike)148x⬇ 49xVidéo :
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| Composer : | Ives, Simon (1600 - 1662) | ||
| Instrumentation : | 2 Violas (duet) | ||
| Style : | Baroque | ||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Publisher : | MAGATAGAN, MICHAEL | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 18 Jun 2015 Simon Ives (sometimes spelled Yves) (1600 - 1662) was an English composer and organist who was active in the court of Charles I of England. He composed many pastoral dialogues, partsongs, glees, and works for organ. He also composed music for the theater. His music was perpetuated in the music collection of Playford, for example, and we know he composed vocal and instrumental music. His Ayres for two bass viols (British Library Add MS 31424) are important for those of us interested in bass viol music, and especially music for two unaccompanied bass viols. He has been referred to the likes of Michael East and John Ward in this regard, with links to similar duets accompanied by organ, as in the case of Coperario. String players will appreciate the eighth-note runs of short motive imitation, moments contrasting with pseudo-chordal passages, with passages in thirds. Ives worked to this pattern, commencing his ayres with fluid melodies broken up into very short imitative passages and contrasting them with a second repeated section (the structure being most often AABB) with strident chords. Ives "splits" the melody and bass lines, so players swap them between themselves every few bars. From an aural perspective, it sounds (or is supposed to sound) like a vocal-like, lute song. In practical terms of course, the players are in fact darting from melodic fragment to supporting bass line: hence the challenge or 'conceit' of playing these duets. The pieces are short as a consequence, few longer than 20-50 measures, so it is all about short sprints to a finish line rather than considered, drawn-out 'conversation' between many voices. He wrote tablature music, so it's not surprising that these duets originally featured chords and double-stops. Unlike tab though, these duets feature no ornaments. The transferability of ornamentation from tablature lyra-viol music to these duets and consort music in general is of course the subject of conjecture. Is Ives after the suavite of melodic line (short as they are in this case) over complex ornamentation? I've "flattened out" Ayre Number 2 from the set, so that the melody line appears in one stave and the bass in the other. Basically the A Section of Ayre No.2 is in a simple 8 bars, while the B Section pushes the imitation a bit more and runs out to thirteen bars or so. Both sections start with a crochet upbeat, as is the case with other Ayres. Although possibly written for two (2) Viols, I created this arrangement for Viola Duet. | |||
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