 | Sweelinck, Jan Pieterszoon - "Gaudete omnes" for Wind Quintet SvWV 182 No. 32 Flute, Oboe, English Horn, French Horn and Bassoon |
Vidéo :
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| Composer : | Sweelinck, Jan Pieterszoon (1562 - 1621) | ||
| Instrumentation : | Flute, Oboe, English Horn, French Horn and Bassoon | ||
| Style : | Renaissance | ||
| Key : | C major | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 24 Mar 2023 Jan Pieterszoon Sweelinck (1562 – 1621) was a Dutch composer, organist, and pedagogue whose work straddled the end of the Renaissance and beginning of the Baroque eras. He was among the first major keyboard composers of Europe, and his work as a teacher helped establish the north German organ tradition. He was born in Deventer, Netherlands, in April or May 1562. He was the eldest son of organist Peter (or Pieter) Swybbertszoon and Elske Jansdochter Sweeling, daughter of a surgeon.Soon after Sweelinck's birth, the family moved to Amsterdam, where from about 1564, Pieter Swybbertszoon served as organist of the Oude Kerk (Sweelinck's paternal grandfather and uncle also were organists). Jan Pieterszoon must have received first lessons in music from his father. Unfortunately, his father died in 1573. He subsequently received general education under Jacob Buyck, Catholic pastor of the Oude Kerk (these lessons stopped in 1578 after the Reformation of Amsterdam and the subsequent conversion to Calvinism; Buyck chose to leave the city). Little is known about his music education after the death of his father; his music teachers may have included Jan Willemszoon Lossy, a little-known countertenor and shawm player at Haarlem, and/or Cornelis Boskoop, Sweelinck's father's successor at the Oude Kerk. If Sweelinck indeed studied in Haarlem, he was probably influenced to some degree by the organists of St.-Bavokerk, Claas Albrechtszoon van Wieringen and Floris van Adrichem, both of whom improvised daily in the Bavokerk. Some of Sweelinck's innovations were of profound musical importance, including the fugue—he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach. It is also generally thought that many of Sweelinck's keyboard works were intended as studies for his pupils. He was also the first to use the pedal as a real fugal part. Stylistically Sweelinck's music also brings together the richness, complexity and spatial sense of Andrea and Giovanni Gabrieli, and the ornamentation and intimate forms of the English keyboard composers. In some of his works Sweelinck appears as a composer of the baroque style, with the exception of his chansons which mostly resemble the French Renaissance tradition. In formal development, especially in the use of countersubject, stretto, and organ point (pedal point), his music looks ahead to Bach (who was quite possibly familiar with Sweelinck’s music). Sweelinck was a master improviser, and acquired the informal title of the "Orpheus of Amsterdam". More than 70 of his keyboard works have survived, and many of them may be similar to the improvisations that residents of Amsterdam around 1600 were likely to have heard. In the course of his life, Sweelinck was involved with the musical liturgies of three distinctly different traditions: Catholic, the Calvinist, and Lutheran—all of which are reflected in his work. Even his vocal music, which is more conservative than his keyboard writing, shows a striking rhythmic complexity and an unusual richness of contrapuntal devices. Source: Wikipedia (https://en.wikipedia.org/wiki/Jan_Pieterszoon_Sweelinc k). Although originally composed for Chorus (SSATB), I created this interpretation of "Gaudete omnes" (Rejoice and be glad - SvWV 182 No. 32) for Wind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon). | |||
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