 | Kerll, Johann Kaspar - "Capricio Cucu" for Viola Quartet Quatuor d'Altos |
VoirPDF : "Capricio Cucu" for Viola Quartet (11 pages - 309.63 Ko)144x⬇ VoirPDF : Alto 4 (68.52 Ko) VoirPDF : Alto 1 (68.05 Ko) VoirPDF : Alto 3 (63.94 Ko) VoirPDF : Alto 2 (70.54 Ko) VoirPDF : Conducteur complet (229.65 Ko) MP3 : "Capricio Cucu" for Viola Quartet 23x⬇ 286x
Vidéo :
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| Compositeur : | Kerll, Johann Kaspar (1627 - 1693) | ||
| Instrumentation : | Quatuor d'Altos | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 17 Avr 2020 Johann Caspar Kerll (1627 – 1693) was a German baroque composer and organist. He is also known as Kerl, Gherl, Giovanni Gasparo Cherll and Gaspard Kerle. Born in Adorf in the Electorate of Saxony as the son of an organist, Kerll showed outstanding musical abilities at an early age, and was taught by Giovanni Valentini, court Kapellmeister at Vienna. Kerll became one of the most acclaimed composers of his time, known both as a gifted composer and an outstanding teacher. He worked at Vienna, Munich and Brussels, and also travelled widely. His pupils included Agostino Steffani, Franz Xaver Murschhauser, and possibly Johann Pachelbel, and his influence is seen in works by Handel and Johann Sebastian Bach: Handel frequently borrowed themes and fragments of music from Kerll's works, and Bach arranged the Sanctus movement from Kerll's Missa superba as BWV 241, Sanctus in D major. Although Kerll was a well-known and influential composer, many of his works are currently lost. The losses are particularly striking in vocal music, with all 11 known operas and 24 offertories missing. The surviving oeuvre shows Kerll's mastery of the Italian concerted style, employed in almost all of his masses, and his highly developed contrapuntal technique. He was influenced by Heinrich Schütz in his sacred vocal music, and by Girolamo Frescobaldi in keyboard works. Although Kerll was a renowned teacher during his lifetime, his pupils did not, in all probability, include any considerably important composers, although Johann Joseph Fux possibly studied with him for a time. Agostino Steffani is perhaps his best-known pupil. Kerll's influence on later composers, however, is undeniable. Johann Pachelbel studied Kerll's style, which is particularly obvious from his organ chaconnes, which are reminiscent of Kerll's ostinato works; he may have also studied with Kerll, although there is no proof. The two most important German composers of the late Baroque era, Johann Sebastian Bach and George Frideric Handel, both studied Kerll's work: Bach arranged the Sanctus part of Kerll's Missa superba in his Sanctus in D major (BWV 241), and Handel frequently borrowed themes, and sometimes whole pieces, from Kerll's canzonas (the theme from Canzona No. 6 is taken for Let all the Angels of God from Messiah, Egypt was Glad from Israel in Egypt is practically similar to Canzona No. 4, etc.). Kerll was highly regarded by his contemporaries: many of his works were published during his lifetime. Particularly important are the many printed concerted masses, a collection of motets and sacred concertos entitled Delectus sacrarum cantionum (Munich, 1669) and Modulatio organica super Magnificat octo ecclesiasticis tonis respondens (Munich, 1686), which contains liturgical organ music. Kerll was not an especially prolific composer, so the surviving works are relatively few. Much of his music was lost, including 11 operas (which he was most famous for during his lifetime), 25 offertories, four masses, litanies, chamber sonatas and miscellaneous keyboard works. Source: Wikipedia (https://en.wikipedia.org/wiki/Johann_Caspar_Kerll). Although originally written for Piano, I created this Interpretation of "Capricio Cucu" for Viola Quartet. | |||
