 | Pachelbel, Johann - Fugue in G Major for String Quartet Tertii Toni No. 7 P. 300 Quatuor à cordes |
VoirPDF : Fugue in G Major (Tertii Toni No. 7 P. 300) for String Quartet (6 pages - 121.55 Ko)18x⬇ VoirPDF : Violoncelle (57.8 Ko) VoirPDF : Alto (58.99 Ko) VoirPDF : Violon 1 (58.04 Ko) VoirPDF : Violon 2 (60.77 Ko) VoirPDF : Conducteur complet (87.08 Ko) MP3 : Fugue in G Major (Tertii Toni No. 7 P. 300) for String Quartet 4x⬇ 28x
Fugue in G Major for String Quartet
MP3 (1.96 Mo) : (par MAGATAGAN, MICHAEL)7x⬇ 6x
Vidéo :
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| Compositeur : | Pachelbel, Johann (1653 - 1706) | ||||
| Instrumentation : | Quatuor à cordes | ||||
| Genre : | Baroque | ||||
| Tonalité : | Sol majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 16 Sep 2023 Johann Pachelbel (1653 - 1706) was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era. His music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D; other well known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations. He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites. The Magnificat Fugues probably represent the largest body of keyboard music composed by one man for use in conjunction with a single liturgical chant. A great deal of effort was put forth by Sandberger to align these Magnificat fugues with the tradition of the alternation practice. However, when he proceeded to superimpose the principles of alternation on the liturgical situation as it prevailed at the St. Sebalduskirche in Nurnberg during Pachelbel's time of service as organist, Sandberger encountered difficulties that prompt one to re-examine the problem. Consequently, the question that arises when one scrutinizes these 95 pieces is this: Are these fugues a real contribution to the tradition of the alternation practice; or do they represent the tradition of the intonation? Attempts at a clarification of this problem will be made through two avenues of approach: the one, in terms of the internal evidences to be found in the structural aspects of the music itself; and the other, in terms of the local liturgical situation that prevailed at the time they were composed. Source: Wikipedia (https://en.wikipedia.org/wiki/Johann_Pachelbel). Although originally composed for Organ, I created this Interpretation of the Magnificat Fugue Tertii Toni No. 7 (P. 300) in G Mixolydian mode (G major) for String Quartet (2 Violins, Viola & Cello). Partition centrale : | Fugues (24 partitions) | | |||
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