VIOLONKerll, Johann Kaspar
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Kerll, Johann Kaspar: Tiento
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Kerll, Johann Kaspar - Tiento 'Batalla Imperial' in C Major for String Quartet

VoirPDF : Tiento 'Batalla Imperial' in C Major for String Quartet (14 pages - 429.69 Ko)
VoirPDF : Violoncelle (85.2 Ko)
VoirPDF : Alto (71.32 Ko)
VoirPDF : Violon 1 (90 Ko)
VoirPDF : Violon 2 (79.84 Ko)
VoirPDF : Conducteur complet (311.56 Ko)
MP3 : Tiento 'Batalla Imperial' in C Major for String Quartet 16x 99x
Vidéo :
Compositeur :
Johann Kaspar Kerll
Kerll, Johann Kaspar (1627 - 1693)
Instrumentation :

Quatuor à cordes

Genre :


Arrangeur :
Editeur :
Johann Kaspar Kerll
Magatagan, Mike (1960 - )
Droit d'auteur :Public Domain

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. He was Born in Adorf in the Electorate of Saxony, 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.<br> <br> 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. <br> <br> The surviving keyboard music is cast in the typical southern German style, combining strict German counterpoint with Italian styles and techniques; Frescobaldi and especially Froberger were the most important influences. Most of Kerll's keyboard works are playable on both pipe organ and harpsichord, the exceptions are four dance suites composed for harpsichord and two organ toccatas: Toccata quarta Cromatica con Durezze e Ligature and Toccata sesta per il pedali. Partial chronology can be established using Kerll's (incomplete) catalogue of his own works which is included in the 1686 Modulatio organica (it is the earliest surviving thematic catalogue of a specific composer's works): it lists 22 pieces, 18 of which were composed by 1676 at the latest. The earliest known composition by Kerll, Ricercata à 4 in A (also known as Ricercata in Cylindrum phonotacticum transferanda), was published in 1650 in Rome.<br> <br> Kerll's eight toccatas (that correspond to the eight church modes) alternate between free and strict contrapuntal sections, sometimes in contrasting meters. Frequent use of 12/8 gigue-like endings is similar to Froberger's toccatas. The four dance suites are also reminiscent of Froberger's suites, yet two of them contain variation movements. Kerll's canzonas consist, typically for the time, of several fugal sections; some also have toccata-like passagework embedded in the development of cadences. Two ostinato works survive, a passacaglia and a chaconne, both built on a descending bass pattern; the passacaglia is perhaps Kerll's most well-known work.<br> <br> The two best known keyboard pieces by Kerll are both programmatic, descriptive pieces. Battaglia is a descriptive piece in C major, over 200 bars long and featuring numerous repeats of fanfare-like themes, it is also attributed to Juan Bautista Cabanilles. Capriccio sopra il Cucu is based on an imitation of the cuckoo's call, which is heard more than 200 times in the piece. It is modelled after Frescobaldi's piece based on the same idea, Capriccio sopra il cucho, but is more structurally and harmonically complex. The idea of repeating a particular theme in Kerll's music reaches its extreme in the Magnificat tertii toni, where a fugue subject consists of sixteen repeated E's. <br> <br> Source: Wikipedia (<br> <br> Although originally written for Organ, I created this Interpretation of the Tiento 'Batalla Imperial' in C Major for String Quartet (2 Violins, Viola & Cello).
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