 | Frescobaldi, Girolamo - "Canzon à Basso Solo" for Cello & Piano F 8.06c Violoncelle et Piano |
VoirPDF : "Canzon à Basso Solo" (F 8.06c) for Cello & Piano (13 pages - 257.02 Ko)152x⬇ VoirPDF : Violoncelle (82.09 Ko) VoirPDF : Piano (121.18 Ko) VoirPDF : Conducteur complet (162.19 Ko) MP3 : "Canzon à Basso Solo" (F 8.06c) for Cello & Piano 36x⬇ 321x
Vidéo :
![]()
![]()
| Compositeur : | Frescobaldi, Girolamo (1583 - 1643) | ||
| Instrumentation : | Violoncelle et Piano | ||
| Genre : | Renaissance | ||
| Arrangeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Editeur : | |||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 16 Jui 2020 Girolamo Alessandro Frescobaldi (1583 – 1643) was a musician from the Duchy of Ferrara, in what is now northern Italy. He was one of the most important composers of keyboard music in the late Renaissance and early Baroque periods. A child prodigy, Frescobaldi studied under Luzzasco Luzzaschi in Ferrara, but was influenced by many composers, including Ascanio Mayone, Giovanni Maria Trabaci, and Claudio Merulo. Girolamo Frescobaldi was appointed organist of St. Peter's Basilica, a focal point of power for the Cappella Giulia (a musical organisation), from 21 July 1608 until 1628 and again from 1634 until his death. Frescobaldi's printed collections contain some of the most influential music of the 17th century. His work influenced Johann Jakob Froberger, Johann Sebastian Bach, Henry Purcell, and countless other major composers. Pieces from his celebrated collection of liturgical organ music, Fiori musicali (1635), were used as models of strict counterpoint as late as the 19th century. Frescobaldi was, after Jan Pieterszoon Sweelinck, the first of the great composers of the ancient Franco-Netherlandish-Italian tradition who chose to focus his creative energy on instrumental composition. Frescobaldi brought a wide range of emotion to the relatively unplumbed depths of instrumental music. Keyboard music occupies the most important position in Frescobaldi's extant oeuvre. He published eight collections of it during his lifetime, several were reprinted under his supervision, and more pieces were either published posthumously or transmitted in manuscripts. His collection of instrumental ensemble canzonas, Il Primo Libro delle Canzoni, was published in two editions in Rome in 1628, and substantially revised in the Venice edition of 1634. Of the forty pieces in the collection, ten were replaced and all were revised to various degrees, sixteen of them radically so. This extensive editing attests to Frescobaldi's ongoing interest in the utmost perfection of his pieces and collections. Contemporary critics acknowledged Frescobaldi as one of the greatest trendsetters of keyboard music of their time. Even critics who did not approve of Frescobaldi's vocal works agreed that he was a genius both playing and composing for the keyboard. Frescobaldi's music did not lose direct influence until the 1660s, and his works held influence over the development of keyboard music over a century after his death. Bernardo Pasquini promoted Girolamo Frescobaldi to the rank of pedagogical authority. Frescobaldi's pupils included numerous Italian composers, but the most important was a German, Johann Jakob Froberger, who studied with him in 1637–41. Froberger's works were influenced not only by Frescobaldi but also by Michelangelo Rossi; he became one of the most influential composers of the 17th century, and, similarly to Frescobaldi, his works were still studied in the 18th century. Frescobaldi's work was known to, and influenced, numerous major composers outside Italy, including Henry Purcell, Johann Pachelbel, and Johann Sebastian Bach. Bach is known to have owned a number of Frescobaldi's works, including a manuscript copy of Frescobaldi's Fiori musicali (Venice, 1635), which he signed and dated 1714 and performed in Weimar the same year. Frescobaldi's influence on Bach is most evident in his early choral preludes for organ. Finally, Frescobaldi's toccatas and canzonas, with their sudden changes and contrasting sections, may have inspired the celebrated stylus fantasticus of the North German organ school. Source: Wikipedia (https://en.wikipedia.org/wiki/Girolamo_Frescobaldi). Although originally composed for Voice (Bass) & Continuo, I created this Interpretation of the "Canzon à Basso Solo" (F 8.06c) for Cello & Piano. | |||
