 | Ugolino, Vito - Concerto in G Major for Flute, Oboe & 2 Violins Gimo 297 Flûte, Hautbois & 2 Violons |
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| Compositeur : | Ugolino, Vito 1750 | ||
| Instrumentation : | Flûte, Hautbois & 2 Violons | ||
| Genre : | Baroque | ||
| Tonalité : | Sol majeur | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Date : | 1760 | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 16 Fév 2019 Virtually nothing is known of the life of Vito Ugolino (? - 1750) who was an Italian Composer from the Baroque period. The Baroque era in music began in Italy around 1600 and lasted till about 1750. Before it came the Renaissance period, during which the concept of music had expanded from a single line of melody (the Gregorian plainchant of the Medieval age) to multiples lines which could be sung or played simultaneously, and fit together smoothly to make a harmonious whole. There were two types of concertos which flourished during the Baroque era. The first of these, championed especially by Arcangelo Corelli, was the concerto grosso (‘large concerto’), which featured a small group of soloists — two violins and a cello, for example — as a contrast in texture with the full orchestra. The other kind of concerto was the solo concerto, which gave the limelight to just one instrument (most commonly a violin, but there are concertos for all manner of soloist — the oboe concertos by Alessandro Marcello and Tomaso Albinoni are especially beautiful). One of the most important composers in the early development of the solo concerto was Antonio Vivaldi, who wrote more than 500 of them, for a wide range of solo instruments — mostly to be played by the highly talented girls at the Venetian orphanage where he was the director of music. As the Baroque era moved towards the Classical in the mid-18th century, it was the solo concerto, with its opportunities for virtuoso display and for song-like eloquence, which took over from the concerto grosso as the favoured form. The word ‘Baroque’ wasn’t used until towards the end of the Baroque period, and at first it was intended as an insult! It comes from the Portuguese word barroco, which meant a misshapen pearl, and it was initially used to criticise this ‘modern’ music for its shameless use of new and strange effects in order to express moods and emotions. Source: WikiPedia (https://en.wikipedia.org/wiki/Baroque_music ). Although originally composed for Mandolin, Violins and Basso Continuo, I created this Interpretation of the Concerto in G Major (Gimo 297) for Flute, Oboe & 2 Violins. | |||
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