 | Telemann, Georg Philipp - Trio Sonata VIII in Bb Major for Flute & Strings TWV 42:B4 Flûte et Quatuor à cordes |
VoirPDF : Trio Sonata VIII in Bb Major (TWV 42:B4) for Flute & Strings (16 pages - 400.33 Ko)520x⬇ MP3 : Trio Sonata VIII in Bb Major (TWV 42:B4) for Flute & Strings 101x⬇ 768x
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| Compositeur : | Telemann, Georg Philipp (1681 - 1767) | ||
| Instrumentation : | Flûte et Quatuor à cordes | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 19 Nov 2016 Georg Philipp Telemann was born in Magdeburg, the son of a Lutheran deacon who died in 1685, leaving the mother to raise their three children alone. The youth showed remarkable talent in music, but was temporarily discouraged in his chosen pursuit by Puritan Lutherans, who told Telemann's mother that he would turn out no better than "a clown, a tightrope walker or a marmot-trainer." In opposition to his mother's wishes, Telemann continued to study in secrecy until she relented, allowing him to train under the highly respected Kantor Benedict Christiani, at the Old City School. Outside of some early lessons in reading tablature, Telemann was self-taught and was capable of playing the flute, violin, viola da gamba, oboe, trombone, double bass, and several keyboard instruments. Telemann began to write music from childhood, producing an opera, Sigismundus, by age 12. He was considered the most important German composer of his day and his reputation outlasted him for some time, but ultimately it was unable to withstand the shadow cast by the growing popularity of his contemporary, Johann Sebastian Bach. Telemann enormous output, perhaps the largest of any classical composer in history, includes parts of at least 31 cantata cycles, many operas, concertos, oratorios, songs, music for civic occasions and church services, passion, orchestral suites and abundant amounts of chamber music. While many of these works have been lost, most still exist, and the sheer bulk of his creativity has made it difficult for scholars and performers alike to come to terms with. The inevitable revival of interest in Telemann did not arrive until the 1920s, but has grown exponentially ever since, and with the twenty first century in full swing more of Telemann's music is played, known, understood and studied than at any time in history. The Trio for recorder, harpsichord & continuo in B flat major (TWV 42:B4) is an isolated piece of unknown origin, the trio sonata was originally curiously scored, having parts for recorder, harpsichord concertante (the term indicated something like "featured"), and continuo. This seems to imply either a second harpsichord or possibly even a chamber organ to realize the continuo figured bass part, but recall that various instruments were deployed during the Baroque to realize the continuo--the work may even have been performed with viola da gamba to support the bass line. As per performance practices of the day, several such combinations were probably heard. But, in a clear indication of the way music was moving toward melody and away from pulse-like bass patterns, Telemann himself suggested combining parts, and the piece is commonly performed today by two instrumentalists. In four movements that last barely eight minutes, the work begins with a brief dolce section which breaks out into a showy vivace. The third movement, a two-minute Siciliana, is briefly lyrical also, but the closing vivace, a sort of miniature concerto movement, brings the work to a close with sparkling effect. Although brief and lightly textured, the work is sophisticated in its scoring and counterpoint and contains exemplary Baroque writing. Source: Allmusic (http://www.allmusic.com/composition/trio-for-recorder- harpsichord-continuo-in-b-flat-major-essercizii-musici- no-8-16-twv-42b4-mc0002431988). Although originally composed for Recorder, Harpsichord & Continuo, I created this Interpretation for Flute & Strings (2 Violins, Viola & Cello). | |||
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