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| Composer : | Greene, Maurice (1696 - 1755) | ||
| Instrumentation : | Trumpet and String Quartet (2 Violins, 1 Viola, 1 Cello) | ||
| Style : | Baroque | ||
| Key : | D major | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 22 Jun 2020 Maurice Greene (1696 – 1755) was an English composer and organist. Born in London, the son of a clergyman, he became a choirboy at St Paul's Cathedral under Jeremiah Clarke and Charles King. He studied the organ under Richard Brind, and after Brind died, Greene became organist at St Paul's. With the death of William Croft in 1727, Greene became organist at the Chapel Royal, and in 1730 he became Professor of Music at Cambridge University. In 1735 he was appointed Master of the King's Musick. At his death, Greene was working on the compilation Cathedral Music, which his student and successor as Master of the King's Musick, William Boyce, was to complete. Many items from that collection are still used in Anglican services today. He wrote very competent music in the Georgian style, particularly long Verse Anthems. His acknowledged masterpiece, Lord, let me know mine end, is a representative example. Greene sets a text full of pathos using a polyphonic texture over a continuous instrumental walking bass, with a particularly effective treble duet in the middle of the work. Both this section and the end of the anthem contain superb examples of the Neapolitan sixth chord. In music a voluntary is a piece of music, usually for an organ, that is played as part of a church service. The title 'voluntary' was often used by English composers during the late Renaissance, Baroque, and Classical periods. Originally, the term was used for a piece of organ music that was free in style, and was meant to sound improvised (the word voluntary in general means "proceeding from the will or from one's own choice or consent"). This probably grew out of the practice of church organists improvising after a service. Later, the voluntary began to develop into a more definite form, though it has never been strictly defined. During the late 17th century, a 'voluntary' was typically written in a fugal or imitative style, often with different sections. In the 18th century the form typically began with a slow movement and then a fugue. Two to four movements were common, with contrasting tempos (slow-fast-slow-fast). In the 18th century England, the word 'voluntary' and 'fuge' were interchangeable. These English style 'fuges' (or fugue) do not follow the strict theoretic form of German-style fugues. They are more related to the 'fugues' written by Italian composers of the time. Besides the fugal type of voluntary, two other common forms developed: the trumpet voluntary and the cornet voluntary. These two were usually non-fugal, but still contained movements with contrasting tempos. These voluntaries were meant to feature the stops for which they are named. One very long example of this form of voluntary was written by Pepusch, and has 13 total movements. Several of the movements are named after organ solo stops or mixtures (bassoon, cornet, trumpet, sesquialtera, flute, twelfth, etc.). Many composers wrote voluntaries, including Orlando Gibbons, John Blow, Henry Purcell, William Boyce, John Stanley, Handel and Thomas Arne. Often, when English music printers published continental organ music, they would, by default, title the works as 'voluntaries', though the word was not used by composers in mainland Europe. Typically, these continental works were fugues or other imitative forms. Source: Wikipedia (https://en.wikipedia.org/wiki/Maurice_Greene_(composer )). Although originally composed for Organ, I created this interpretation of the Voluntary in D Major for Bb Piccolo Trumpet & Strings (2 Violins, Viola & Cello). | |||
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