Astrid Schoerke - Seoul – Kumbo Art Hall
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Biographies: J. Last updating: Composer dedicated pages: Pacchioni Pachelbel, J. Garland Publishing, Inc. Link to Nederlands Clavichord Genootschap. Duration: 0'28", 03 Kb. The theme as indicated in the sheet music below. Pasquini's variations cout among his most attractive works. He was able to draw here on all of his imagination and characterization skills, and to reveal his virtuoso side. The Partite diverse di Follia in D minor are the best known of Pasquini's several sets of variations on this popular theme, and rightly so.
The exquisitely shaped Aria is followed by fourteen variations that at first tend to build on the principle of intensification of the movement up to Variation VI ; then follows a series of extremely varied character pieces that challenge the performer's expressive capacities. Pasquini's gift and individuality unfold dearly and freely in his variations, suites, and song and dance like pieces.
The harpsicord, rather than the organ, was the instrument on which he felt at home and for which he wrote many attractive works. Partite diversi di follia Pasquini, Bernardo Scores featuring the guitar. Key, D minor. No other composer of the 17th century was as active in the field of variations as Pasquini. He wrote twenty? His best known variation work is his Partite Diverse di Follia, in which the famous follia theme is presented fourteen times.
It excels in its natural simplicity and "correctness" of melodic invention. Several variations are based on the repeated use of a characteristic two-bar formula, but it is treated with enough freedom to avoid the danger of monotony. Pasquini exhibits a tendency toward precise, energetic formulations, which derive from the violin music of the late 17th century.
An interesting variety is provided in this performance where four variations from the longer Partite Diverse set is transposed to the key of the shorter Partite de Follia and added at its conclusion. Lately I performed this piece at several carillions such as in Lier Belgium , Kampen and Almelo both in the Netherlands but it has not been recorded yet. What strikes me about the field recording, apart from the poor equipment mp3-player to register the sound as you already mentioned, is the lack of registration the discant quality of the carillion of the Domtoren.
Duration: 4'38", Kb. As far as Pasquini's approach to the techniques of variation form is concerned, the first thing thing to note is that in multi-sectional forms he has a preference for the use of bipartite thematic ideas whose harmonic structure is similar to that of the dances, in which an initial transition from tonic to dominant is followed promptly by a return to the home tonality of the piece. An interesting exception is presented by the set of variations based on the "follia", whose surprising similarities with Corelli's more famous violinistic exercise can perhaps be explained by the long association between the two composers.
An immediate melodic transparency envelopes the theme, which is freely transformed throughout the 14 partitas with great variety of development and an extraordinarily rich rhythmic treatment. Pasquini's openly declared homage to Corelli can be found in the employment in the 9th partita of energetic - almost violinistic - passages, the ternary meter from the 10th partita onwards, and the use of chromaticism in the 13th.
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Of particular interest, in partitas , is the repeated application of a concise formula of two bars. Duration: 1'21", Kb.
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Moreover he was already setting forth eighteenth century differences in this stylistic distinctions between harpsichord and organ writing in this he was a forerunner of Domenico Scarlatti and especially in his exceptional mastery of the technique of ornamental variation i.
Scarlatti, Vivaldi and Geminiani, is deservedly the most famous example. Duration: 0'26", 03 Kb.
Una follia di Napoli
While the chord progression remains the same, the easily recognizable melody enjoys ornamental variations. The Stembridge editions provide a conspectus of corrected and uncorrected errors and variants with other sources, including the Turin mss.
Includes a realised keyboard part. Poco Allegro 4. Partimento, for keyboard in E minor. Berceuse with Seven Variations: IV. The theme and first variation place the melody in the right hand with a simple chordal accompaniment in the left hand.
In the second and third variations, the melody starts in the bass, but it occasionally swiches to the treble. The final variation introduces triplets as a new rhythmic component to the variation. Duration: 2'04", 07 Kb. The theme as indicated in the sheet music below followed by all variations. Schott , F.