Meet Bach & the Bachs – The Unique Way to Meet the Master - Bach 4 You
One point of contact in the musical language of Bach and Händel being unable to come (he really did want to meet with Händel!) sent his. Product Detail: Meet The Musicians in the francinebavay.info Marketplace, home of music Meet The Musicians - All Five DVDs Meet The Musicians - Bach - DVD . The Bach family was of importance in the history of music for nearly two hundred years, with over 50 known musicians and several notable composers, the.
Bachwho owned his collection of organ works for performance during Mass entitled Fiori musicali Back to Top Arcangelo Corelli — Born in Fusignano, Arcangelo Corelli studied composition and violin in nearby Bologna. After Corelli worked for some of the most important musical patrons in Rome, including Queen Christina of Sweden, for whom he directed concerts. Corelli enjoyed a stellar reputation both in Rome, where he was accepted in the highest aristocratic circles, and in much of Europe.
His six published collections of concertos, sonatas and other works for violin were extremely popular, and made him the first composer to gain an international reputation solely on the basis of his instrumental music. Because his music uses many of the harmonic progressions that came to form the basis of modern tonality, his works are sometimes used as early examples of this newly emergent tonal system. Along with his stature as a composer, Corelli was considered to be one of the preeminent violin virtuosos of his day.
Back to Top Antonio Vivaldi — Born in Venice, Antonio Vivaldi was trained in music as a child, but was ordained as a priest in Back to Top Alessandro Scarlatti — A student of Giacomo Carissimi in Rome, Alessandro Scarlatti became the maestro di cappella of the viceroy of Naples in perhaps by way of his sister, an opera singer and the mistress of an influential Neapolitan noble. Scarlatti wrote over operas, and his works are thought to represent the change in approach to the genre—including the standardization of forms, embellishment of arias and minimization of recitatives—that took place at the end of the 17th century, ultimately leading to the subgenre opera seria.
In addition to opera, Scarlatti composed more than cantatas and a number of oratorios. His fame today rests primarily on his vocal music, but Scarlatti received frequent commissions for instrumental music during his career as well. Back to Top Domenico Scarlatti — The sixth son of Alessandro Scarlatti, Domenico Scarlatti likely received the best musical education Naples had to offer.
Aroundthe elder Scarlatti took his son to Venice to study with Francesco Gasparini —who had been a pupil of Corelli. From Venice the younger Scarlatti journeyed to Rome—reportedly with Handel—where the two men performed before Cardinal Pietro Ottoboni. About Scarlatti moved to Lisbon, and some ten years later to Madrid.
Bach from Meet The Musicians - Sing'nLearn -Homeschool curriculum
Born in Jesi inPergolesi studied under Francesco Sartini. He moved to Naples inwhere he spent his brief career working in the Neapolitan courts.
While in Naples, Pergolesi joined Alessandro Scarlatti in pioneering the changes underway in the genre of opera, particularly in the new opera buffa comic opera. Inhe included within his opera Il prigioner superbo the two act buffa intermezzo La serva padrona The Landlady Servantwhich immediately became popular in its own right. Its premiere in Paris in sparked the so-called querelle des bouffons quarrel of the comediansa debate between devotees of serious French opera in the style of Lully and Rameau and fans of the new style of Italian comic opera.
In addition to numerous operas, Pergolesi composed a number of secular instrumental works and sacred pieces. His best known sacred composition is the Stabat Matercommissioned to replace a similar piece by Alessandro Scarlatti which had been performed for years on Good Friday in Naples. Reprinted more often than any other composition in the 18th century, the Stabat Mater was an inspiration to many, including J.
Many pieces believed to have been composed by Pergolesi were later shown to be falsely attributed, including the music on which Igor Stravinsky based the ballet Pulcinella. After inheriting his father's position at the age of 18, Couperin eventually became the harpsichordist at Versailles as well.
From the start of his career, Couperin was something of a nonconformist. In order to ensure that his music was properly performed, Couperin published L'art de toucher le clavecinwhich included fingerings, instructions for ornamentation and playing dotted rhythms and eight preludes that could serve as introductions to the eight ordres of his first and second books.
In addition to his keyboard music, Couperin composed a number of sacred vocal works that were heavily influenced by Italian cantatas and sonatas, and his interest in the juxtaposition of French and Italian styles continued throughout his lifetime. An even more direct fusing of the two styles occurs in Les nations and in his suites for bass violsof which the first is a French ordre and the second an Italian sonata da chiesa.
Couperin remained somewhat controversial for much of his career. Back to Top Jean-Baptiste Lully — One of the most dominant figures of the French baroque, Giovanni Battista Lulli later Jean-Baptiste Lully was actually an Italian of noble birth who arrived in Paris in Lully even persuaded the king to limit the number of singers and instrumentalists that could perform with other Parisian theater troupes. Back to Top Marc-Antoine Charpentier — Believed to be from a family of royal painters, Charpentier studied with Carissimi in Rome in the s before returning to Paris around Louis XIV liked his theater music so much that he granted him a pension in In addition to his employment in the secular realm, Charpentier held several posts in the church during the final decades of his life.
Back to Top Jean-Phillippe Rameau — Born in Dijon inRameau spent the first 40 years of his life working in the relative obscurity of the provinces. In the final decade of his life, Rameau focused more on theory than on actual composition, corresponding with other important music theorists including Johann Mattheson.
His ideas about harmony, particularly the notion that every chord has a basse fondamentale root note that preserves the identity of the chord even when its notes are reordered, form the basis of modern theories of tonality. Back to Top Germany Michael Praetorius — His post necessitated a great deal of travel, which allowed him to advertise his talents as a conductor, organist and knowledgeable expert on practical music and on musical instruments. His only surviving secular work is Terpsichore, a set of dances.
In addition to his music, Praetorius provided an invaluable reference for researchers in the form of his three volume Syntagma Musicuma detailed compendium of observations on contemporary German music, musical instruments and performance.
Back to Top Johann Hermann Schein — After studies in music and in law, Schein held positions as house music director at Schloss Weissenfels and Kapellmeister to Duke Johann Ernst the Younger at Weimar before succeeding Calvisius in as music director and cantor at the Thomaskirche in Leipzig, a position J. Bach was to hold over a century later. Although his early compositions favor the complex polyphony of the sixteenth century, he quickly abandoned this style in favor of the more modern trend toward emotional declamation and dramatic contrast, using them to great advantage in many of his sacred works.
Back to Top Samuel Scheidt — He would write "the whole" down first, for vocal music, the first violin, the singing voices and the bass line all the way through, adding the middle instrumental voices later. As for chamber music, or a symphony, he would write down the leading voices first, hopping from instrument to instrument, depending on which one took the lead, and would add the other parts afterwards. However, for certain complex contrapuntal sections, Mozart would first work out the details, before writing out the whole partitur, for example, the Allegro section of the Prague Symphony, the manuscript of which had been located shortly before Einstein wrote his book.
Inwhen Mozart was a child of six, J. Bach's son, Johann Christian, befriended him in London, where the Mozart family lived for several years. The symphonies that the child prodigy Mozart composed there were largely modelled on Johann Christian Bach's, and especially Mozart's earliest piano concertos, written after he returned to Salzburg.
The last movement of Mozart's D major Concerto K. The question is, which, if any, of Johann Sebastian's works were known by Mozart during this period. Also, after the Baron van Swieten period, Mozart became quite excited, after listening to J.
Bach's choral works, first as they were performed, and then, in his mind, as he studied the scores. Mozart visited Leipzig inwhere he went to the St. Thomas Church, where Bach had been cantor, to play the organ. The new cantor, who had been Bach's student, Johann Friedrich Doles, was in attendance.
An eyewitness wrote, "Mozart played without previous announcement and without compensation on the organ of the church of St. He played beautifully and artistically before a large audience for about an hour Doles was utterly delighted with his playing and thought that old Sebastian Bach With good taste and with the greatest ease Mozart employed all the arts of harmony and gloriously improvised upon the themes, among others of the chorale 'Jesu, meine Zuversicht' As soon as the choir had sung a few bars, Mozart started; after a few more he exclaimed: When the song was ended, he cried out with delight: He therefore took the separate parts, and then, what a pleasure it was for the quiet observer to see how eagerly Mozart sat down, the parts all around him, held in both hands, on his knees, on the nearest chairs.
Forgetting everything else, he did not stand up again until he had looked through all the music of Sebastian Bach. He asked for copies The answer to every question is: Baron Gottfried van Swieten. Baron Gottfried van Swietenthough not a professional musician, may be the music-lover who had the greatest impact on the development of Western Classical music. What was the background of this musical midwife who helped to provoke such a profound revelation in Mozart? Baron Gottfried van Swieten, born in the Netherlands, was the eldest son of Dr.
Gerhard van Swieten Van Swieten was summoned to Vienna to become the personal physician of the Empress of the Hapsburg Austro-Hungarian Empire, Maria Theresa, inand held several other posts, including director of the court library.
Though employed by the Empire, he openly admired Benjamin Franklin, and called himself a "small republican. His superior in Brussels said that his only criticism was that "music takes up the best part of his time. In a confidential letter to Count Kaunitz on July 26,the Baron wrote, "Among other things, he [the King] spoke about music and about a great organ player by the name of Bach [J. Bach's son Wilhelm Friedemann Bach], who had just given a concert in Berlin.
This artist is equipped with a talent which supercedes everything which I have heard or can imagine in the direction of in-depth harmonic abilities and power in his playing, while they, who have known his father, do not find that he can measure up to him. The King is of that opinion, and to prove it, with a loud voice, he sang a chromatic fugal theme, which he had given to the old Bach, who, on the spot, made a fugue with four voices, thereafter with five voices, and at the end, one with eight obbligato voices.
Bach's visit in Maywhich led to the composition of his great work, The Musical Offering. He was to love and promote the music of these two composers for the rest of his life. Van Swieten even studied composition with a student of J. The Baron was also in contact with other students of Bach. Van Swieten visited one of Bach's sons, Carl Philipp Emanuel, in Hamburg inthe same year he first heard about him from the King.
He corresponded with C.
Bach's manuscripts from him, including copies of fugues, many years before they were printed. He also commissioned six string symphonies W. Another of Bach's sons, Wilhelm Friedmann, who moved to Berlin inalso made a great impression on van Swieten. The Baron brought several of J.
Volume 1, Meet the Musicians Wolfgang Amadeus Mozart
The Mozarts first met the Baron during their trip to Vienna in During the negotiations surrounding the composition and production of Mozart's opera La Finta SempliceWolfgang responded to criticism that the opera was "unsingable," by playing the whole opera on Baron van Swieten's piano, to a group of music lovers who were "greatly moved.
The Baron's importance for the promotion of J. Bach's works is evidenced by the fact that the first Bach biography, written by Johann Nikolaus Forkel, was dedicated to him. At van Swieten's salon, in addition to pedagogical investigations of instrumental works, they also sang together, with van Swieten singing soprano, Mozart singing alto, simultaneously playing the piano, while two other musicians sang tenor and bass.
During the s, Van Swieten formed a group of noblemen interested in "old music," called the Gesellschaft der Associiertenwhich arranged concerts in the Royal Library, or their palaces, of works of C. Mozart became the director of these concerts inconducting an orchestra of 86 musicians. Cecilia's Day" for the concerts. That is how I view what you have accomplished InMozart wrote that after two weeks of circulation, the only name on a subscription list to support Mozart's concerts, was that of the Baron.
On the very day that Mozart died, Dec. According to musicologist E. Olleson, "The death of Joseph II, in Januarystrengthened the hand of those who opposed the educational reforms [his and van Swieten's, head of Joseph II's Education and Censorship Commission], and a bitter struggle developed, lasting almost two years It is possible that he first came into contact with the Illuminati in Berlin, but in any case, he was listed as a member of the lodge in Prague.
The Baron's loyalty to the Crown seems to have come into question, when a tutor he had arranged for the Crown Prince, Johann Baptist von Schloissnigg, was accused and investigated for being a member of the Illuminati, with rumors flying that the Baron was part of a conspiracy. The affair "climax[ed] in the hours after Mozart's demise. Mozart, himself, was a member of the pro-American Revolution faction of the Masons. After Mozart's untimely death, two months short of his 36th birthday, van Swieten arranged the first performance in Vienna of Mozart's Requiem, to benefit Mozart's wife, Constanze.
He also supported Mozart's son, until Constanze remarried,32 including paying for his schooling in Prague. Baron van Swieten also had a profound influence on two other musical geniuses, Haydn and Beethoven. Haydn While stationed in Berlin, the Baron championed Haydn's works, but his greatest impact on Haydn's music was helping to cause the composition of three of Haydn's great oratorios. Afterwards, the Baron encouraged Haydn to write his own oratorios, The Seven Words, The Creationand The Seasonsand it was actually the Baron himself, who wrote the German librettos for them.
Van Swieten played an increasingly important role in the preparation of the three libretti. Regarding he arranged Josef Friebert's text to Haydn's taste, with relatively small changes.
The background to The Creation is more interesting. Van Swieten wrote, rather than simply translated, a German libretto from this, but closely followed the plan in the English libretto. He also wrote suggestions in the margin of the librettos for The Creation and The Seasons about how the text might be set to music, especially the descriptive passages. One can say that van Swieten caused The Seasons to be written. A tired Haydn was close to 70 years old when van Swieten wrote the libretto, proposed the musical plan for the work, and pressured him to agree to compose the piece, which took Haydn three years, with constant encouragement or pressure from the Baron.
This year marks the th anniversary of The Seasons premier inat a concert financed by Baron van Swieten and his friends. Van Swieten collaborated with Haydn in the production of the vocal editions of the three oratorios. The Gesellschaft der Associierten, established by the Baron, arranged the financing, and the first performances of all three works.
At the same time that the year-old Mozart was being introduced to many of Bach's works at the Baron's musical salon in Vienna, in Bonn, the year-old Beethoven was playing most of Bach's Well-Tempered Clavieraccording to the written statement, dated Marchby his teacher Christian Gottlob Neefe. Herr Neefe has also given him instruction in thorough-bass.
He is now training him ins composition He would surely become a second Wolfgang Amadeus Mozart were he to continue as he has begun. Inat the age of 16, Beethoven visited Vienna for the first time, impressing Mozart with his improvisational abilities, and receiving a few music theory lessons from him. Professor Jahn, a biographer of Mozart, relates the story of the first meeting between Beethoven and Mozart.
Beethoven "was taken to Mozart and at that musician's request played something for him which he, taking it for granted that it was a show-piece prepared for the occasion, praised in a rather cool manner.
Beethoven observing this, begged Mozart to give him a theme for improvisation. He always played admirably when excited and now he was inspired, too, by the presence of the master whom he reverenced greatly; he played in such a style that Mozart, whose attention and interest grew more and more, finally went silently to some friends to were sitting in an adjoining room, and said, vivaciously, 'Keep your eyes on him; some day he will give the world something to talk about.
Mozart's death had left Vienna without a truly great pianist, until the arrival of Beethoven. Beethoven's leading biographer, Thayer, states that all contemporary authorities attested to Beethoven's success on his arrival in Vienna, attributing it to "his playing of Bach's preludes and fugues especially," as well as his sight-reading and improvisational capabilities.
To repeat, it was especially Beethoven's ability to play Bach's Well-Tempered Clavier magnificently, in a Vienna that Baron van Swieten had brought to love Bach, which opened all doors for him, and which drew him into the Baron's musical circle.
Beethoven's close friend Schidler stated that after musical performances in his house, the Baron "detained Beethoven and persuaded him to add a few fugues by Sebastian Bach as an evening blessing. Baron van Swieten encouraged Beethoven to study counterpoint, and often asked about his progress. Beethoven, like Mozart, also transcribed two of J. Beethoven had great respect for Bach, later asking his publisher for all of Bach's works, calling him the "Urvater der Harmonie," the "patriarch of musical harmony.
The Baron's importance for Beethoven is evidenced by the fact that, inBeethoven dedicated his first symphony to him. Let the story of Baron Gottfried van Swieten conclude with the obituary about him printed in the Allgemeine Musikalische Zeitung in Would that a man of high station may soon come forward, who will so actively espouse the cause of music as did Swieten!
The 2nd movement in F, Adagio e dolce, from Bach's sonata for organ No. One available CD recording is "Mozart: Martin in the Fields Chamber Ensemble, Philips The musicologist Alfred Einstein, who wrote an important biography of Mozart, bases his contention that they were composed by Mozart, on the process of elimination -- that they could not have been written by anyone else from that time. In a article Einstein had previously stated that Albrechtsberger could not be the author, "Able and estimable as he was, a glance at the prelude quoted with this article the prelude that accompanies Fugue No.
Mozartian is the delicate grace of the melody, Mozartian is the courage which accompanies it with such a galant figure, Mozartian too is the terseness, the concise form, which does not for a second forget the introductory character of these forty bars, and Mozartian is the agreement of prelude with fugue, which winged, playful character he has realized most finely.
Musical Times, page A sixth fugue, No.