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Lists of compositions by composer
  1. ‎„Big Baroque Box, Vol II“ von Verschiedene Interpreten bei Apple Music
  2. List of compositions by François Couperin
  3. Musical, Multilingual and Multicultural History of the Mathematical Sciences - Volume 2

The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Born into a musical family, Angela Hewitt began her piano studies at the age of three, performing in public at four and a year later winning her first scholarship. Her own annual Trasimeno Music Festival takes place each summer in Umbria, Italy, and features international artists as well as recitals, chamber music, and concertos from Hewitt herself. Allegro assai. Allegro 'Onoro che pena Grave 'Se tutti i mali miei Jean-Philippe Rameau: Tambourin.

Menuetto; Trio; Polonaise; Trio.

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Adagio ma non tanto. Eustache du Caurroy: Fantasy No. Thomas Tomkins: Alman in F Major for 4 viols. Giovanni Coprario: Fantasia. Elway Bevin: Browning.

‎„Big Baroque Box, Vol II“ von Verschiedene Interpreten bei Apple Music

Isaac Posch: Intrada. Isaac Posch: Couranta. Giovanni Gabrieli: Canzon No. Giovanni Gabrieli: Canzone a 4. Gioseffo Guami: Canzone a 8. Tiburtio Massaino: Canzone a 8. Unico Wilhelm van Wassenaer attr. Pergolesi : Concerto No. By Unico Wilhelm van Wassenaer attr. Allegro moderato. Largo, Andante. Da capella.

Adagio affettuoso. Largo affettuoso. A tempo commodo. A tempo guisto. Allegro spiritoso.

List of compositions by François Couperin

Grave assai. Marin Marais: Suite from "Alcyone": I. Air, Gravement et pique. Tambourin I and II. Prelude Gracieusement.

The spotty transmission of his keyboard music has prevented its importance from being recognized, and one would like to find more works comparable to those preserved in the Fitzwilliam Virginal Book. Alas, the five pieces here attributed to him are all anonymous in the manuscripts. Facsimile pages provide examples of the diverse types of notation used for this music, and although the facsimiles should have been sharper and larger, they at least prove that many of the faulty readings have been transcribed accurately. Any one of these manuscripts would have constituted the most important Froberger discovery for a century or more; together they will greatly enrich our understanding of the composer and his works, although not without raising further questions.

In addition to the previously unknown and unsuspected pieces in the autograph, they provide improved texts for several famous but poorly transmitted works; they also promise to shed light on the compositional and reception histories of the music. It will take time for scholars to digest the evidence presented by the three manuscripts, which need to be considered in the context of other Froberger sources.

Bound in covers that show the arms of Emperor Leopold I, the manuscript comprises three sections containing, respectively, six fantasies, six caprices, and five four-movement suites followed by three one-movement laments. Also new are the titles attached to some of the previously known pieces. Facsimiles in the brochure show portions of five pieces, but only the very beginning and very end of two of the unknown works. These are nevertheless sufficient to establish the autograph character of the handwriting and the closeness of the musical texts to those of the Berlin manuscript, SA for identifications of such short titles, see the Appendix , which nevertheless differs in the absence of some accidentals, ties, and ornament signs.

The longest of these new pieces occupies ten openings, each displaying just two systems of four staves each. This is the equivalent of just five openings ten pages in the larger format of the Vienna manuscripts, and most of the present pieces are shorter. Possibly more distinct in style are the new Meditation and Tombeau for Sibylla and her husband; these are perhaps less restrained, more toccata-like, than similarly named pieces known previously.

But clearly, evaluation of the new music must await publication. Hence, although obviously of great importance, the manuscript is unlikely to fundamentally alter our understanding of the composer or the repertory. Its apparently late date makes it clear that it is not one of the autograph collections presumed missing from Vienna the postulated Libri 1 and 3.

J. S. Bach - Harpsichord Concertos

Yet it does appear to have been another compilation of pieces for a member of the Habsburg family—conceivably Margarita Teresa of Spain, whose marriage to Leopold by proxy in at Madrid might have been the occasion for which Froberger visited there, as documented in the title for the new Meditation. Unfortunately the brochure offers no information about provenance.

No work is common to all three manuscripts, although four suites and one lament are shared by the autograph and one of the two recently discovered copies. The remainder of this discussion therefore focuses on the editions of the two apograph manuscripts and their musical contents. The first of these two sources to resurface has become known as both the Stuttgart and the Bulyowsky Bulgowsky manuscript, after its presumed place of origin and its Slovak copyist, respectively.

Although the Sing-Akademie has been inconsistent in the past in making its archive available to scholars and performers, it has served the musical world well in publishing the present source, which stands out among the thousands of possibilities not only for its importance but for its size and format, making it particularly suitable for publication.

A catalogue of the complete collection is now in preparation. The consistent format of the suites, each comprised of prelude, allemande, courante, sarabande, double, and gigue, suggests they were planned as part of a series the key signatures are modern: F minor, E-flat major, B-flat major, and E major. Peter Wollny identifies these copies as being in the hand of the Berlin organist Johann Peter Lehmann d. The monochrome photographic facsimile of SA is extremely clear, indeed easier to read and better looking than the actual manuscript, at least in the feeble December light in which I saw it in The entire editorial apparatus of the SA volume appears in both German and a competent English translation, save for a brief list of readings from the manuscript that have been altered in the transcription.

A particular frustration, which Gustafson noted, is that the edition of Dl distinguishes between original and editorial ties only in its critical commentary. Indeed, the editor of Dl, Rudolf Rasch, has generously supplemented the text of the manuscript, even including an entire movement that is preserved only in a concordance the double of the courante in Suite Unfortunately, the transcription of SA is not as reliable as one would like. Equally regrettable is the failure of the transcription to distinguish many editorially added ties, accidentals, and even notes, which appear in normal type.

The distinction between tied and restruck notes is a vital expressive resource on keyboard instruments—organs as well as harpsichords and clavichords.

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Froberger certainly understood this, even if some copyists did not. In the allemande of Suite 17, for example, it makes a difference whether or not one restrikes tenor c' on the third beat of measure 9; restriking the note makes audible the dissonance that arises as the alto moves from e' to d' the first edition showed an editorial tie in the tenor.

The copyists of both manuscripts make certain characteristic types of errors; alert editing would have eliminated these more consistently. Those in SA appear to be run-of-the-mill copying mistakes, mostly of omission ties, accidentals, and occasional notes in inner voices. On the other hand, Bulyowsky made frequent errors of commission , to judge from numerous superfluous accidentals in Dl. He knew what he was writing and might well have added accidentals where he wrongly thought them necessary.

This applies especially to three laments for which SA provides concordances to the very faulty texts in Min. Nevertheless, Wollny, who wrote the Preface for the edition of SA, deserves profound thanks for having recognized the significance of the manuscript and for providing a wealth of detailed information about the probable copyist, the provenance and contents of the manuscript, and the background to the extraordinary programmatic titles and rubrics attached to many movements.

The first leaf pp.

Musical, Multilingual and Multicultural History of the Mathematical Sciences - Volume 2

Not evident from the facsimile is the wearing of the paper, especially in the lower right corners; this plus occasional pencil corrections raises the possibility that the manuscript was used into the nineteenth century. But although the change coincides with the start of a third fascicle, and various forms of F-clef occur in the course of the manuscript, all appears to be in the same hand, tentatively identified by Wollny as that of the Hamburg organist Johann Kortkamp — The implication is that SA was written by or for someone too remote from the composer, in time or place, to be completely conversant with the tradition.

The inclusion of these ornament signs only in particular movements again points to a pedagogic intention; because the signs are not found in other copies, it is unlikely that they go back to the composer. That for Suite 30 confirms and elaborates upon the laconic title found in Min. The Allemande of the latter suite contains Frobergerian echoes, including an opening quotation from the Lamento of Suite The twelve new contrapuntal works in the new autograph must, for the time being, be disregarded, together with its new suite, meditation, and tombeau.

Each of its four remaining suites and one lament recurs in either Dl or SA but not both, nor in the autographs extant in Vienna. The first 13 suites, containing 58 movements, are attributed to Froberger. Any doubt that these sets of pieces were meant to serve as distinct groupings of movements is dispelled by the fact that Suites 1 and 15, both in A minor, were copied consecutively as nos.

XI and XII.