Georg Muffat (1653-1704)
Violin Sonata in D Major (1677)
Eva Saladin (Violin) and Johannes Keller (Cimbalo Cromatico)
YouTube reference: https://www.youtube.com/watch?v=G583ZJ1Psdk
Georg Muffat (1653-1704) was a key composer in the Baroque era as he played a major role in introducing Italian and French styles into Germany (Burkholder, Grout & Palisca, 2014:392). His most famous work Florelegia was one of the earliest German collections of suites in the French manner (Bhutia, 2016).
In the 17th and 18th centuries the French were the first to develop a systematic approach to violin bowing (Wilson, 2014). The importance of which notes need to be played up bow and which down bow, is found in the fact that orchestral music was often written to
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Finally after a wave of virtuosic melodic runs Muffat brings us back to a repetition of the first section. In this final section even the violinist takes the liberty of improvising over the original melody in order to keep the audience invested in the music.
This piece was wonderful to listen to and I enjoyed the level of musicality with which the musicians approached this composition.
References
Bhutia, T. K. 2016. Georg Muffat. Retrieved from https://www.britannica.com/biography/Georg-Muffat [Accessed on 19 August 2017]
Burkholder, J. P., Grout, D. J. & Palisca, C. 2014. A History of Western Music. (9th ed.). New York: W. W. Norton & Company.
DeVoto, M. 2007. Enharmonic. Retrieved from https://www.britannica.com/art/enharmonic [Accessed on 19 August 2017]
Meeùs, N. 2017. Enharmonic keyboard. Retrieved from http://www.oxfordmusiconline.com/subscriber/article_citations/grove/music/08838 [Accessed on 19 August 2017]
Muffat, G. 2012. Violin Sonata in D major. Retrieved from http://imslp.org/wiki/Violin_Sonata_in_D_major_(Muffat,_Georg) New York: Bernhard Lang.
Wilson, D. 2014. Georg Muffat: the rules of violin bowing, David Wilson and Voices of Music. Retrieved from https://www.youtube.com/watch?v=xJvFb_QwWj0&t=68s [Accessed on 19 August
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
Johann Sebastian Bach was one of the most famous German composers of his time. All of his work was mostly during the baroque era. The baroque period was from 1600 to 1750 and it is known to be one of the most diverse musical periods as opposed to the other classical music eras. It was in this era that “included composer like Bach, Vivaldi and Handel, who pioneered new styles like the concerto and the sonata.”(Classic FM) Johann Sebastian was born in the midst of the Baroque era as he was born on March 31, 1685 in Thuringia, Germany. Johann came from a family of musicians, which is how he himself became one as well. It was his father who showed him how to play his first instrument, which was the violin. His father was also a well-known musician in his town as he “worked as the town musician in Eisenach.”(Johann Sebastian Bach) It is known that Johann Sebastian went to a school that taught him
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
Gabrieli, Giovanni. Sacrae Symphoniae: Sonata Pian e Forte. London: Brass Wind Publications, 1996. M886.G119 S13
Berg, Darrell M. "Beethoven, Ludwig Van." The World Book Encyclopedia 1996. Vol. 2. Chicago, IL: World Book, 1996. 213-14. Print.
The last section, from "Seid umschlungen, Millionen!" is repeated triumphantly in counterpoint. A dramatic hush, the music rises steadily. The quartet then re-enters with the following lines from the beginning of the poem: Daughter of Elysium
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...
Grove, George. The Musical Times Volume 47. United Kingdom: Musical Times Publications Ltd. 1906, Print.
The violin bow is essentially what entertains the audience, and makes them closer to music. Overall, the violin bow was altered multiple times throughout history, while the violin remained pretty much the same, this allow the different style of music and the creation of dynamics. It possible that he violin bow with continue to
...re was very interesting transitions between the variation, for example, string section plays the variation from low to high, when they reach the highest note, the brass family takes over and continue with the scale and make it more higher. Tremolo style was used in this piece, which is a quick ups and downs stroke mode. The music were very soothing and attracted the audience. Lastly, they end the piece with the same variations that was played at the beginning.
During the Baroque era, music itself was what provided the main force to keep refining the violin bow design. While the focus during the 17th and early 18th century was on fulfilling the increasing demands of challenging compositions. The compositions were orientated towards solo performance. The emphasis for compositions shifted during the 18th century towards bourgeois concert performance, which called for a powerful sound. The more powerful sound was so that it could assert itself in larger spaces. The violin had become established as a solo instrument that was able to hold its own in larger ensembles such as symphonic orchestras. The musical world of today is focused more and more on outstanding virtuosi. A virtuosi is someone who is a master or genius at something. The performance style of these virtuosi was defined by a multi-facetted bowing
Bie, Oscar. A History of the Pianoforte and Pianoforte Players. trans. by E. E. Kellett