JOHANN SEBASTIAN BACH (1685-1750)
Fugue for violin and basso continuo in G minor BWV102
JOHANN SEBASTIAN BACH (1685-1750)
Fugue for violin and basso continuo in G minor BWV1026
Performed by Helene Schmitt, violin
Jan Willem Jansen, harpsichord
*This piece is one of the few for violin that is undoubtedly authentic Bach, besides the sonatas and partitas for solo violin. It was composed during Bach's second stay in Weimar, when his position as court organist and chamber musician enabled him to work intensely and extend his knowledge of violin technique. Bach's earliest surviving piece of chamber music, this fugue has come down to us in a manuscript copy by Bach's friend and organist Johann Gottfried Walther.
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WOLFGANG AMADEUS MOZART (1756-1791)
*With a bit of Daddy Mozart's help ;)
Sonata for k
WOLFGANG AMADEUS MOZART (1756-1791)
*With a bit of Daddy Mozart's help ;)
Sonata for keyboard and violin in C Major KV6
3. Menuet I & II
4. Allegro molto
Performed by Rachel Podger, violin
Gary Cooper, fortepiano
*Sonata in C for Keyboard and Violin, KV 6, is one Mozart's earliest works. It does in fact encompass several of Mozart's firsts as a composer: for example, it was Mozart's first work incorporating the violin, it was his first work with more than a single instrument, and it was his first work in sonata form. In fact, previous to this, all his works had been short solo-pieces for the harpsichord. K6 also happens to be his first piece in more than one movement.
It was composed by a budding Mozart between 1762 and 1764. The precise date and location of its composition, however, are disputed: some suggest that it was written in Salzburg, the boy's home town, in 1762 or 1763; others suggest that it was written in Paris in 1763 or 1764, during Mozart's first visit to that city. It was published in Paris in February 1764, along with another violin sonata, K7, as Mozart's "Opus 1". (Two other violin sonatas, K8 and K9, were published together as "Opus 2" the following April.) Mozart would have been between 6 and 8 years of age when he composed K6; hence it is believed by many that it was written down for the boy by his father, Leopold: all four of these early sonatas are preserved in Leopold's handwriting.
The Notenbuch für Nannerl contains versions for solo piano of the first three movements of this sonata. It is thought that the first and second of these movements and the Menuet I from the third movement were inscribed in the Notenbuch by Leopold in Brussels in 1763. A version for solo piano of Menuet II (together with a piano version of the third movement of Leopold's Serenade in D) can also be found in Leopold's hand in the Notenbuch with the comment, di Wolfgango Mozart d. 16ten Julÿ 1762 ("by Wolfgang Mozart on 16 July 1762); Mozart was in Salzburg on that date.
Like all Mozart's early violin sonatas, K6 is really a keyboard sonata with violin accompaniment, a fact which is made clear from the original title of the four sonatas K6-9: Sonates pour le clavecin qui peuvent se jouer avec l'accompagnement de violon ("Sonatas for the keyboard, which may be played with violin accompaniment"). It is quite legitimate, therefore, to perform these works on a keyboard alone.
In composing these early sonatas, Mozart may have been influenced by the German keyboard player and composer Johann Schobert, who was living and working in Paris when the Mozarts arrived there in November 1763. Schobert, in fact, had already published a number of keyboard sonatas with violin accompaniment, which possibly served as models for the young Mozart.
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WOLFGANG AMADEUS MOZART (1756-1791)
*With a bit of Daddy Mozart's help ;)
Sonata for k
WOLFGANG AMADEUS MOZART (1756-1791)
*With a bit of Daddy Mozart's help ;)
Sonata for keyboard and violin in C Major KV6
1. Allegro
2. Andante
Performed by Rachel Podger, violin
Gary Cooper, fortepiano
*Sonata in C for Keyboard and Violin, KV 6, is one Mozart's earliest works. It does in fact encompass several of Mozart's firsts as a composer: for example, it was Mozart's first work incorporating the violin, it was his first work with more than a single instrument, and it was his first work in sonata form. In fact, previous to this, all his works had been short solo-pieces for the harpsichord. K6 also happens to be his first piece in more than one movement.
It was composed by a budding Mozart between 1762 and 1764. The precise date and location of its composition, however, are disputed: some suggest that it was written in Salzburg, the boy's home town, in 1762 or 1763; others suggest that it was written in Paris in 1763 or 1764, during Mozart's first visit to that city. It was published in Paris in February 1764, along with another violin sonata, K7, as Mozart's "Opus 1". (Two other violin sonatas, K8 and K9, were published together as "Opus 2" the following April.) Mozart would have been between 6 and 8 years of age when he composed K6; hence it is believed by many that it was written down for the boy by his father, Leopold: all four of these early sonatas are preserved in Leopold's handwriting.
The Notenbuch für Nannerl contains versions for solo piano of the first three movements of this sonata. It is thought that the first and second of these movements and the Menuet I from the third movement were inscribed in the Notenbuch by Leopold in Brussels in 1763. A version for solo piano of Menuet II (together with a piano version of the third movement of Leopold's Serenade in D) can also be found in Leopold's hand in the Notenbuch with the comment, di Wolfgango Mozart d. 16ten Julÿ 1762 ("by Wolfgang Mozart on 16 July 1762); Mozart was in Salzburg on that date.
Like all Mozart's early violin sonatas, K6 is really a keyboard sonata with violin accompaniment, a fact which is made clear from the original title of the four sonatas K6-9: Sonates pour le clavecin qui peuvent se jouer avec l'accompagnement de violon ("Sonatas for the keyboard, which may be played with violin accompaniment"). It is quite legitimate, therefore, to perform these works on a keyboard alone.
In composing these early sonatas, Mozart may have been influenced by the German keyboard player and composer Johann Schobert, who was living and working in Paris when the Mozarts arrived there in November 1763. Schobert, in fact, had already published a number of keyboard sonatas with violin accompaniment, which possibly served as models for the young Mozart.
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ANONYMOUS (17TH CENTURY)
"Greensleeves" to a ground in G Major for any arrangement of i
ANONYMOUS (17TH CENTURY)
"Greensleeves" to a ground in G Major for any arrangement of instruments
Performed by Hesperion XXI
Directed by Jordi Savall
*"Greensleeves" is a traditional English folk song and tune, a ground of the form called a romanesca.
A broadside ballad by this name was registered at the London Stationer's Company in 1580 as "A New Northern Dittye of the Lady Greene Sleeves". It then appears in the surviving A Handful of Pleasant Delights (1584) as "A New Courtly Sonnet of the Lady Green Sleeves. To the new tune of Green sleeves." It remains debatable whether this suggests that an 'old' tune of "Greensleeves" was in circulation, or which one the familiar tune is. Many surviving sets of lyrics were written to this tune. The tune is also found in several late 16th century and early 17th century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Cambridge University libraries. This particular recording is based from one of those manuscripts.
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JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg concerto No. 1 for two corni da caccia, t
JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg concerto No. 1 for two corni da caccia, three oboes, bassoon, violino piccolo, two violins, viola, cello, and basso continuo in F major BWV1046
4. Menuet - Trio - Menuet repetat - Poloinesse - Menuet ab inizio - Trio - Menuet ab inizio
Performed by Concerto Italiano
Conducted by Rinaldo Alessandrini
*Winner of the Grammaphone editor's Choice award, and the 2006 Grammaphone award for best baroque intrumental recording
*This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207.
Just in case you didn't know, the violino piccolo is similar to a child's size violin, and is tuned a third or a fourth higher. The best-known violino piccolo is the Brothers Amati example in the National Music Museum, in Vermillion, South Dakota. By modern measurements, the body is 1/4 size, the neck 1/2 size, and the head corresponds to that of a 3/4 size instrument. The string length is the equivalent of a 4/4 violin stopped a minor third from the nut, which corresponds with its normal tuning of a third higher than a 4/4 violin. This Amati violin also has fingerboard widths similar to that of a 4/4 board cut a third shorter, which in view of the other measurements implies a clear conceptual relationship to the 4/4-sized violin.
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JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg concerto No. 1 for two corni da caccia, t
JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg concerto No. 1 for two corni da caccia, three oboes, bassoon, violino piccolo, two violins, viola, cello, and basso continuo in F major BWV1046
2. Adagio
3. Allegro
Performed by Concerto Italiano
Conducted by Rinaldo Alessandrini
*Winner of the Grammaphone editor's Choice award, and the 2006 Grammaphone award for best baroque intrumental recording
*This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207.
Just in case you didn't know, the violino piccolo is similar to a child's size violin, and is tuned a third or a fourth higher. The best-known violino piccolo is the Brothers Amati example in the National Music Museum, in Vermillion, South Dakota. By modern measurements, the body is 1/4 size, the neck 1/2 size, and the head corresponds to that of a 3/4 size instrument. The string length is the equivalent of a 4/4 violin stopped a minor third from the nut, which corresponds with its normal tuning of a third higher than a 4/4 violin. This Amati violin also has fingerboard widths similar to that of a 4/4 board cut a third shorter, which in view of the other measurements implies a clear conceptual relationship to the 4/4-sized violin.
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JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg concerto No. 1 for two corni da caccia, t
JOHANN SEBASTIAN BACH (1685-1750)
Brandenburg concerto No. 1 for two corni da caccia, three oboes, bassoon, violino piccolo, two violins, viola, cello, and basso continuo in F major BWV1046
1. [...]
Performed by Concerto Italiano
Conducted by Rinaldo Alessandrini
*Winner of the Grammaphone editor's Choice award, and the 2006 Grammaphone award for best baroque intrumental recording
*This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata BWV 52, Falsche Welt, dir trau ich nicht. The third movement was used as the opening chorus of cantata BWV 207.
Just in case you didn't know, the violino piccolo is similar to a child's size violin, and is tuned a third or a fourth higher. The best-known violino piccolo is the Brothers Amati example in the National Music Museum, in Vermillion, South Dakota. By modern measurements, the body is 1/4 size, the neck 1/2 size, and the head corresponds to that of a 3/4 size instrument. The string length is the equivalent of a 4/4 violin stopped a minor third from the nut, which corresponds with its normal tuning of a third higher than a 4/4 violin. This Amati violin also has fingerboard widths similar to that of a 4/4 board cut a third shorter, which in view of the other measurements implies a clear conceptual relationship to the 4/4-sized violin.
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Here is a short little documentary on cellist Ophelie Gaillard's 2006 recording of the com
Here is a short little documentary on cellist Ophelie Gaillard's 2006 recording of the complete sonatas for cello and basso continuo by Antonio Vivaldi.
I have a few of the sonatas posted on my channel as well as a recording of Ophelie playing a Boccherini cello concerto. Be sure to check these out!
Enjoy!
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This documentary entitled "Variations" features French cellist Ophelie Gaillard and gives
This documentary entitled "Variations" features French cellist Ophelie Gaillard and gives us some insight into Ms. Gaillard's musical life and how this talented young cellist interprets cello music.
Featured in this part is Ophelie playing the Sarabande of Bach's second suite for solo cello in D minor BWV1008.
Enjoy!
This is a 25 minute documentary that I have split into multiple parts.
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