Misplaced Pages

#158841

35-532: The collection has its roots in a meeting between Bach and Frederick II on May 7, 1747 . The meeting, taking place at the king's residence in Potsdam , came about because Bach's son Carl Philipp Emanuel was employed there as court musician. Frederick wanted to show the elder Bach a novelty, the fortepiano , which had been invented 47 years earlier but had not yet gained wide acceptance (Bach did not encounter them until around 1736). The king, however, owned several of

70-1125: A Russian Orthodox hymn. Leslie Howard produced a new realisation of The Musical Offering , which he orchestrated and conducted in Finland in 1990. The organist Jean Guillou transcribed the entire work for organ in 2005. 1747 in music Overview of the events of 1747 in music List of years in music ( table ) … 1737 1738 1739 1740 1741 1742 1743 1744 1745 1746 1747 1748 1749 1750 1751 1752 1753 1754 1755 1756 1757 … Art Archaeology Architecture Literature Music Philosophy Science +... Events [ edit ] April 30 – Possible premiere of Johann Sebastian Bach 's last St Mark Passion pastiche (BC D 5) at St. Nicholas Church, Leipzig . In addition to two movements by Bach, he incorporates seven arias from George Frideric Handel 's Brockes Passion HWV 48 into

105-2026: A theme from Corelli 's Op. 5) (attribution to Tartini in question) Opera [ edit ] Nicola Calandra – Lo Barone Landolfo Geronimo Cordella – La Faustina Johann Adolf Hasse Leucippo La spartana generosa Giuseppe de Majo – Arianna e Teseo Jean-Philippe Rameau – Les Fêtes de l'Hymen et de l'Amour , RCT 38 Births [ edit ] February – Narciso Casanovas , Spanish composer (died 1799) March 29 – Johann Wilhelm Hässler , German organist and composer (died 1822 ) March 31 – Johann Abraham Peter Schulz , musician and composer (died 1800 ) June 24 – John O'Keeffe , Irish librettist (died 1833) June 26 – Leopold Kozeluch , prolific composer and teacher (died 1818 ) July 23 – Faustino Arévalo , hymnographer (died 1824 ) September 22 – Józef Wybicki , composer and poet (died 1822) October 26 – Giovanni Mane Giornovichi , violinist and composer (died 1804 ) November 24 – Felice Alessandri , Italian composer (died 1798) date unknown Narciso Casanovas , Spanish monk and composer Michael Ehregott Grose , Danish organist and composer (died 1795 ) François Tourte , maker of violin bows (died 1835 ) Deaths [ edit ] January 2 – Jean-Féry Rebel , violinist and composer (born 1666 ) February 2 – Francisco Valls , church composer (born 1665 ) February 26 – Johann Nicolaus Mempel , musician (born 1713 ) May 26 – Robert Valentine – Baroque composer (born 1674) June 6 – Jean-Baptiste Barrière , cellist and composer (born 1707 ) June 19 – Alessandro Marcello , composer (born 1669 ) July 9 – Giovanni Bononcini , composer (born 1670 ) Retrieved from " https://en.wikipedia.org/w/index.php?title=1747_in_music&oldid=1229440433 " Categories : 1747 in music 18th century in music Music by year Hidden categories: Articles with short description Short description

140-454: A two-voice canon at the fifth. However, it modulates and finishes one whole tone higher than it started out at. It thus has no final cadence. Among the theories about external sources of influence, Michael Marissen draws attention to the possibility of theological connotations. Marissen sees an incongruity between the official dedication to Frederick the Great and the effect of the music, which

175-415: A vigorous parody of a technical study by a pedagogical composer such as Clementi , involving a seemingly perpetual stream of fast semiquavers: In bar 33, this energetic movement subsides, leading to a dreamy passage in the key of D flat, where the opening figures of the piece move at half speed: According to Frank Dawes, in this piece “An amusing picture of a child practising is conjured up, beginning with

210-456: Is a chromatic semitone wider than the major third : starting with the interval from A ♭ to C, which is a major third, four semitones wide, the interval from A ♭ to C ♯ is an augmented third, spanning five semitones, but the same staff lines. By contrast, the interval from A ♭ to D ♭ is not an augmented third (it is a perfect fourth): even though it is four semitones wide, it spans four staff positions, and

245-409: Is also the term for the proportional lengthening of the value of individual note-shapes in older notation by coloration, by use of a sign of proportion, or by a notational symbol such as the modern dot. A major or perfect interval that is widened by a chromatic semitone is an augmented interval, and the process may be called augmentation. A melody or series of notes is augmented if the lengths of

280-459: Is different from Wikidata All accuracy disputes Articles with disputed statements from October 2011 Augmentation (music) In Western music and music theory , augmentation (from Late Latin augmentare , to increase) is the lengthening of a note or the widening of an interval . Augmentation is a compositional device where a melody , theme or motif is presented in longer note-values than were previously used. Augmentation

315-399: Is inscribed "Notulis crescentibus crescat Fortuna Regis" (may the fortunes of the king increase like the length of the notes), while a modulating canon which ends a tone higher than it starts is inscribed "Ascendenteque Modulatione ascendat Gloria Regis" (as the modulation rises, so may the king's glory). The canon per tonos (endlessly rising canon) pits a variant of the king's theme against

350-522: Is much shorter than the King's, but its musical 'architecture' is uncannily similar: jumps followed by a descending chromatic scale." He also elaborates on their additional similarities, which led Sassoon to suggest that Bach used Handel's A minor fugue as a structural model or guide for the Musical Offering' s Ricercar a 6, and that its musical concepts may also have influenced Bach's development of

385-513: Is often melancholy, even mournful. The trio sonata is a contrapuntal sonata da chiesa , whose style was at odds with Frederick’s secular tastes. The inscription Quaerendo invenietis , found over Canon No. 9, alludes to the Sermon on the Mount (“Seek and ye shall find”, Matthew 7:7 , Luke 11:9 ). The main title, Opfer (“offering”), makes it possible for the cycle to be viewed as an Offertory in

SECTION 10

#1732773068159

420-455: Is thus a fourth, not a third; it is a diatonic semitone wider than a major third. The augmented fourth ( A4 ) is the only augmented interval that appears in diatonic scales (in D ♭ major it occurs between G ♭ and C). The standard abbreviations for augmented intervals are AX, such that an augmented third = A3. A good example of this can be seen in the left hand part of Chopin's famous E minor prelude Op . 28, No. 4. Many of

455-501: Is written for flute, violin and basso continuo , the pieces have few indications of which instruments are meant to play them, although there is now significant support for the idea that they are for solo keyboard, like most of Bach's other published works. The ricercars and canons have been realised in various ways. The ricercars are more frequently performed on keyboard than the canons, which are often played by an ensemble of chamber musicians , with instrumentation comparable to that of

490-497: The Pastoral Symphony (Symphony No. 6) of Beethoven , where the melodic figure first heard in the second violins at the start of the "Storm" movement (" Die Sturm "): is heard again in an augmented and transposed version in the same movement’s closing ten bars: Examples of augmentation may be found in the development sections of sonata form movements, particularly in the symphonies of Brahms and Bruckner and in

525-527: The Ricercare a 6 voci was published in 1942 by C. F. Peters in an arrangement for organ by the musicologist Hermann Keller , then based in Stuttgart. Igor Markevitch produced a realization for three orchestral groups and, for the sonata movements, solo quartet (violin, flute, cello, and harpsichord), written in 1949–50. The Modern Jazz Quartet used one of the canons (originally "for two violins at

560-434: The chord sequences change with the top or bottom note augmenting or diminishing the next chord as the music progresses. An augmented chord is one which contains an augmented interval, almost invariably the 5th of the chord. An augmented triad is a major triad whose fifth has been raised by a chromatic semitone; it is the principal harmony of the whole tone scale . For example, the D ♭ augmented triad contains

595-470: The "riddle". Some of these riddles have been explained to have more than one possible "solution", although nowadays most printed editions of the score give a single, more or less "standard" solution of the riddle, so that interpreters can just play, without having to worry about the Latin, or the riddle. One of these riddle canons , "in augmentationem" (i.e. augmentation , the length of the notes gets longer),

630-528: The Ricercar a 3. Nevertheless, the Ricercar a 6 is longer and incomparably more complex than Handel's fugue. Arnold Schoenberg , in his 1950 essay on Bach, suggested that the Thema Regium was created by Bach's son Carl Phillip Emanuel on the orders of the king, as a well-prepared trap to embarrass J. S. Bach. In its finished form, The Musical Offering comprises: Apart from the trio sonata, which

665-552: The Royal Theme of The Musical Offering , which were published in 1978 as a special holiday supplement to the Dutch music journal Mens & Melodie (publisher: Het Spectrum ). Sofia Gubaidulina used the Royal Theme of The Musical Offering in her violin concerto Offertorium (1980). Orchestrated in an arrangement similar to Webern's, the theme is deconstructed note by note through a series of variations and reconstructed as

700-400: The best of intentions, growing weary and plainly yawning with boredom in the D flat section.” Listen. An augmented interval is an interval obtained from a major interval or perfect interval by widening it by a chromatic semitone , meaning that the interval is widened by a semitone, but the staff positions are not changed (only an accidental is changed). For example, an augmented third

735-501: The canons of The Musical Offering are represented in the original score by no more than a short monodic melody of a few measures, with a more or less enigmatic inscription in Latin above the melody. These compositions are called the riddle fugues (or sometimes, more appropriately, the riddle canons ). The performer(s) is/are supposed to interpret the music as a multi-part piece (a piece with several intertwining melodies), while solving

SECTION 20

#1732773068159

770-429: The experimental instruments being developed by Gottfried Silbermann . During his anticipated visit to Frederick's palace in Potsdam , Bach, who was well known for his skill at improvising , received from Frederick a long and complex musical theme on which to improvise a three-voice fugue. He did so, but Frederick then challenged him to improvise a six-voice fugue on the same theme. Bach answered that he would need to work

805-444: The following voice or voices are longer than those in the leading voice, usually twice the original length. The music of Johann Sebastian Bach provides examples of this application: Other ratios of augmentation, such as 1:3 (tripled note values) and 1:4 (quadrupled note values), are also possible. A motif is also augmented through expanding its duration . Augmentation may also be found in later, non-contrapuntal pieces, such as

840-483: The most prominent arranger being Anton Webern , who in 1935 made a version for small orchestra , noted for its Klangfarbenmelodie style (i.e. melody lines are passed on from one instrument to another after every few notes, every note receiving the "tone color" of the instrument it is played on): [REDACTED] Webern's arrangement was dedicated to the BBC music producer and conductor Edward Clark . Another version of

875-403: The notes are prolonged; augmentation is thus the opposite of diminution , where note values are shortened. A melody originally consisting of four quavers ( eighth notes ) for example, is augmented if it later appears with four crotchets ( quarter notes ) instead. This technique is often used in contrapuntal music, as in the " canon by augmentation" (" per augmentationem "), in which the notes in

910-525: The piece "Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta" (the theme given by the king, with additions, resolved in the canonic style), the first letters of which spell out the word ricercar , a well-known genre of the time. Humphrey F. Sassoon has compared the theme issued by Frederick II to the theme of an A minor fugue ( HWV 609) by George Frideric Handel , published in Six fugues or voluntarys for organ or harpsichord . Sassoon notes that "Handel's theme

945-456: The protean leitmotifs in Wagner ’s operas, which undergo all kinds of transformation as the characters change and develop through the unfolding drama. "Leitmotifs accumulate meaning, through expanding and fulfilling their musical potential." In “Doctor Gradus ad Parnassum”, the first movement of his Children’s Corner Suite, Debussy exploits augmentation in a humorous vein. It opens with

980-569: The religious sense of the word. Marissen also points out that, canonic procedures often evoking the rigorous demands of the Mosaic Law, the ten canons likely allude to the Ten Commandments. Marissen believes that Bach was trying to evangelize Frederick the Great, pointing him to the demands of the Mosaic Law. In a recent study Zoltán Göncz has pointed out, the authorial injunction to seek (Quaerendo invenietis) does not only relate to

1015-455: The riddle canons but to the six-part ricercar as well, whose archaic title also means to seek . There are several Biblical citations hidden in this movement, and their discovery is made especially difficult by various compositional maneuvers. The unique formal structure of the fugue provides a clue: certain anomalies and apparent inconsistencies point to external, nonmusical influences. Among Bach's duties during his tenure at Leipzig (1723–50),

1050-475: The score and send it to the king afterwards. Bach instead chose a different theme and, again completely extempore, executed a six-voice fugue on it with the same virtuosity as he had done the three-voice one, greatly impressing all in attendance. He later returned to Leipzig to write out the Thema Regium ("theme of the king"): Four months after the meeting, Bach published a set of pieces based on this theme which we now know as The Musical Offering . Bach inscribed

1085-405: The theme for the first and last movements of Sonata No. 7 in D minor by Friedrich Wilhelm Rust , written in about 1788, and also as the theme for elaborate variations by Giovanni Paisiello in his "Les Adieux de la Grande Duchesse de Russies," written in about 1784, upon his departure from the court of Catherine the Great . The "Ricercar a 6" has been arranged on its own on a number of occasions,

The Musical Offering - Misplaced Pages Continue

1120-480: The trio sonata. As the printed version gives the impression of being organised for convenient page turning when sight-playing the score, the order of the pieces intended by Bach ( if there was an intended order) remains uncertain, although it is customary to open the collection with the Ricercar a 3 , and play the trio sonata toward the end. The Canones super Thema Regium are also usually played together. Some of

1155-521: The unison") as an introduction to their performance of the standard song " Softly, as in a Morning Sunrise ". The Royal Theme is played on the double bass, with Milt Jackson (vibraphone) and John Lewis (piano) weaving the two imitative contrapuntal voices above: Isang Yun composed Königliches Thema for Solo Violin, a passacaglia on the Thema Regium with Asian and Twelve-tone influences, written in 1970. Bart Berman composed three new canons on

1190-1050: The work. October 4 – Schlosstheater Schönbrunn opens. Johann Sebastian Bach is presented to King Frederick II of Prussia in Potsdam ; the king plays a theme for Bach and challenges the musician to improvise a six-part fugue based on it. Luigi Boccherini goes to Rome to study the cello. Classical music [ edit ] Maria Teresa Agnesi – Il restauro d'Arcadia (cantata) Carl Philipp Emanuel Bach – Trio Sonata in F major, H.576 Johann Sebastian Bach Vom Himmel hoch, da komm ich her , BWV 769 Musikalisches Opfer , BWV 1079 (the Musical Offering ) William Boyce – 12 Trio Sonatas Antoine Forqueray – Pièces de viole mises en pièces de clavecin (posthumously published) George Frideric Handel – Judas Maccabeus (oratorio) Jean-Marie Leclair – 6 Duos for 2 Violins, Op. 12 Jean-Philippe Rameau – La Dauphine (harpsichord piece). Giuseppe Sammartini – 6 Concerti Grossi, Op. 5 Giuseppe Tartini – L'arte del arco (first set of 17 variations on

1225-608: Was teaching Latin. Ursula Kirkendale argued for a close connection with the twelve-volume rhetorical manual Institutio Oratoria of the Roman orator Quintilian , whom Frederick the Great admired. Philologist and Rector of the Leipzig Thomasschule, Johann Matthias Gesner , for whom Bach composed a cantata in 1729, published a substantial Quintilian edition with a long footnote in Bach's honor. The "thema regium" appears as

#158841