Diergarten buxtehude biography
- An unapologetic careerist, he was a tireless innovator, an unsuccessful opera composer and a brilliant if freewheeling pedagogue.
- Derek Remeš was born in Northfield, Minnesota (USA) on June 14, 1986.
- Composers working in England during the period c.1675–c.1705 showed an ongoing fascination with the technique of ground bass, that is, a repeating bass.
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BUKOFZER, Allegory in Baroque Music
BUKOFZER, Allegory in Baroque Music
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Mark Ferraguto
Antoine Reicha and the Making of the Nineteenth-Century Composer Fabio Morabito and Louise Bernard de Raymond, eds Bologna: Ut Orpheus, 2021 pp. xxix + 329, ISBN 978 8 881 09522 3
Eighteenth Century Music
Who was Antoine Reicha, anyway? Born 1770 in Prague, he was educated in Bavaria, served the court... more Who was Antoine Reicha, anyway? Born 1770 in Prague, he was educated in Bavaria, served the court of Elector Maximilian Franz in Bonn, escaped Napoleonic aggression by moving to Hamburg, laboured as a composer in Vienna and finally settled in Paris, where he was appointed the Conservatoire's professor of counterpoint and fugue. An unapologetic careerist, he was a tireless innovator, an unsuccessful opera composer and a brilliant if freewheeling pedagogue. He adored Haydn, had a cordial relationship with Beethoven, sparred with his colleagues Fétis and Cherubini and mentored such luminaries as Liszt, Berlioz and Franck. Though his name is now largely forgotten, in the musical world of the nineteenth century, all roads led to Reicha. No wonder, then, that
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In attempting to determine how Johann Sebastian Bach taught composition, this article draws on recent archival discoveries to claim that it was not the ornamented, vocal Choralgesänge, but the simpler, thoroughbass-centered Choralbuch... more
In attempting to determine how Johann Sebastian Bach taught composition, this article draws on recent archival discoveries to claim that it was not the ornamented, vocal Choralgesänge, but the simpler, thoroughbass-centered Choralbuch style that played a central role in Bach’s pedagogy. Fascinatingly, many newly-rediscovered chorale books from Bach’s milieu contain multiple basses under each melody, suggesting that Bach too may have employed this technique. What theoretical perspectives shall we bring to bear on this long-lost multiple-bass chorale tradition? This article asserts that it is a fallacy to assume that any pattern-yielding methodology offers a valid window into Bach’s teaching. Rather, an attempt is made to recover modes of music-theoretical understanding that existed contemporaneously with Bach. Such a coterminous theoretical “
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