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What a singular pleasure it is for me to share some of my favorite baroque music with you all! The works presented on this recording represent a fairly wide range of baroque compositional styles by some of the superstars of the period. Each composer was a master not only of the pen, but of his chosen instrument.
It is my hope that their collective musical spirit has been awakened again here on my own beloved instrument, the classical guitar. Domenico Scarlatti was an Italian composer who spent most of his professional life working for the Portuguese and Spanish royal families. He was born in Naples, in the Kingdom of Naples which belonged to the Spanish crown at that time.
Although his instrument was the harpsichord, many of his keyboard sonatas display a tinge of guitar characteristics, such as strumming, or dissonances hinting at more folkloric guitar idioms. It was the harpsichordist and musicologist Ralph Kirkpatrick who, in , published an edition of the sonatas organized chronologically, which would become the preferred edition over the previously popular collection published by Alessandro Longo in These are where we get the K Kirkpatrick and the L Longo numbers.
The two sonatas offered here, K. It was composed in , and is in rondeau form, where the initial theme keeps coming back,alternating with variations called couplets. The title is a mystery itself, with many theories as to its meaning. My theory is that the barricades could refer to the tied notes we find over every bar-line, creating a mysterious floating sense of irresolution.
The fun is in drawing your own conclusion by using your imagination! The baroque was a time of adaptability, where composers freely borrowed or stole ideas or even complete pieces from others, and rewriting them in their own style. Just like Lady Gaga might sing a Beatles tune. He arranged many popular pieces from his time, by the superstars of French composition, for both the guitar we now categorize as the baroque guitar and the theorbo.
Although it was almost the length of a harpsichord, the theorbo was shaped like an oversized lute, had an extended bass range, and was used in place of the harpsichord in many baroque orchestras.
I found the theorbo pieces better suited to the guitar, as the use of low basses and the sound were easier to adapt than French baroque guitar textures, which do not translate onto modern instrumentsassuccessfully.
German-born Georg Philipp Telemann was mostly self-taught as a musician. He would hold several important positions throughout Germany, until settling in Hamburg in He was good friends with both Handel and J. When Telemann passed away in , he was succeeded in his Hamburg positions by his godson, Carl Philipp Emanuel Bach. The Guinness Book of World Records lists Telemann as the most prolific composer of all time, citing over credited works.
It is more likely that he actually wrote more than 3, works, many of which were lost over time. Among these we find several sets of pieces for unaccompanied solo instruments, including his 12 Fantasias for Solo Violin; 12 Fantasias for solo flute; 12 Fantasias for solo viola da gamba, and 36 Fantasias for solo harpsichord.
The fantasias for violin, although being multi- movement works, are relatively short. The movements continue almost seamlessly from one to another. The Fantasia No. The original key was B-flat Major; the arranger requests the performer to use a capo on the 1st fret, bringing the key up to B-flat. But I prefer the resonance on the guitar without the capo, so it is recorded here in A major. Sylvius Leopold Weiss was the most renowned German lutenist of his time. He was certainly the most prolific composer of lute works; around attributed works survive out of his probable plus compositions, and are primarily sonatas, suites, chamber works and concertos.
He and Bach were active at the exact same time, and knew one another. This is important for us guitarists to realize. Thus, in studying and playing through the works of Weiss, we have a better understanding of how to interpret Bach on the guitar. Johann Jakob Froberger was born in Stuttgart, and was one of the most famous composers of his era, pre-dating Bach by at least a generation.
Within, he expresses his sadness at the death of King Ferdinand IV, who unexpectedly died of smallpox in Unlike so many baroque tombeaus, this one is in a major key, offering a hint of optimism or perhaps surrender to fate. And, after he unloads his grief in the tumultuous middle section, Froberger ends the piece with an ascending major scale that seems to deliver the soul of his beloved king to the heavens above on a pillow of clouds.
Domenico Scarlatti Sonata in A major, K. Teaser Mysterious Barricades. The Mysterious Barricades What a singular pleasure it is for me to share some of my favorite baroque music with you all! GuitarCoop Store. Mysterious Barricades. The Segovia Sessions. GC News. Welcome Back! Login to your account below. Forgotten Password? Create New Account! Fill the forms bellow to register. All fields are required. Log In. Retrieve your password Please enter your username or email address to reset your password.
Couperin - Les Baricades Misterieuses sheet music for Guitar
The work is in rondeau form, employing a variant of the traditional romanesca in the bass in quadruple time rather than the usual triple time. The effect is shimmering, kaleidoscopic and seductive, a sonic trompe l'oeil that seem to have presaged images of fractal mathematics, centuries before they existed. The piece was voted at 76 in the Australian Classic music of France countdown. All four possible spelling combinations have since been used with "double r" and a "y" being the most common. There has been much speculation on the meaning of the phrase "mysterious barricades" with no direct evidence available to back up any theory. Scott Ross , in a master class filmed and distributed by Harmonia Mundi , likens the piece to a train.