#armonico

[musicwithoutborders]

Antonio Vivaldi /Christophe Coin. Il Giardino Armonico, Cello Concerto in G Major, RV 414: II. Largo I Concerti per violoncello I, 2007

[gasparodasalo]

Unico Wilhelm, Count von Wassenaer Obdam (1692-1766) - Concerto armonico No. 4 for 4 Violins, Viola, Cello and Basso continuo in G-Major, II. Da cappella non presto. Performed by Roy Goodman/The Brandenburg Consort on period instruments.

[banji-effect]

O strength of Wisdom Who, circling, circled, Enclosing all In one lifegiving path, Three wings you have: One soars to the heights, One distills its essence upon the earth, And the third is everywhere. Praise to you, as is fitting, O Wisdom.

[roses--and--rue]

Never seek to tell thy love Love that never told can be For the gentle wind does move Silently invisibly I told my love I told my love I told her all my heart Trembling cold in ghastly fears Ah she doth depart Soon as she was gone from me A traveller came by Silently invisibly O was no deny

~ William Blake, published first by Dante Gabriel Rossetti in 1863.

[punk-jules]

i love you

[onenakedfarmer]

Currently Playing

Cecilia Bartoli FARINELLI

Giovanni Antonini Il Giardino Armonico

[tfblovesmusic]

The Anthem 'Give Ear Unto Me' Was ORIGINALLY WRITTEN By TWO TENORS!

Picture yourself in a church service, tuning in as two sopranos in the choir pipe out Give Ear Unto Me, Vincent Novello's arrangement of a duet from Benedetto Marcello's Estro poetico-armonico.

Now imagine you're in my shoes - you're a HUGE fan of early music.

After getting home from the service, you tried Googling what was the original version of that anthem. You'd probably began listening to some entire period instrument takes of I cieli immensi narrano, S.618, after hearing the organ play an arrangement of the first movement at a wedding.

I have been that person.

I have been an early music buff since 5th grade, upon watching the Classic Arts Showcase block on my public access channel; buying the book, Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works; and watching several documentaries on Ovation TV in the early 2000s.

I have tons of favorite sites: the Bach Cantatas Website, Medieval.org, and Suzuki Violin Pieces in their Original Forms.

That's right: Suzuki Violin Pieces in their Original Forms.

Composer, piano teacher, and musicologist Mark Polesky had gathered all the pieces in all 10 volumes of the Suzuki Violin School. He declared that the majority of pieces weren't originally written for violin and piano. And to cap it all off, most weren't originally violin pieces to begin with.

Take the Allegro by Joseph-Hector Fiocco, for instance. Like Marcello's opening movement of I cieli immensi narrano, S.618, that piece has been played for many a wedding ceremony. But delve further into the musicology-early music rabbit hole, and you'll find that it's actually the 10th movement from Fiocco's first suite written for harpsichord.

"By this measure then," Polesky remarked, "almost 90% of the series consists of transcriptions and arrangements — and I assume that most Suzuki students have only heard a few (if any) of these pieces in their original form, and also that many students may have never seen an original score."

"This is unfortunate. A typical Book 2 student who dutifully listens to the violin and piano recordings (provided by the company), might still never experience the boisterous humor of the original Hunters’ Chorus from Der Freischütz, or the inspiring virtuosity of Paganini’s Le Streghe (the source of Witches’ Dance)."

"It may also come as a surprise to many students that 11 of the pieces were originally intended to be sung — and how many of us can even say what the Chorus from Judas Maccabaeus is really about? Unfortunately, the texts for many of these songs will be beyond the comprehension of most of the youngsters playing them (particularly The Two Grenadiers), but a good teacher could convey the gist of most of them."

Polesky also mentioned the kicker - the website could as well introduce early music to violin students AND their parents and carers. By having them compare the original manuscripts to what is written in the Suzuki method books, they would ask questions like:

Why is the soloist playing something different from what’s in the score?

Can I add embellishments too? When and how? Why is everything tuned flat?

Where is the harpsichordist getting all those notes from?

Why are there so few dynamics, articulations, etc. in the original score?

Do I have to play it the way it’s written in my score?

"It should be mentioned at some point that many of the pieces in the Suzuki series are labeled too simply, with singular names such as Gavotte or Largo," Polesky explained.

"Anyone who wishes to research the original sources is faced with a particular challenge. For example, how many of Rameau’s 30 or so operas must one sift through before finding the Book 6 Gavotte buried in Act III of the obscure 1745 opera Le temple de la gloire? Hopefully in future editions, the publishers will include better identification of the sources."

"Also, several of the names that are listed as composers are simply incorrect. For example, most scholars now agree that at least two of the Minuets attributed to J. S. Bach in Volume 1 were not written by him. And the Lully Gavotte in Book 2 is actually a Rondeau by Marin Marais."

Don't you wish there SHOULD be the same analysis of some English-language arrangements of sacred Baroque vocal works sung at churches?

That brings us to Give Ear Unto Me. Before joining TalkClassical in early June 2024, I tried Googling in vain for the original source, listening to countless recordings of Marcello psalms, AND going as far as contacting Howard Goodall (who presented several classical music documentaries on Ovation TV) on X for answers. Nothing turned up.

Upon joining the forum, I aired my desperate, futile attempts to track down the original scoring of Give Ear Unto Me. Happily, RobertJTh pointed me to the direction of the good old IMSLP. Novello arranged the second movement of Salmo XVI, Tu che sai quanto sia giusta, S.616. Marcello composed it for two tenors.

Let that sink in...

TWO. TENORS.

I started reading Damián H. Zanette's modern adaptation of the manuscript and tuned into one rendition of Give Ear Unto Me. The vocal lines, not the lyrics, of Section A are between measures 26-72. Those in Section B are between measures 197-208. As I read the corresponding ones, THEY MATCHED!

While listening and reading, I thought, "Can you imagine two tenors singing Give Ear Unto Me without Novello's intro - basso continuo played by cello and chamber organ, per historically informed performance, and pitch at least 2 semitones lower - at a Sunday Mass?"

Short answer: HECK YES.

No recordings of Salmo XVI, Tu che sai quanto sia giusta, S.616 exist, but I would LOVE to hear some early music tenor duos ham it up for YouTube with full bassi continui!

[sonyclasica]

DEREK SOLOMONS &L'ESTRO ARMONICO

HAYDN

El proyecto Haydn inédito de L'Estro Armonico, grabado entre 1980 y 1986, con 36 Sinfonías por primera vez en CD. Disponible el 29 de marzo.

Resérvalo AQUÍ

En la década de 1980, cuando estaba en auge el movimiento en favor de la interpretación históricamente informada, se produjo una repentina ola de intentos por parte de conjuntos de instrumentos de época de grabar las 106 sinfonías de Haydn. Quizá fuera inevitable que ninguno de ellos alcanzara la cima de este Everest musical; la mayoría llegó más o menos a la mitad de esta ambiciosa y costosa empresa.

Una de estas series Haydn que suscitó un gran interés en su momento fue la dirigida por el violinista-conductor londinense Derek Solomons. Entre 1980 y 1986, grabó 49 sinfonías con su conjunto, L'Estro Armonico.

Sony Classical se complace en presentar ahora todas estas interpretaciones pioneras de Haydn por primera vez en CD. En esta nueva edición recopilatoria de 18 discos recién masterizados se incluyen varias grabaciones nunca publicadas en ningún formato.

En una entrevista para Gramophone, Solomons declaró: "No parecía haber mejor compositor que Joseph Haydn para hacer nuestro debut discográfico con instrumentos originales, y también el estreno de estas sinfonías en este tipo de interpretación. Había descubierto que había un grupo de 14 sinfonías escritas para el conde Morzin antes de que Haydn empezara a trabajar para el conde Esterhazy".

En cuestiones como el tamaño históricamente adecuado del conjunto, el guía de Solomons (y el anotador de todas sus ediciones de sinfonías de Haydn) era H.C. Robbins Landon, el decano de los estudiosos de Haydn. Landon había deducido de fuentes contemporáneas que la orquesta "Morzin" de Haydn estaba formada inicialmente solo por tres violines primeros y tres segundos, uno de viola, uno de violonchelo y uno de bajo, con un par de oboes, un par de trompas y un fagot.

Tras grabar el primer grupo "Morzin", Solomons se centró en las revolucionarias sinfonías "Sturm und Drang" que Haydn compuso en los años siguientes a su traslado -alrededor de 1760- del establecimiento vienés del conde Morzin a la rica, influyente y melómana corte húngara del conde Esterházy. En 1982, L'Estro Armonico comenzó con las seis primeras de este asombroso conjunto de obras. Fueron publicadas por la CBS, que, tras hacerse cargo del proyecto de Saga, siguió grabando las Haydn del conjunto hasta 1986, tiempo suficiente para completar el resto de las sinfonías del periodo "Sturm und Drang", así como algunas anteriores y posteriores también escritas para Esterházy.

Aunque la visión de Derek Solomons de interpretar todas las sinfonías con L'Estro Armonico, lamentablemente, nunca se materializaría, hubo un entusiasmo casi unánime por las obras que finalmente se grabaron y publicaron: "Sería difícil imaginar interpretaciones de mayor frescura y convicción ... Uno queda impresionado por la calidad de textura ligera de la interpretación, su pulcritud y precisión ... La sección de cuerda es pequeña ... lo que permite que los vientos -especialmente las espléndidas trompas agudas- se oigan con absoluta claridad" (Gramophone); "Me resulta muy difícil volver al Haydn convencional, que parece demasiado suave y aburrido en comparación" (Classical Music); "El regocijo que siento al redescubrir el ingenio de Haydn subraya el hecho de que nunca podré volver a escuchar a Haydn arrollado por la apisonadora de una gran orquesta sinfónica". (Music & Video Week). Ya en 2012, un crítico de la BBC Music Magazine calificó estas interpretaciones como "unas de las más brillantes de Haydn que he escuchado".

[4seasonsfangirl345]

Vivaldi Concerto in E Major RV 265 from L’Estro Armonico (feat. I Filarmonici).

[1001maneras]

Magia en Pedales: Transformando tus grabaciones

Los pedales de distorsión son utilizados para aumentar el nivel de señal y crear un sonido "distorsionado" en la guitarra eléctrica o bajo. Los pedales de delay son utilizados para crear un efecto de "eco" en la señal de audio. Los pedales de reverb son utilizados para simular diferentes ambientes acústicos en la señal de audio. Los pedales de modulación son utilizados para agregar efectos como el "chorus" y el "flanger" a la señal de audio.

¿Alguna vez has escuchado una canción y te has preguntado cómo lograron ese sonido tan genial? ¡La respuesta es los pedales de efecto! Los pedales de efecto son como magia en un pedal, ¡pueden transformar tu sonido de aburrido a emocionante en un instante!

Por ejemplo, si estás tocando una guitarra y quieres darle ese sonido "rockero" que todos conocemos y amamos, ¡simplemente agregas un pedal de distorsión! ¿Quieres que tu voz suene como si estuvieras cantando en una catedral gigante? ¡Agrega un pedal de reverb! ¿Quieres que tu guitarra suene como si estuviera flotando en el espacio? ¡Agrega un pedal de modulación!

La producción musical y grabación de audio es como un rompecabezas, y los pedales de efecto son una pieza importante para completar ese rompecabezas. Aprender sobre los diferentes pedales de efecto es como tener un arsenal de herramientas para crear sonidos únicos y emocionantes. ¡No te pierdas esta oportunidad de aprender sobre estos increíbles dispositivos y llevar tus grabaciones al siguiente nivel! ¡Inscríbete en nuestra sección de producción musical y aprende sobre los diferentes tipos de pedales de efecto y cómo utilizarlos de manera efectiva en tus proyectos de grabación y producción musical! Toma un curso práctico en el que podrás experimentar con diferentes pedales de efecto y aprender técnicas para lograr sonidos únicos y creativos en tus grabaciones. ¡Mejora tus habilidades y lleva tus grabaciones al siguiente nivel!

————————————————————

Si quieres saber mas contactanos 📩 groovernors@gmail.com 📲 sandruzzo_ofc

💻https://www.alessandrogozzo.co/

Editor: Ingeniero Alessandro Gozzo

————————————————————

[musicwithoutborders]

Johann Heinrich Schmelzer / Armonico Tributo Austria, Sonata I a 8 in C Major, SPCM No. 1: [Allegro] - Adagio - Allegro - [Adagio] [1662] I La Margarita. Musica per la corte di Vienna e Praga, 2010

[beyourselfchulanmaria]

Suite dramatique Ouverture légère Waltz Suites

A native of Luxembourg, Lou Koster was largely self-taught as a composer, flourishing in the inter-war period as a pianist whose activities included accompanying silent films. Orchestrated from piano originals, pieces such as Lore-Lore and Moselträume became radio hits in the 1930s, and she became renowned for subtle, sensuous sounding light music filled with boldness, unexpected turns and emotional nuances. Forgotten since the 1960s and only recently rediscovered, Lou Koster's scores are musically authentic and unspoiled, bubbling over with an irrepressible joy of music making.

Joyous piece of classical music! Lore-Lore, Op. 13 · Orchestre Estro Armonico Luxembourg

[gasparodasalo]

Antonio Vivaldi (1678-1741) - Concerto "con molti strumenti" for 2 Recorders, 2 Chalumeaux, 2 "Violini in Tromba Marina," 2 Mandolins, 2 Theorbos, Cello, Strings and Basso continuo in C-Major, RV 558, I. Allegro molto. Performed by Giovanni Antonini/Il Giardino Armonico on period instruments.

[turangalila]

Giovanni de Macque (1548-1614) — Seconda Stravaganza [Ms. 1617, British Library, London]

The Seconda Stravaganza of Giovanni De Macque, a Flemish composer transplanted to Naples and another member of Gesualdo’s circle, is an impressionistic, chromatic and tonally unstable piece; it introduces the Baroque concept of ‘stravaganza’ which eventually led to Vivaldi’s collection of violin concertos bearing the same name.

Vincenzo Ruffo (1508-1587) — Dormendo un giorno [Capricci in musica a tre voci. (Milan: Francesco Moscheni, 1564)]

Vincenzo Ruffo’s dreamlike Dormendo un giorno brings us back to a metaphysical and abstract atmosphere. It comes from his collection of Capricci, one of the first works to use this musical term, and is built on the bass part of Philippe Verdelot’s madrigal of the same name. The capriccio was a loosely defined form in which the composer followed his own whim without generally observing strict rules.

_ La morte della ragione. (Viaggio Musicale Tra XV E XVII Secolo Da Desprez A Gesualdo Da Venosa) Il Giardino Armonico, Giovanni Antonini. (2018, Amadeus – AM 346-2)

[onenakedfarmer]

Playing

Avi Avital CONCERTOS

Il Giardino Armonico Giovanni Antonini

Antonio Vivaldi - Concerto Grosso in B minor, Op. 3/10 , RV 580

Johann Sebastian Bach - Concerto in C minor for Violin and Oboe, BWV 1060R

Emanuele Barbella - Mandolin Concerto in D Major

Giovanni Paisiello - Mandolin Concerto in E-flat Major

Johann Nepomuk Hummel - Mandolin Concerto in G Major, S. 28