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Roberto Loreggian - Muffat: Componimenti Musicali '2024

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Muffat: Componimenti Musicali
ArtistRoberto Loreggian Related artists
Album name Muffat: Componimenti Musicali
Country
Date 2024
GenreClassical Harpsichord
Play time 02:14:14
Format / Bitrate 24 BIT FLAC Stereo 3065 Kbps / 96 kHz
Media WEB
Size 2951.24 Mb
Price$7.95
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Play List

 
  • Quality
  • Hi-Res 24-bit | upto 96 kHz
Hi-Res 24-bit | upto 96 kHz
1. Tracklist
2. 01. Suite No. 1 in C Major: I. Ouverture
3. 02. Suite No. 1 in C Major: II. Allemande
4. 03. Suite No. 1 in C Major: III. Courante
5. 04. Suite No. 1 in C Major: IV. Air
6. 05. Suite No. 1 in C Major: V. Rigaudon
7. 06. Suite No. 1 in C Major: VI. Menuet et trio
8. 07. Suite No. 1 in C Major: VII. Adagio
9. 08. Suite No. 1 in C Major: VIII. Finale
10. 09. Suite No. 2 in G Minor: I. Prelude
11. 10. Suite No. 2 in G Minor: II. Allemande
12. 11. Suite No. 2 in G Minor: III. Courante
13. 12. Suite No. 2 in G Minor: IV. Sarabande
14. 13. Suite No. 2 in G Minor: V. Bourée
15. 14. Suite No. 2 in G Minor: VI. Menuet et trio
16. 15. Suite No. 2 in G Minor: VII. Fantaisie
17. 16. Suite No. 2 in G Minor: VIII. Gigue
18. 17. Suite No. 3 in D Major: I. Fantaisie
19. 18. Suite No. 3 in D Major: II. Allemande
20. 19. Suite No. 3 in D Major: III. Courante
21. 20. Suite No. 3 in D Major: IV. Sarabande
22. 21. Suite No. 3 in D Major: V. Menuet
23. 22. Suite No. 3 in D Major: VI. Rigaudon bizarre
24. 23. Suite No. 3 in D Major: VII. Air
25. 24. Suite No. 3 in D Major: VIII. Finale
26. 25. Suite No. 4 in B-Flat Major: I. Fantaisie
27. 26. Suite No. 4 in B-Flat Major: II. Allemande
28. 27. Suite No. 4 in B-Flat Major: III. Courante
29. 28. Suite No. 4 in B-Flat Major: IV. Sarabande
30. 29. Suite No. 4 in B-Flat Major: V. La hardiesse
31. 30. Suite No. 4 in B-Flat Major: VI. Menuet I, menuet II
32. 31. Suite No. 4 in B-Flat Major: VII. Air
33. 32. Suite No. 4 in B-Flat Major: VIII. Hornepippe
34. 33. Suite No. 4 in B-Flat Major: IX. Gigue
35. 34. Suite No.5 in D Minor: I. Ouverture
36. 35. Suite No.5 in D Minor: II. Allemande
37. 36. Suite No.5 in D Minor: III. Courante
38. 37. Suite No.5 in D Minor: IV. Sarabande
39. 38. Suite No.5 in D Minor: V. Menuet
40. 39. Suite No.5 in D Minor: VI. Rigaudon
41. 40. Suite No.5 in D Minor: VII. Menuet et trio
42. 41. Suite No.5 in D Minor: VIII. Gigue
43. 42. Suite No. 6 in G Major: I. Fantaisie
44. 43. Suite No. 6 in G Major: II. Fuga a quattro
45. 44. Suite No. 6 in G Major: III. Allemande
46. 45. Suite No. 6 in G Major: IV. Courante
47. 46. Suite No. 6 in G Major: V. Sarabande
48. 47. Suite No. 6 in G Major: VI. La coquette
49. 48. Suite No. 6 in G Major: VII. Menuet et trio
50. 49. Suite No. 6 in G Major: VIII. Air
51. 50. Suite No. 6 in G Major: IX. Gigue
52. 51. Suite No. 6 in G Major: X. Menuet en cornes de chasse
53. 52. Ciacona in G Major
54. Gottlieb Muffat’s oeuvre, dedicated almost in its entirety to keyboard instruments and skilfully straddling the stile antico and stile moderno, deserves more detailed attention than it has ever been afforded. The majority of sources containing music by Muffat are unpublished, with only two collections published at the composer’s own behest during his years in the Emperor’s service in Vienna. One of these is the Componimenti Musicali per il Cembalo
55. This collection contains 6 Suites and a Ciacona with 38 variations for solo harpsichord. The composer describes these seven works as capricci or galanterie to be performed in the stile moderno and to suit modern tastes. Although arranged in the conventional order of Allemande–Courante–Sarabande–Gigue, Muffat also added various optional dances, displaying no shortage of innovation. The first movements are introductory in nature, often fugal in form and varying in style and pace: Ouverture , Prelude and Fantaisie . The seventh piece in the collection, the Ciacona con 38 Variazioni, is a special case. As Christopher Hogwood suggests in his introduction to the modern edition , the Ciacona could be another tribute to the imperial family, as the number of variations matches the age Charles VI’s niece, Maria Amalia, would have been on 22 October 1739
56. Muffat’s interest in contemporary harpsichord composition is most clearly evident in his transcription and reinterpretation of works by George Frideric Handel, based on a manuscript copy of the Suites des pièces pour le clavecin he held in his library. Muffat reworked the suites in Handel’s collection, suggesting new ornamentation, distributing the notes differently between the hands, changing the clefs and sometimes note values, and adding slurs and cadenzas. He then applied everything he had observed while rewriting Handel’s suites to his own Componimenti musicali: including a table of ornaments, which the composer asks be played with ‘art and discretion’; he considers the positioning of the player’s hands on the keyboard in his writing and avoids using multiple clefs on one line to prevent confusion; he describes the optimum way to use the thumb for accidentals; and he provides the correct technical interpretation of trills and slurs
57. Study of the Componimenti reveals what could be defined as a pedagogical intent, as well as a clear desire to make the score unambiguous and accessible by means of his introductory instructions. The collection contributed greatly to setting a new benchmark for keyboard writing in the lands of the Viennese Empire
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