The Three Authentic Sonatas for Oboe and Basso Continuo, in F, op. 1/5; B-Flat "Fitzwilliam"; C Minor, op. 1/8

Notes ◽  
1983 ◽  
Vol 40 (1) ◽  
pp. 158
Author(s):  
Albert Seay ◽  
G. F. Handel ◽  
David Lasocki ◽  
J. C. Schickhardt ◽  
Carl Maria von Weber ◽  
...  
Keyword(s):  
Basso Continuo

Madrigals, Part 5

10.31022/b222 ◽  
2021 ◽  
Author(s):  
Marco da Gagliano
Keyword(s):  
Basso Continuo ◽  
Professional Singers ◽  
Giambattista Marino ◽  
Medici Court

Marco da Gagliano's Quinto libro de madrigali a cinque voci was published in October 1608, a little less than two years after his previous book. It contains fourteen madrigals for five voices and one for seven, all composed by Gagliano. The poets represented include Giambattista Marino, Giovanbattista Strozzi, both the older and the younger, Cosimo Galletti, and Ottavio Rinuccini. The madrigals of book 5 are quite varied in their style and their treatment of text. Many are light and remarkably concise, like the canzonetta-influenced madrigals of the Quarto libro, and most often set text syllabically to shorter rhythmic values in motives that alternate between homophony (or near homophony) and polyphony, imitative or nonimitative. Some, however, set poetry very differently. A three-part setting of a Marino sonnet, for instance, is filled with virtuoso melisma, probably intended for the professional singers of the Medici court. Book 5 also includes a concertato madrigal for seven singers and basso continuo that bears the prescriptive direction “per cantare e sonare” (for voices and instruments) in the basso partbook. Although there is no notational indication of instruments, the basso part lacks text for several measures, and it is likely that it was performed with improvised chords on an instrument. The book also contains two threnodies for Count Cammillo della Gheradesca that are in a somber and more traditional polyphony and contrast with the rest of the book's contents.

Sonatas for Violin and Basso continuo, Part 3

10.31022/b010 ◽  
1970 ◽  
Author(s):  
Jean-Marie Leclair
Keyword(s):  
Basso Continuo

Leclair's opus 9 sonatas are some of Leclair's most technically advanced works for violin and continuo.

Sonata con tre violini e basso continuo

Notes ◽  
1950 ◽  
Vol 7 (4) ◽  
pp. 625
Author(s):  
Vincent Duckles ◽  
Giovanni Gabrieli ◽  
Soren Sorensen ◽  
Giovanni Legrenzi
Keyword(s):  
Basso Continuo

‘BASSO CONTINUO ON THE ORGAN’

1969 ◽  
Vol L (3) ◽  
pp. 429-b-430
Author(s):  
JERZY GOLOS
Keyword(s):  
Basso Continuo

Cantatas and Canzonets for Solo Voice, Part 1

10.31022/b014 ◽  
1972 ◽  
Author(s):  
Giovanni Legrenzi
Keyword(s):  
Basso Continuo ◽  
Religious Music ◽  
Printed Music ◽  
Figured Bass ◽  
The Many

Giovanni Legrenzi (1626–90) was most famous for his operas in his own day, though only five are known to survive, all in manuscript form. His printed music includes the greater part of his religious music (nine collections ranging from works for instruments and chorus to motets for solo voice and basso continuo) and his shorter secular works (six collections of sonate da chiesa and da camera for two to six soloists with continuo). The present edition is of his Cantate e Canzonette, opus 12, printed in 1676. Twenty-four works for solo voices with continuo are included, twelve for soprano or tenor, six for alto, and six for bass. The cantata forms used by Legrenzi in this collection are similar to short operatic scenes. Of particular interest are the many arias which open with a secco recitative section before moving to an arioso style near the close. A realization of the figured bass line is provided in the edition.

Sonatas for Violin and Basso continuo, Opus 1

10.31022/c043 ◽  
1995 ◽  
Author(s):  
Pierre Gaviniés
Keyword(s):  
Basso Continuo

Dalla guerra amorosa. Cantata for Bass and Basso Continuo

Notes ◽  
1976 ◽  
Vol 32 (4) ◽  
pp. 884
Author(s):  
William D. Gudger ◽  
Georg Frideric Handel ◽  
Hermann Zenck ◽  
Dietrich Buxtehude ◽  
Karl Matthaei ◽  
...  
Keyword(s):  
Basso Continuo
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