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PraeludiumUndFuge

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About PraeludiumUndFuge

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  1. That's actually not an accordion but what we call a "bandoneon" down here. It is not exactly an accordion. If you notice it has buttons instead of keys, and is sounded by extending rather than compressing the air chamber. It's an instrument of German folklore origin brought here by the German immigrants to the River Plate region (Uruguay and Argentina, where tango is from), and pretty much obsolete in other fields. It became absorbed into tango, and is sort of a signature instrument of the style. I don't know too much about tango since i am not too attracted to the style, but it has a kind of spirit which is unique to this region of the world. It is very rhythmic, usually in 2/4 meter, often paired with dance. Piazzolla is one of the great experimenters of it, Carlos Gardel the most adored singer. The single most recognizable tango is "La Cumparsita" (which is Uruguayan, NOT Argentinian), which you have probably heard before. It is the typical representation of the style.
  2. Just to add, Bach in particular often shows disregard for this restriction on fourths in his keyboard music with a lot of counterpoint, thus providing more freedom for contrapuntal inventions (he also freely uses direct 5ths and octaves, even in 2 voices. He does, however, avoid parallelels). You will see free use of chords with the 5th in the lowest voice and many of these times forming a 4th with the next voice above (ie the "root" of the chord in the second lowest voice).
  3. PM me if you want a scan of the original paper and pencil score. I just copied it into Sibelius for the sound file but the voices and rests are not properly written out there.
  4. F Major Fugue. There's a little problem in the d minor stretto entry which I will correct when I have time. MP3
  5. Is this thread still going? Having a go at the F major (great subject). Will post shortly.
  6. This is a very nice imitative passage. Very 17th century-like. This could fit in a free Buxtehudeian fantasia-like piece. The pedal point introduced around the middle works very nicely too. The passage would work just fine on the organ especially introducing a registration change to the ruckpositiv or a brustwerk with a bright registration. The stylus fantasticus is very free and sectional. This could be used to open a prelude or be thrown in somewhere within it, with toccata style passages (using the plenum) and the like, and the pedal effecting modulations (very Buxtehudian). Maybe a pedal solo right after this. I'd love to hear a finished prelude/fantasia with it.
  7. First you learn chords. Then voice motion. Harmony comes first. I dont know what some of these people are smoking.
  8. Frescbaldo, although he was a brillliant intellect of this practoce, does not attact me much as the Sweelinch School (Buxtehude Primarlily). Instrument inof choice included. The practice of organism, prtociularities of composition, as well as intertpretative customs, are one of a kiid in thos Northern SChool of orgel/
  9. Kerll toccatas i've only heard superficially and although they strike on first listen as improvisatory virtuosic keyboard pieces there is a certain motivic control in section which makes them very German School. Where there are not flowing passages of fast virtuosism there is reworking of motives in the most baroque fashiion ie the "Affect". Thry are worth looking itno for the sake of German Kaybooard music.In simple terms Kerll's style as opposed to other reginoal contemporaries seems much more virtuosic and temporary but what strikes me is obviously this guy was trained in composition as well as interpretation. Indeed most of the composers of the era seem to have absorved the toccata idea therefore an improvisatory stye (a lost art in our days!!!). One taht deserves serious, serious, looking into, Is Fischer, not for his outputas much as for the details of his technique or pratcice.
  10. This is a thread to discuss the lesser-known baroque keyboard composers, such as Frescobaldi, Georg Muffat, Johann Kaspar Kerll, Johann Kaspar Fischer, their styles and works, etc. Just to get the thread started, right now I'm interested in the Kerll toccatas, they seem to have a loose improvisatory style and are quite virtuosic keyboard pieces. Anyone familiar with these?
  11. I've heard some of the Buxtehude chamber works now here, harpsichord arias and etc, and he distinguishes himself more at the organ than in these kind of works. I'm not surprised. He is so organistic, what he best sums up as a composer is this "stylus fantasticus" which was popular for the organ.
  12. Listening to Bach's BWV 532 prelude in D for organ. The opening and some select passages throughout are so Buxtehudian you could mistake it for such. However I must say their differences become more apparent every day. Where Buxtehude is illustrative and free, Bach is relentlessly focused. There is more to baroque music than Bach, much more. It's nice to appreciate all of it.
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