HAYDN, LIGETI: CONCERTOS AND CAPRICCIOS Shai Wosner, piano; Danish National Symphony Orchestra; Nicholas Collon, conductor (Onyx).
|
|
Others he retrofitted into capriccios of the multifaith city, whose inhabitants worshiped a collection of Babylonian, Phoenician and Greek gods.
|
|
Renowned for landscapes in which ancient monuments and modern buildings were arranged in imaginary scenes called architectural capriccios, he was nicknamed "Robert des ruines" by the philosopher Denis Diderot.
|
|
Between are alternately dreamy and lively capriccios by both; all is played with style, flair and velvety touch by Mr. Wosner, given spirited support by Mr. Collon and the Danes.
|
|
Wollenberg, Susan "Muffat, Gottlieb Theophil". Grove Music Online. accessed 11/15/2013. Also still in manuscript are the 24 Toccatas and Capriccios.
|
|
His other compositions include two sonatas for trumpet and organ, two sonatas for solo trumpet, sonatas for violin and continuo, and several Capriccios.
|
|
Giuseppe Bernardino Bison; portrait by Giuseppe Tominz (1830) Giuseppe Bernardino Bison (16 June 1762 – 24 August 1844) was an itinerant Italian painter of frescoes, landscapes, vedute, capriccios and some religious works.
|
|
Renaissance palace near a river with many figures Jan Baptist van der Straeten was a specialist architectural painter who created scenes with imaginary buildings and staffage referred to as capriccios. His architectural fantasies depict opulent palaces amidst terraces, gardens and fountains with a typical Baroque love of exaggeration. The figural groups of elegant figures populating the scenes were painted usually by the Antwerp artist Balthasar van den Bossche.Jan Baptist van der Straeten, Two architectural capriccios at Dorotheum Van der Straeten favoured a brown palette over bright colours thus giving atmospheric coherence to his compositions.
|
|
Landscape with Jephthah and his Daughter Henri Mauperché (c.1602, Paris - 26 December 1686, Paris) was a French landscape painter and engraver. His name is also given as Henri Maupercher and Henri Montpercher. Most of his landscapes are capriccios.
|
|
These include four violin concertos (a fifth is lost), two string trios (originally for an ensemble 2 violins and a cello) as well as polonaises, rondos, variations, capriccios. He also composed several songs and harmonized some popular Polish tunes.
|
|
Landscape of Rome with the Ponte Sisto by Paolo Anesi Paolo Anesi (1697–1773) was an Italian painter of the 18th century, active mainly in painting capriccios and landscapes (vedute) in the style of Giovanni Paolo Pannini.. Paintings in British collections.
|
|
Froberger's canzonas and capriccios are similarly conservative in terms of technique, and they too are essentially the same even though Frescobaldi distinguished between the genres. Froberger follows Frescobaldi's example in constructing these pieces as variation sets in several sections (usually three in canzonas and any number – as many as six – in capriccios). The subjects are always faster, much more lively that those of ricercares and fantasias. A characteristic feature is the economy of themes: the episodes, which are somewhat rare, are almost invariably based on the material from the subject, somewhat like those in JS Bach's work some 60–70 years later.
|
|
He composed for the piano, writing two concertos, fourteen sonatas and various capriccios and other pieces. He also wrote seven flute concertos and other works for flute and orchestra, along with études for flute and piano. His son, Theodor Amadeus Müller, was a violinist.
|
|
Il ponte di Rialto (Fondazione Cariplo) Francesco Battaglioli, Gasparo Diziani, A Tree Lined Avenue with Figures Francesco Battaglioli (Modena, 1725 – Venice, 1796) was an Italian painter, known as painter of veduta and capriccios based on the scenery of Venice and the Venetian mainland (Brescia and Treviso).
|
|
Before Fiori musicali, Frescobaldi seldom published liturgical music. It appeared only once, in Secondo libro di toccate of 1627; all other keyboard collections by the master concentrated instead on various secular genres (canzonas, capriccios, toccatas, and variations). The organ mass was still in its infancy, and composers seldom published such music.
|
|
On the Grand Canal, Visentini was commissioned to redesign the façade of the residence of Consul Smith, the Palazzo Balbi. He collaborated with Francesco Zuccarelli on capriccios based on English Palladian villas, again for Consul Smith;Knox, George (June 1996). "Consul Smith's villa at Mogliano: Antonio Visentini and Francesco Zuccarelli".
|
|
Lolli published eight violin concertos, of which the concerto No.7 in G major was the most successful. Other works include six sonatas (duets) Op.9 for two violins (1785), three collections of six sonatas each for violin and bass (1760, 1769, 1767), and 36 capriccios for solo violin, as well as the didactic L'école du violon en quatuor (1784).
|
|
Jacob More's The Falls of Clyde: Corra Linn, c. 1771 The origins of the Scottish landscape painting tradition are in the Nories' capriccios or pastiches of Italian and Dutch landscapes.Baudino, "Aesthetics and Mapping the British Identity in Painting", p. 153. Jacob More, having trained with the Nories, moved to Italy in 1773 and is chiefly known as a landscape painter.
|
|
Also called Lo Schivenoglia after the town, just outside the city of Mantua, of his birth. He was a pupil of Giovanni Canti. Among his works, he was known for his paintings of battle scenes, landscapes, and capriccios (vedute of imaginary scenes) with historical or mythologic figures. He was named director of the Academy of painters in Mantua in 1752.
|
|
His recordings include sonatas by Brahms, Bax, Debussy, Lluís Benejam, Felipe de los Rios, Juan Oliver Astorga, Mendelssohn, Naumann, Glinka, Schubert, Gerhard, and concerti by Hoffmeister, Mozart, Leonardo Balada and Josep Soler. Among Pillai's notable recordings are The Viola Sonatas from the Royal Palace in Madrid, The Virtuoso Viola in Spain, the Hoffmeister Works for Viola, and the string quintets recorded with Zukerman. Pillai edited the 12 Estudios o caprichos de mediana dificultad (12 Studies or Capriccios of Medium Difficulty) for viola solo (1881) by José María Beltrán Fernández (1827–1907), published by Clivis Publications.Clivis Publications: 12 Studies or Capriccios of Medium Difficulty by José María Beltrán Fernández In 2016 he edited the first edition of the 11 sonatas from the Royal Palace in Madrid (1770-1819) for Boileau Publications and released the first recording of this monumental collection of works for viola.
|
|
Capping off the 17th century are Flemish and German still lifes, and religious landscapes by the French masters Claude Lorrain and Nicolas Poussin. The French component of the 18th century collection contains paintings by Watteau, Fragonard and Boucher, while Italy is represented with capriccios and historic glimpses into the daily life of Rome and Venice with works by Longhi, Pannini, Guardi, Canaletto, and Tiepolo.
|
|
The theme of house decoration with landscapes was taken up in the eighteenth century by James Norie (1684–1757), who worked beside the architect William Adam (1689–1748). Norie, with his sons James (1711–36) and Robert (d. 1766), painted the houses of the peerage with capriccios or pastiches of Italian and Dutch landscapes,I. Baudino, "Aesthetics and Mapping the British Identity in Painting", in A. Müller and I. Karremann, ed.
|
|
Between 2000 and 2005 he taught violin and viola and conducted the orchestra at St Leonards School. In 2004-2005 season he was an appointed leader of the University of St Andrews Symphony Orchestra. His 2004 solo appearances included Bach, Mozart, Beethoven, Tchaikovsky and Sibelius concertos played in Brechin Cathedral, Caird Hall, Greyfriars Church and Younger Hall respectively. Earlier still, in December 2001 he performed 24 Capriccios by Niccolo Paganini in St John's, Smith Square.
|
|
During his time in England, Marco Ricci also painted several landscapes, capriccios, and the wry painting Opera Rehearsal for Charles Howard, 3rd Earl of Carlisle. His production as a landscapist can be divided into four categories: alpine views or pastorals, violent country storms, ruins, and scenes of villages or courtyards. While the medium of many of his works was oil on canvas, about half of his output, smaller in dimension, was tempera applied to goatskin.
|
|
Michael Kennedy (Oxford and New York: Oxford University Press, 1996). In this sense, a fugue is a style of composition, rather than a fixed structure. The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c.
|
|
One of the ricercars contains a long interlude built on imitation of cuckoo's call, like Frescobaldi's and Kerll's capriccios sopra Cucu. Steigleder's Tabulaturbuch (Strasbourg, 1627) consists of 40 variations on Luther's chorale "Vater unser im Himmelreich". This collection was intended for the church organist, and Steigleder specifically states that the performer may choose how many variations to play, which ones and in what sequence. Certain variations call for a supporting instrument or singer to reinforce the chorale melody.
|
|
The following year, he created a cenotaph honoring the late King Fernando VII, composed of five panels done in grisaille. In 1838, he began providing drawings for the ', published by Ramón de Mesonero Romanos, and exhibited some capriccios at the Academy. Two years later, he collaborated with the Semanario to produce illustrations for a new edition of the novel Gil Blas and the complete works of Francisco de Quevedo. He also created decorations for the popular .
|
|
The first round program consists typically works of Bach, a sonata by Mozart, and Paganini's capriccios. It is said that Bach measures readiness, Mozart measures understanding of style, and Paganini measures technical ability. The second round, often referred as the semi-finals, consists typically of a sonata for violin and piano, few pieces by Sibelius, a modern Finnish piece, and a virtuoso piece. In the final round, the finalists perform two concertos accompanied by a full symphony orchestra.
|
|
Adler, in turn, had followed the ordering in the composer's autograph manuscripts known at the time. Many works listed here are of uncertain attribution (not all such cases are specially noted). New manuscripts containing Froberger's music are found occasionally (, the latest important one being an autograph manuscript from the 1660s that contains 6 fantasies and 6 capriccios (all previously unknown), 5 suites (one of which is new) and three "laments" (two of which are unknown).Schulenberg 2008.
|
|
Perspective played a central role in Tiepolo's representations, and was forced beyond the usual limits in his ceiling decorations depicting levitating figures viewed from below. Another characteristic feature of Venetian art is landscape painting, which sees in Canaletto (1697–1768) and Francesco Guardi (1712–1793) the two leading figures. Canaletto's rigorous perspective studies make for an almost "photographic" reality, in contrast to Guardi's more subjective capriccios. Antonio Canova (1757–1822), born in Possagno, was the greatest of the neoclassical artists.
|
|
Laureys A. Castro (active circa 1664–1700), The Battle of Lepanto at Bonhams Castro also depicted more contemporary naval engagements such as in his A Sea Fight with Barbary Corsairs, which gives a dramatic depiction of a close combat engagement with Barbary pirates (Dulwich Picture Gallery). Another frequently recurring theme of his compositions are capriccios of Mediterranean ports. It is likely that Castro was acquainted with Mediterranean ports such as Genoa, Malta and Lisbon. The ports depicted in these compositions are not always identifiable.
|
|
This style was extended in the 1740s by Canaletto in his etched vedute ideali, and works by Piranesi and his imitators. Later examples include Charles Robert Cockerell's A Tribute to Sir Christopher Wren and A Professor's Dream, and Joseph Gandy's 1818 Public and Private Buildings Executed by Sir John Soane. The artist Carl Laubin has painted a number of modern capriccios in homage to these works.A classical fantasia: Carl Laubin has resurrected all C.R. Cockerell's major works in one ambitious, extraordinary painting, David Watkin, Apollo, March 2006.
|
|
Title page of the first edition of Fiori musicali Fiori musicali ("Musical Flowers") is a collection of liturgical organ music by Girolamo Frescobaldi, first published in 1635. It contains three organ masses and two secular capriccios. Generally acknowledged as one of Frescobaldi's best works, Fiori musicali influenced composers during at least two centuries. Johann Sebastian Bach was among its admirers, and parts of it were included in the celebrated Gradus ad parnassum, a highly influential 1725 treatise by Johann Joseph Fux which was in use even in the 19th century.
|
|
Margaret Lindsay by Allan Ramsay, 1758 Scottish art in the eighteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects, in the eighteenth century. This period saw development of professionalisation, with art academies were established in Edinburgh and Glasgow. Art was increasingly influenced by Neoclassicism, the Enlightenment and towards the end of the century by Romanticism, with Italy becoming a major centre of Scottish art. The origins of the tradition of Scottish landscape painting are in the capriccios of Italian and Dutch landscapes undertaken by James Norie and his sons.
|
|
"Caravaggio to Canaletto" is the title of a temporary exhibition in the Museum of Fine Arts, Budapest. It's open from 26 October 2013 until 16 February 2014, representing 140 artworks by 100 masters from the Museum of Fine Arts, other collections from abroad and private collections. The exhibition provides a panoramic view of the era from the end of the 16th century until 1760 in Italy: it treats the effect of Caravaggio on the Italian Baroque painting, and shows the way towards Roccoco, Classicism and Realism. It presents the most popular genres from the Biblical themes through still lifes to capriccios.
|
|
Silbiger, Alexander, ed. Frescobaldi Studies.5. Frescobaldi showed an increasing interest in composing intricate works out of unrelated individual pieces during his last years of composing.Silbiger, Alexander, ed. Frescobaldi Studies.7. The last work Frescobaldi composed, Cento partite sopra passacagli, was his most impressive creative work. The Cento displays Frescobaldi's new interest in combining different pieces that were first written independently.Silbiger, Alexander, ed. Frescobaldi Studies. 7. The composer's other works include collections of canzonas, fantasias, capriccios, and other keyboard genres, as well as four prints of vocal music (motets and arias; one book of motets is lost) and one of ensemble canzonas.
|
|
Like Opus 8, there are thematic links between the dances in some of the suites. The remaining collection of da camera sonatas, Varie partite del passemezo, ciaccona, capricii, e passagalli, a tre due violini, e violone, o spinetta, Opus 7 (1682), is a highly unusual set for the period, containing only dance movements employing variation technique, rather than balletti, correnti and other common dances. There are two Partite, one using the chord pattern of the passamezzo moderno and the other of the passamezzo antico, a Ciaconna, based on the descending tetrachord, two capriccios based on composed bass-lines, and three ‘Passagallos’ [sic], all based on the descending tetrachord.
|
|
Cover of the Canzione Spirituali a Una, a Due et a Tre Voci, of 1640 Pietro Paolo Sabbatino or Sabbatini (1600 - 1657) was an Italian composer, orchestra director and musician, who was born and died in Rome, and worked mainly in his home city. He composed mostly popular songs of his time, such as villanellas, capriccios, canzones and canzonettas, but he also composed religious music works, such as psalms. His best known work are the Canzoni Spirituali a Una, a Due et a Tre Voci (Spiritual Songs at One, Two and Three Voices), published in 1640. He wrote a textbook on religious music, titled Toni Ecclesiastici Colle sue Intonazioni all'Uso Romano (1650).
|
|
There are about equal numbers of paintings of dead animals, usually in a kitchen setting, or as hunting trophies in a landscape, and of live ones, often in ferocious combat. In the Dutch Golden Age such specialists tended to produce smaller genre paintings concentrating on their specialism. Animal painters came lower down in the hierarchy of genres, but the best painters could make a very good living; many royal and aristocratic patrons were more interested in their subject matter than that of the more prestigious genres. Mainly in England, there were still more specialised painters from the 18th century who produced portraits of racehorses and prize specimens of livestock, whereas in France animal subjects continued to be decorative capriccios often set around garden statuary.
|
|
Merula's secular music includes solo madrigals with instrumental accompaniment, sometimes using the Monteverdian stile concitato tremolo effect, and in formal design prefiguring the later Baroque cantata with its division into aria and recitative. He wrote one opera, La finta savia, produced in 1643, and based on a libretto by Giulio Strozzi. Among his instrumental music are numerous ensemble canzonas, whose sectional structure looks ahead to the sonata da chiesa, and his writing for strings—especially the violin—is exceptionally idiomatic, also looking ahead to the highly developed writing of the late Baroque. He also wrote canzonettas, dialogues, keyboard toccatas and capriccios, a Sonata cromatica, and numerous other pieces which display an interest in just about every contemporary musical trend in north Italy.
|
|
Most likely the nobleman influenced Macque, but it is possible that some of the influence went the other way, since dating of Gesualdo's individual compositions is difficult, due to his publication of his work in large blocks, many years apart. Some of the madrigals Macque wrote after 1599 include "forbidden" melodic intervals (such as sevenths), chords entirely outside of the Renaissance modal universe (such as F# major) and melodic passages in consecutive chromatic semitones. In addition to his madrigals, he was a prolific composer of instrumental music, writing canzonas, ricercars, capriccios and numerous pieces for organ. Some of his music is extraordinarily progressive harmonically, and can be compared with the vocal music of Gesualdo: the Consonanze stravaganti (exact date unknown, probably early 17th century) is a particularly good example.
|
|
During the early 1980s Yukhananov focused his interests on directing and enrolled in the prestigious directing course headed by the renowned Anatoly Efros at GITIS (Russian Theatre Art Academy). The course was run jointly by Efros and the equally famous Soviet director, Anatoly Vasiliev. Yukhananov’s first directing experience was as director's assistant to Anatoly Efros on the 1983 production of The Tempest by Shakespeare. Yukhananov also played the part of Caliban. From 1983 to 1985 Yukhananov was director’s assistant on Vasiliev's now-legendary production of Cerceau, written by Viktor Slavkin. This experience developed Yukhananov’s understanding of theatre, which later influenced his own method of directing. The most notable among Yukhananov’s early experimental projects is Capriccios, based on a record of the trial of Joseph Brodsky in a Soviet court. The lead role in this project was performed by Nikita Mikhailovsky.
|
|
His marine paintings cover the whole range of subjects typical for marine painters in the 17th century such as sailing ships and galleys at sea, port scenes, Mediterranean harbour capriccios, ships in distress, storms at sea and naval battles. These compositions show him to be steeped in Flemish and Dutch traditions of marine painting. His seascapes evidence a vigour and vividness of colour while some of his battle scenes are surprisingly calm. Portrait of Sir Robert Clayton He created many renderings of naval battles and his earliest dated painting is a 1672 imaginary interpretation of the Battle of Actium (National Maritime Museum, London).Lorenzo A. Castro (Antwerp, active 1672–1686), A capriccio of a Mediterranean harbour with elegant figures disembarking, shipping beyond at Christie's He painted a panoramic view of the Battle of Lepanto (Sold at Bonhams on 8 December 2004 in London, lot 135).
|
|
A 1630 painting of St. Peter's Basilica in Rome, where Frescobaldi worked at the time of the publication of Fiori musicali Fiori musicali was first published in Venice in 1635, when Frescobaldi was working as organist of St. Peter's Basilica in Rome, under the patronage of Pope Urban VIII and his nephew Cardinal Francesco Barberini. It may have been conceived as music for St Mark's Basilica or a similarly important church.Silbiger, Grove The collection was printed by Giacomo Vincenti (a celebrated publisher who had previously published reprints of Frescobaldi's capriccios), and dedicated to Cardinal Antonio Barberini, Francesco's younger brother. The full title of Frescobaldi's work is Fiori musicali di diverse compositioni, toccate, kyrie, canzoni, capricci, e recercari, in partitura. The fiori musicali bit was not uncommon in the early 17th century, used by composers such as Felice Anerio, Antonio Brunelli, Ercole Porta, Orazio Tarditi, and others.
|
|