Author: Hyehyun Sung
Publisher:
ISBN:
Category : Music
Languages : en
Pages :
Book Description
This study seeks to discover Handel’s likely improvisational process, specifically in the adagio ad libitum sections of his organ concertos. Handel indicated organo ad libitum in twelve adagio movements in the fifteen organ concertos, offering extensive opportunities for extemporaneous performance. The study helps today’s organists understand Handel’s improvisational process and create their own improvisations in the adagio sections of his organ concertos. Chapter One explains the historical concepts needed to understand the scant notation in Handel’s adagios. A Baroque musician read the indication “adagio” not as a mere tempo marking but as a genre requiring improvisation. Handel’s music education included the development of improvisational skills requiring the memorization of musical formulas that he could retrieve at the moment of performance. The steps involved in the improvisational process can be labeled with rhetorical terms from Baroque education: dispositio (the underlying large-scale framework), elaboratio (voice-leading), and decoratio (surface-level ornamentation). Understanding such concepts is a preliminary step towards creating one’s own adagio ad libitum improvisations in a style befitting a Handel organ concerto. Chapter Two describes the improvisational process as applied to Handel’s scores. The primary material that Handel left becomes a starting point in the construction-deconstruction-reconstruction cycle, a process borrowed from Pamela Ruiter-Feenstra. The underlying harmonic framework and voice-leading progressions of Handel’s complete adagios are studied and analyzed, along with the surface-level ornamentation. The analysis reveals musical formulas employed by Handel. These formulas are then used to generate two newly composed adagios, which can easily be performed as though they were improvisations. Baroque treatises that might have influenced Handel’s formation as a young musician are also investigated in order to understand conventional Baroque improvisational practices. The study includes musical examples from treatises by Wolfgang Gaspar Printz, Johann Moritz Vogt, Friedrich Niedt, Johann Joachim Quantz, and Michael Wiedeburg. Handel’s own music and theoretical sources help modern organists create improvisations for the adagio ad libitum sections of his organ concertos.
Handel's Organo Ad Libitum
Author: Hyehyun Sung
Publisher:
ISBN:
Category : Music
Languages : en
Pages :
Book Description
This study seeks to discover Handel’s likely improvisational process, specifically in the adagio ad libitum sections of his organ concertos. Handel indicated organo ad libitum in twelve adagio movements in the fifteen organ concertos, offering extensive opportunities for extemporaneous performance. The study helps today’s organists understand Handel’s improvisational process and create their own improvisations in the adagio sections of his organ concertos. Chapter One explains the historical concepts needed to understand the scant notation in Handel’s adagios. A Baroque musician read the indication “adagio” not as a mere tempo marking but as a genre requiring improvisation. Handel’s music education included the development of improvisational skills requiring the memorization of musical formulas that he could retrieve at the moment of performance. The steps involved in the improvisational process can be labeled with rhetorical terms from Baroque education: dispositio (the underlying large-scale framework), elaboratio (voice-leading), and decoratio (surface-level ornamentation). Understanding such concepts is a preliminary step towards creating one’s own adagio ad libitum improvisations in a style befitting a Handel organ concerto. Chapter Two describes the improvisational process as applied to Handel’s scores. The primary material that Handel left becomes a starting point in the construction-deconstruction-reconstruction cycle, a process borrowed from Pamela Ruiter-Feenstra. The underlying harmonic framework and voice-leading progressions of Handel’s complete adagios are studied and analyzed, along with the surface-level ornamentation. The analysis reveals musical formulas employed by Handel. These formulas are then used to generate two newly composed adagios, which can easily be performed as though they were improvisations. Baroque treatises that might have influenced Handel’s formation as a young musician are also investigated in order to understand conventional Baroque improvisational practices. The study includes musical examples from treatises by Wolfgang Gaspar Printz, Johann Moritz Vogt, Friedrich Niedt, Johann Joachim Quantz, and Michael Wiedeburg. Handel’s own music and theoretical sources help modern organists create improvisations for the adagio ad libitum sections of his organ concertos.
Publisher:
ISBN:
Category : Music
Languages : en
Pages :
Book Description
This study seeks to discover Handel’s likely improvisational process, specifically in the adagio ad libitum sections of his organ concertos. Handel indicated organo ad libitum in twelve adagio movements in the fifteen organ concertos, offering extensive opportunities for extemporaneous performance. The study helps today’s organists understand Handel’s improvisational process and create their own improvisations in the adagio sections of his organ concertos. Chapter One explains the historical concepts needed to understand the scant notation in Handel’s adagios. A Baroque musician read the indication “adagio” not as a mere tempo marking but as a genre requiring improvisation. Handel’s music education included the development of improvisational skills requiring the memorization of musical formulas that he could retrieve at the moment of performance. The steps involved in the improvisational process can be labeled with rhetorical terms from Baroque education: dispositio (the underlying large-scale framework), elaboratio (voice-leading), and decoratio (surface-level ornamentation). Understanding such concepts is a preliminary step towards creating one’s own adagio ad libitum improvisations in a style befitting a Handel organ concerto. Chapter Two describes the improvisational process as applied to Handel’s scores. The primary material that Handel left becomes a starting point in the construction-deconstruction-reconstruction cycle, a process borrowed from Pamela Ruiter-Feenstra. The underlying harmonic framework and voice-leading progressions of Handel’s complete adagios are studied and analyzed, along with the surface-level ornamentation. The analysis reveals musical formulas employed by Handel. These formulas are then used to generate two newly composed adagios, which can easily be performed as though they were improvisations. Baroque treatises that might have influenced Handel’s formation as a young musician are also investigated in order to understand conventional Baroque improvisational practices. The study includes musical examples from treatises by Wolfgang Gaspar Printz, Johann Moritz Vogt, Friedrich Niedt, Johann Joachim Quantz, and Michael Wiedeburg. Handel’s own music and theoretical sources help modern organists create improvisations for the adagio ad libitum sections of his organ concertos.
Handel
Author: Charles Francis Abdy Williams
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 298
Book Description
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 298
Book Description
A Performing Edition of Handel's Organ Concerto in A Major, Number 2 of the Second Set Published 1740
Author: Douglas Milner Moorehead
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 170
Book Description
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 170
Book Description
The Life of George Frederick Handel
Author: William Smyth Rockstro
Publisher: London, Macmillan
ISBN:
Category : Composers
Languages : en
Pages : 478
Book Description
Publisher: London, Macmillan
ISBN:
Category : Composers
Languages : en
Pages : 478
Book Description
Historical organ-recitals: Masters of the 18th and 19th centuries: Handel, Mozart, etc
Author: Joseph Bonnet
Publisher:
ISBN:
Category : Organ music
Languages : en
Pages : 96
Book Description
Publisher:
ISBN:
Category : Organ music
Languages : en
Pages : 96
Book Description
A Third Set of Six Concertos for the Harpsicord or Organ. [Organ part.]
Author: George Frideric Handel
Publisher:
ISBN:
Category : Concertos (Organ), Arranged
Languages : en
Pages : 58
Book Description
Publisher:
ISBN:
Category : Concertos (Organ), Arranged
Languages : en
Pages : 58
Book Description
George Frederic Handel
Author: Newman Flower
Publisher:
ISBN:
Category :
Languages : en
Pages : 512
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 512
Book Description
Georg Friedrich Handels Werke
Author: George Frideric Handel
Publisher:
ISBN:
Category : Instrumental music
Languages : en
Pages : 212
Book Description
Publisher:
ISBN:
Category : Instrumental music
Languages : en
Pages : 212
Book Description
George Frideric Handel
Author: Newman Flower
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 522
Book Description
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 522
Book Description
Concertos and Choral Works
Author: Donald Francis Tovey
Publisher: Courier Corporation
ISBN: 0486784509
Category : Music
Languages : en
Pages : 449
Book Description
Part of Tovey's Essays in Musical Analysis, Concertos and Choral Works, companion volume to Symphonies and other Orchestral Works, contains some of Tovey's most important essays on Bach, Beethoven, Dvorak, Mozart, and Brahms. These writings are known for their clarity and wit, and are considered among the best of any classical music writing.
Publisher: Courier Corporation
ISBN: 0486784509
Category : Music
Languages : en
Pages : 449
Book Description
Part of Tovey's Essays in Musical Analysis, Concertos and Choral Works, companion volume to Symphonies and other Orchestral Works, contains some of Tovey's most important essays on Bach, Beethoven, Dvorak, Mozart, and Brahms. These writings are known for their clarity and wit, and are considered among the best of any classical music writing.