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  • noun

Synonyms for allemande

egg-thickened veloute

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References in periodicals archive ?
In one case, the allemanda is omitted, and in another an 'extra' corrente and sarabanda are appended; but the method of grouping different dances in suites by key is clear.
1 Balletto 1 (b) 2 Balletto 2 (B flat) 3 Balletto 3 (E flat) 4 Balletto 4, Giga (D) 5 Allemanda 1, Giga (d) 6 Allemanda 2, Zoppa (g) 7 Corrente 1, Giga (b) 8 Corrente 2, Giga, Sarabanda (D) 9 Corrente 3, Giga, Sarabanda (e) 10 Corrente 4, Sarabanda (B flat) 11 Corrente 5 (f) 12 Balletto, Giga (D) 13 Giga (d) 14 Giga (a)
The specific content of the groups varies; indeed the only constant is the presence of at least one allemanda in each sonata (similar to the balletto in Vitali's Op.
Thus dance groups could apparently be composed of, say, Allemanda 1, Corrente 3 and Giga 2 without disturbing the seventeenth-century player.
A very approximate model of his 'underlying' structure can be obtained by forming a sequence of those movements occurring either in all six works or in five of them: Preludio, Allemanda, Corrente, Balletto, Giga, Menuet, Pira, Chiusa.
The first group comprises, in descending order of formality, the allemanda, the brando (equivalent to the French branle), the balletto and the aria; the second, the corrente and sarabanda.
The Allemanda of Sonata I and the Corrente of Sonata II are each followed by a movement described as 'sua variatione'.
The allemanda of no.2 iS a superb movement; it well displays Rachel Brown's understanding of Leclair's complex melodic line, which is typically characterized by a wide range of rhythms and intricate phrasing marks.
Movements have a dear sense of shape and proportion, whether they are longer multi-sectional pieces, such as the splendid prelude of op.4 no.6 with its dramatic five-part adagio-allegro sandwich, or the ensuing brief Allemanda, whose dotted rhythms receive a delightfully crisp performance.
Chiara Banchini copes well with the occasional more virtuoso solos, as in the second movement of the final concerto, and the cracking pace of the Allemanda of no.11 elicits a bravura performance from cellist Gaetano Nasillo.
The chromatic gavotta of no.2 (RV12), with its extravagant sequences, receives an aggressive bass line, and there is a rather scratchy opening to the seventh sonata (RV6); this also suffers from severe tempo fluctuations and, in the final allemanda, a missing rest.