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In the orchestral suite Images, sandwiched between Gigues and Debussy's vernal Rondes de Printemps, is the triptych of Spanish musical pictures Iberia.
Virtually absent from Telemann's demonstrably later trios is the French gigue (ex.3), with its dotted `sautillant' figure (also characteristic of the canarie) and imitative opening, as opposed to the Italian giga, which typically features even quavers on the pulse level (i.e.
The opening movement, with its improvisalory moments, chordal textures, and l'ast polyphonic passages, requires virtuosic playing abilities, as do the gigues, which build increasingly richer chordal passages.
Skidmore's cantabile suggested a soulful humanity in the slow movements, even a sense of questing improvisation, while in the Courantes and Gigues his nimble fingering and bowing displayed a quietly exhilarating lightness of touch that remained firmly within the boundaries of Baroque style and conventions.
Allemandes, courantes, sarabandes and ballets feature prominently in this manuscript, but there are also a few pavane, galliards, gigues and voltes.
(92.) See also Francois de Medicis (Paris 2012) on the integration of folklore in Gigues.
We had an unusual but effective movement-order here: Gigues, Rondes de Printemps and finally the picturesque Iberia.
Pieces of constant motoric impetus, such as the gigues, are excellently done.
The principal part of the volume, the first thirty leaves written from the front, contains essentially harpsichord music: twenty-nine allemandes; twenty-six courantes; eight sarabandes; nine gigues (or similar movements); four duos (possibly also for organ, or perhaps viols); three pavanes; and various sundry pieces that appear to be derived from instrumental music for ballets.
Nevertheless, the new scoring works well enough in the gigues that end both dance suites, where the percussive effect of two harpsichords adds impetus to the rhythms; but the downside is that the extra weight tends to make the slow movements ponderous, merely emphasizing their leisurely tempos.
Hudson, a specialist in Baroque dance music (his recent volume The Allemande, the Balletto, and the Tanz [Cambridge: Cambridge University Press, 1986] is superb), shows how Schultheiss worked to create suites that are both varied (observable in the ever-changing textures of the preludes and the different meters of the individual gigues, for instance) and unified (observable in the recurring cadential patterns and, in some cases, recurring melodic motives).
He also offers informative discussions on the rhythmic problems of duple-time gigues and allemande-gigues, on the different types of sarabands (including the neat observation that in seventeenth-century French instrumental music "the genre is the character of the piece"), and on the simulation of the lute's "campanella" technique on the harpsichord.
In point of fact, such ability even on the professional level convinces one that, on the contrary, today's slow tempos (sarabandes and courantes) are usually taken too slowly and the fast tempos (gavottes and bourrees, but gigues excepted) usually too fast.
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