Direkte Einträge im GWV
GWV 535 |
Sinfonia / a / 2 Corn / 2 Flaut. Tr. / 2 Violin / Viola / e / Cembalo. / [Incipit] / Christoph Graupner. |
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470-40
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Kantaten & Lieder zur Weihnacht
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CD 2026
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Holdsworth, Nigel John:
The 112 Autograph Sinfonias of Christoph Graupner 1683-1760The primary task has been to create readable scores in modern notation. This has been achieved by using Sibelius software and as very few recordings exist, brings with it the benefit of being able to hear a computerised performance. This corpus being a fairly coherent body of works assembled in all probability towards the closing years of Graupner's long life presents therefore a window into the workings of this established and respected composer at the height of his prolific and creative powers. Graupner's Sinfonias being definitive and numerous can therefore be seen as representative and thus an authoritative statement to the level of achievement to date within the ongoing development of the Symphony as a compositional form. Alongside the development of musical forms, Graupner's works can also be viewed from the perspective of the technological development and evolution of the use of musical instruments and thus within a Northern European context, the development of what was to become the symphony orchestra. These 112 autographed works, although undated, show a remarkable degree of consistency in their visual appearance, with very few exceptions where the full score is missing. Each manuscript states the instrumentation at the head of the title page. This is further supported by the instrumental parts themselves; each one usually copied out in Graupner's own neat and fluent handwriting.Certain characteristics are clear from the outset. The use of the word Continuo in the heading of each title page is a clear indication that his 'mindset' and compositional processes are firmly rooted in the teachings and understandings of the Baroque. Certain Sinfonias are structured as a suite of dance movements and therefore Overtures in all but name, whilst other examples show a gravitation towards a three (fast/slow/fast) or even four movement (fast/slow/Menuet/fast) form. The continual use of the Menuet (often followed by a Trio and Da Capo) in preference to other dance forms shows that Graupner can be placed centrally in the transition as the Baroque evolved through 'Sturm und Drang' and the Rococo into the Classical.Graupner's harmonic language sometimes displays surprisingly foreword-thinking techniques. His use of syncopation and continuous modulation could be viewed as a pre-echo of early twentieth-century idioms. One particularly striking harmonic colour is the use of the augmented fourth between the melodic line and the bass. With regards to the orchestration, I am particularly struck by the almost complete absence of the Hautbois although this instrument is widely and effectively utilised in the cantatas where it is often scored with an obligato part. Abrufbar Online unter 5358/openscience-9339" target="_blank">https://doi.org/10.25358/openscience-9339 abrufbar. |
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Sonstiger Content
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"Capriccio a Casa" & "Mit frischem Wind"
Ausführende:
Datum/Ort: Samstag, 08. August 2020, 19:15 Uhr; Hof der Kommende, Rheinfelden (CH);
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German Baroque Masters
Ausführende:
Datum: Samstag, 30. Oktober 2021, 20.00 Uhr und Sonntag, 31. Oktober 2021, 15.30 Uhr
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