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FRANCESCO SAVERIO GEMINIANI (1687 - 1762)
Concerto grosso for concertino violin I, violin II, viola, cello, ripieno strings and basso continuo in D ...
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FRANCESCO SAVERIO GEMINIANI (1687 - 1762)
Concerto grosso for concertino violin I, violin II, viola, cello, ripieno strings and basso continuo in D major Op. 2 No.4
1. Andante
2. Allegro
3. Adagio
4. Allegro
Performed by Tafelmusik Directed by Jeanne Lamon
*Francesco Saverio Geminiani was an Italian violinist, composer, and music theorist.
He received lessons in music from Alessandro Scarlatti, and studied the violin under Carlo Ambrogio Lonati in Milan and afterwards under Arcangelo Corelli. From 1711, he led the opera orchestra at Naples, as Leader of the Opera Orchestra and concertmaster, which gave him many opportunities for contact with Alessandro Scarlatti. In 1714, with the reputation of a virtuoso violinist, he arrived in London, where he was taken under the special protection of William Capel, 3rd Earl of Essex, who remained a consistent patron. In 1715 he played his violin concerti with Handel at the keyboard, for the court of George I.
Geminiani made a living by teaching and writing music, and tried to keep pace with his passion for collecting by dealing in art, not always successfully. Many of his students went on to have successful careers such as Charles Avison, Matthew Dubourg, Michael Christian Festing, Bernhard Joachim Hagen, and Cecilia Young.
After visiting Paris and residing there for some time, he returned to England in 1755. In 1761, on one of his sojourns in Dublin, a servant robbed him of a musical manuscript on which he had bestowed much time and labour. His vexation at this loss is said to have hastened his death.
He appears to have been a first-rate violinist. His Italian pupils reportedly called him Il Furibondo, the Madman, because of his expressive rhythms. He is best known for three sets of concerti grossi, his Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746), (there are 42 concerti in all) which introduce the viola as a member of the concertino group of soloists, making them essentially concerti for string quartet. These works are deeply contrapuntal to please a London audience still in love with Corelli, compared to the galant work that was fashionable on the Continent at the time of their composition. Geminiani also reworked a group of violin sonatas from his teacher Corelli into concerti grossi.
His "Art of Playing the Violin" published in London (1751) is the best-known summation of the 18th century Italian method of violin playing, and is an invaluable source for study of late Baroque performance practice, giving detailed information on vibrato, trills, and other violin techniques. His Guida harmonica (c.1752, with an addendum in 1756) is one of the most unusual harmony treatises of the late Baroque, serving as a sort of encyclopedia of basso continuo patterns and realizations. There are 2236 patterns in all, and at the end of each pattern is a page number reference for a potential next pattern; thus a student composer studying the book would have an idea of all the subsequent possibilities available after any given short bass line.
Geminiani published a number of solos for the violin, three sets of violin concerti, twelve violin trios, "The Art of Accompaniment on the Harpsichord, Organ, etc." (1754), "Lessons for the Harpsichord", "Art of Playing the Guitar" (1760) and some other works.
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Aletheia216 liked a video
(3 days ago)

FRANCESCO SAVERIO GEMINIANI (1687 - 1762)
Concerto grosso for two violins, cello, strings and basso continuo in E minor Op. 3 No. 3
1. Adagio e stacc...
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FRANCESCO SAVERIO GEMINIANI (1687 - 1762)
Concerto grosso for two violins, cello, strings and basso continuo in E minor Op. 3 No. 3
1. Adagio e staccato - Allegro
2. Adagio
3. Allegro
Performed by Europa Galante Directed by Fabio Biondi
*Francesco Saverio Geminiani was an Italian violinist, composer, and music theorist.
He received lessons in music from Alessandro Scarlatti, and studied the violin under Carlo Ambrogio Lonati in Milan and afterwards under Arcangelo Corelli. From 1711, he led the opera orchestra at Naples, as Leader of the Opera Orchestra and concertmaster, which gave him many opportunities for contact with Alessandro Scarlatti. In 1714, with the reputation of a virtuoso violinist, he arrived in London, where he was taken under the special protection of William Capel, 3rd Earl of Essex, who remained a consistent patron. In 1715 he played his violin concerti with Handel at the keyboard, for the court of George I.
Geminiani made a living by teaching and writing music, and tried to keep pace with his passion for collecting by dealing in art, not always successfully. Many of his students went on to have successful careers such as Charles Avison, Matthew Dubourg, Michael Christian Festing, Bernhard Joachim Hagen, and Cecilia Young.
After visiting Paris and residing there for some time, he returned to England in 1755. In 1761, on one of his sojourns in Dublin, a servant robbed him of a musical manuscript on which he had bestowed much time and labour. His vexation at this loss is said to have hastened his death.
He appears to have been a first-rate violinist. His Italian pupils reportedly called him Il Furibondo, the Madman, because of his expressive rhythms. He is best known for three sets of concerti grossi, his Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746), (there are 42 concerti in all) which introduce the viola as a member of the concertino group of soloists, making them essentially concerti for string quartet. These works are deeply contrapuntal to please a London audience still in love with Corelli, compared to the galant work that was fashionable on the Continent at the time of their composition. Geminiani also reworked a group of violin sonatas from his teacher Corelli into concerti grossi.
His "Art of Playing the Violin" published in London (1751) is the best-known summation of the 18th century Italian method of violin playing, and is an invaluable source for study of late Baroque performance practice, giving detailed information on vibrato, trills, and other violin techniques. His Guida harmonica (c.1752, with an addendum in 1756) is one of the most unusual harmony treatises of the late Baroque, serving as a sort of encyclopedia of basso continuo patterns and realizations. There are 2236 patterns in all, and at the end of each pattern is a page number reference for a potential next pattern; thus a student composer studying the book would have an idea of all the subsequent possibilities available after any given short bass line.
Geminiani published a number of solos for the violin, three sets of violin concerti, twelve violin trios, "The Art of Accompaniment on the Harpsichord, Organ, etc." (1754), "Lessons for the Harpsichord", "Art of Playing the Guitar" (1760) and some other works.
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Aletheia216 liked a video
(3 days ago)
ANTONIO VIVALDI (1678-1741)
Concerto for four violins, cello, strings, and basso continuo in D major Op. 3 No. 1 RV549 "L'estro Armonico"
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ANTONIO VIVALDI (1678-1741)
Concerto for four violins, cello, strings, and basso continuo in D major Op. 3 No. 1 RV549 "L'estro Armonico"
1. Allegro
2. Largo e spicatto
3. Allegro
Performed by Tafelmusik
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Interesting Q: it does not follow that because moral propositions are not grounded in human minds that therefore they are not grounded in a rational mind. If you mean by "objective morality" the essential instantiations of the Good: No, humanity does not exist as a necessary condition for the Good. Similarly (one level down), as the Good exists in the world of say contingent being, humanity interacts as 'secondary cause' accidentally. Moving down completely to our nature (thus two higher) the truth of the Good as comprehended in the natural order does have epistemic conditions of say apprehension, but those wouldn't indicate that the truth value of 'moral propositions' are by necessary reduction our nature. So, when you ask about stealing apart from humanity there is either an incomplete scenario or a dangling predicate.