Music

Codetta (music)

Codetta (Italian for “little tail”, the diminutive form) has a similar purpose to the coda, but on a smaller scale, concluding a section of a work instead of the work as a whole. A typical codetta concludes the exposition and recapitulation sections of a work in sonata form, following the second (modulated) theme, or the closing theme (if there is one). Thus, in the exposition, it usually appears in the secondary key, but, in the recapitulation, in the primary key. The codetta ordinarily closes with a perfect cadence in the appropriate key, confirming the tonality. If the exposition is repeated, the codetta is also, but sometimes it has its ending slightly changed, depending on whether it leads back to the exposition or into the development sections.

https://en.wikipedia.org/wiki/Coda_(music)

Jean-Baptiste Lully – Wikipedia

Jean-Baptiste Lully (UK: /ˈlʊli/, US: /lˈl/; French: [ʒɑ̃ baˈtist lyˈli]; born Giovanni Battista Lulli, Italian: [ˈlulli]; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661.

https://en.wikipedia.org/wiki/Jean-Baptiste_Lully

Chord

Figured bass, or thoroughbass, is a kind of musical notation in which numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, lute (or other instruments capable of playing chords) play in relation to the bass note that these numbers and symbols appear above or below. Figured bass is closely associated with basso continuo, a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music (1600–1750), though rarely in modern music.

https://simple.wikipedia.org/wiki/Chord

Johann Pachelbel

Johann Pachelbel (baptised 1 September 1653 – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.

Pachelbel’s music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.

He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition[citation needed]. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.

https://en.wikipedia.org/wiki/Johann_Pachelbel

Passacaglia and Fugue in C minor, BWV 582

Passacaglia and Fugue in C minor (BWV 582) is an organ piece by Johann Sebastian Bach. Presumably composed early in Bach’s career, it is one of his most important and well-known works, and an important influence on 19th and 20th century passacaglias: Robert Schumann described the variations of the passacaglia as “intertwined so ingeniously that one can never cease to be amazed.”

https://en.wikipedia.org/wiki/Passacaglia_and_Fugue_in_C_minor,_BWV_582

Passacaglia

Bernardo Storace, last bars of Passagagli sopra A la mi re and beginning of Passagagli sopra C sol fa ut, from Selva di varie compositioni(Venice, 1664)

The passacaglia (/pæsəˈkɑːliə/; Italian: [pasːaˈkaʎːa]) is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre.

https://en.wikipedia.org/wiki/Passacaglia

Concerto grosso

A concertino, literally “little ensemble”, is the group of soloists in a concerto grosso. This is opposed to the ripieno and tutti which is the larger group contrasting with the concertino.

Though the concertino is the smaller of the two groups, its material is generally more virtuosic than that of the ripieno. Further, the concertino does not share thematic material with the ripieno, but presents unique ideas. This contrast of small group to large group and one thematic group against another is very characteristic of Baroque ideology—similar to terraced dynamics where the idea is significant contrast.

https://en.wikipedia.org/wiki/Concerto_grosso#Concertino

Erdmann Neumeister

Erdmann Neumeister (12 May 1671 – 18 August 1756) was a German Lutheran pastor and hymnologist.

He was born in Uichteritz near Weißenfels in the province Saxonia of Germany. As a 15-year-old boy he started his studies in Schulpforta, an old humanistic gymnasium. He became a student of poetology and theology in the University of Leipzig between 1691 and 1697. He began his career as a minister of religion in the spa town of Bibra. He became diaconus (deacon) for the duke of Saxonia-Weissenfels. From 1705 to 1715, he was superintendent in Sorau (today Zary in Poland). He left for Hamburg because of theological disputes. (As an adult, he would become a vehement opponent of Pietism). He died in Hamburg as an honoured main pastor. His grave in the St. Jacobi Church was destroyed during World War II.

https://en.wikipedia.org/wiki/Erdmann_Neumeister