Barocco-Suite No. 5 Op. 23
[orch] durée: 16' 1.1.cor ang(clar).1.0 – 0.0.0.0 – 3va.vc.db or 2vl.va.vc.db
Description
With a suite as a sequence of baroque dances, Kurt Atterberg refers to the roots of the genre. The connection is not limited to formal aspects, however; the tonal language of the “Barocco Suite” is also based on music “in the old Italian style.” Atterberg, for example, had been fascinated by the music of Domenico Scarlatti and other Baroque music, especially for the violin, since his childhood. Also, worthy of mention is Arcangelo Corelli, to whom Atterberg refers in numerous pieces.
The “Barocco Suite” represented, as Atterberg himself put it, the “basic element” for his incidental music to William Shakespeare’s Winter’s Tale, which was heard in Stockholm in 1923. The instrumentation of the Barocco Suite, like that of the later incidental music, was based on the possibilities of the small theater orchestra in Stockholm.
MM 2301310
hire material
Description
With a suite as a sequence of baroque dances, Kurt Atterberg refers to the roots of the genre. The connection is not limited to formal aspects, however; the tonal language of the “Barocco Suite” is also based on music “in the old Italian style.” Atterberg, for example, had been fascinated by the music of Domenico Scarlatti and other Baroque music, especially for the violin, since his childhood. Also, worthy of mention is Arcangelo Corelli, to whom Atterberg refers in numerous pieces.
The “Barocco Suite” represented, as Atterberg himself put it, the “basic element” for his incidental music to William Shakespeare’s Winter’s Tale, which was heard in Stockholm in 1923. The instrumentation of the Barocco Suite, like that of the later incidental music, was based on the possibilities of the small theater orchestra in Stockholm.
Table des matières
| 1. | Entrata |
| 2. | Sarabanda |
| 3. | Gavotta |
| 4. | Pastorale e Gagliarda |
| 5. | Siciliana |
| 6. | Giga |