tag:blogger.com,1999:blog-8827040061563065922.post6105956511326158005..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Origins of the Instrumental ConcertoBryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8827040061563065922.post-55002820480517247882014-10-16T08:29:49.193-05:002014-10-16T08:29:49.193-05:00Thanks, Nathaniel! I have updated my requiem post ...Thanks, Nathaniel! I have updated my requiem post with some Biber on your recommendation.Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-20876870267306798432014-10-15T18:46:28.273-05:002014-10-15T18:46:28.273-05:00Hi Bryan,
I was going to reply to your requiem po...Hi Bryan,<br /><br />I was going to reply to your requiem post but it also ties in very nicely with this one too.<br /><br />I was going to list two requiem settings, one by Charpentier and the F minor setting by Biber as two good examples of the 'in between' from the renaissance choral settings and the soloist, choral settings of Mozart and beyond. The Biber in particular has a clear distinction between soloists and choir but the actual solo passages a quite brief and the soloists as a group tend to sing as an ensemble...like a small second choir.<br /><br />The Biber requiem was written in 1692 iirc and makes extensive use of descending 5ths from simple short harmonic passages with a single note from the sequence to support a single melodic note to whole sections/movements based on on it. It crops up everywhere and it's quite interesting how varied the music is while all being rooted by this progression (ba dum tss!).Anonymoushttps://www.blogger.com/profile/13680625603206089113noreply@blogger.com