Musicon / Musical education / The Gigue
Great Britain’s contribution to the Suite was the final Gigue, which is our jolly and familiar friend the jig, and in all probability is Keltic in origin. It is, as everybody knows, a rollicking measure in 6-8, 12-8, or 4-4 time, with twelve triplet quavers in a measure, and needs no ::More
Musicon / Musical education / The Allemande
The Allemande, as its name indicates, was a dance of supposedly German origin. For that reason the German composers, when it came to them from France, where the suite had its origin, treated it with great partiality. It is in moderate tempo, common time, and made up of two periods of eight ::More
Musicon / Telemann / Telemann, Sonatas for two flutes, with Schultz and Rosenfeld
Back in those days Telemann was more popular than Bach! This changed quickly, of course, and today things have aquired their proper dimensions. Telemann may be far far away from Bach, but he is not indifferent – not at all, as I’m thinking listening to his sonatas for two flutes – ::More
Musicon / Music and Literature / A mysterious organist
Twice or three times during my walks I had heard organ music coming from a small church at the edge of town. I had not stopped to listen. The next time I passed this church I heard the music again and recognized Bach. I went to the door, found it locked, and because the street was almost deserted ::More
Musicon / Music and Literature / The Musical Spirit of Germany
I had been to a recital of old church music in the Cathedral, a beautiful, though melancholy, excursion into my past life, to the fields of my youth, the territory of my ideal self. Beneath the lofty Gothic of the church whose netted vaulting swayed with a ghostly life in the play of the sparse ::More
