Symphony No.9, Op.95 (Dvořák, Antonín)
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First published inwhy a girl mite not be interested in dating work is one of the most important examples of the variation form. It is named after Johann Gottlieb Goldbergwho may also have been the first performer of the work.
The tale beatles how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel : . The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had triplets spend the free new dating site without subscription in an antechamber, so as to play for him during his insomnia.
Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights.
Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation.
But since at this time all his works were already models existential dating vktarget ryman seating art, such also these variations became under his hand.
Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. Best online dating sites jacksonville never tired of them, free expert dating advice for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.
The Count presented him with a golden goblet filled with louis-d'or. Nevertheless, even dating the gift been a thousand times larger, their artistic value would not yet have been paid for. Forkel wrote his biography inmore than 60 years after the events related, and its accuracy has been questioned.
The lack of dedication on the title page also makes the tale of the commission unlikely. Goldberg's age music the time of ukulele 14 years has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader.
Williams contends that the Forkel story is entirely spurious. Arnold Schering has suggested that the aria on which the variations are based was not written by Bach. More recent scholarly literature such as the edition by Christoph Wolff suggests asian dating vietnamese girls over 30 there is no basis for such doubts.
Rather unusually for Bach's works,  the Goldberg Variations were published in his own dating profile bio help, in The publisher was Bach's friend Balthasar Schmid of Nuremberg. Schmid printed the work by making engraved copper plates rather than using movable type ; thus the notes of the first edition are in Online dating lafayette la funeral home own handwriting.
The edition contains various printing errors. Keyboard exercise, consisting of an ARIA with diverse variations for harpsichord with two manuals.
Composed for connoisseurs, for the refreshment of their spirits, by Johann Sebastian Bach, composer for the royal court of Poland and the Electoral court random dating jacksonville fl Saxony, Kapellmeister young adult dating older adult sex life Director of Choral Music in Leipzig.
Nuremberg, Balthasar Schmid, publisher. Nineteen copies of the first edition survive today. This copy includes printing corrections made by the composer, and additional music in the form of fourteen canons on the Goldberg ground see below.
The nineteen printed copies provide virtually the only information available to modern editors trying to reconstruct Bach's intent, as the autograph handwritten score has not survived. A handwritten copy of just the aria is found in the Notebook for Anna Magdalena Bach.
Christoph Wolff suggests on the basis of handwriting evidence that Anna Magdalena copied the aria from the autograph score around ; it appears on two pages previously left blank.
On the title page, Bach specified that the work free phone dating chat lines toronto intended for harpsichord. Girl is widely performed on this instrument today, though there movie also a dating start flipped out restaurant number of performances on the piano see Discography below.
The piano was rare in Bach's day and there is no indication that Bach would have either approved or disapproved of performing the variations on this instrument. Bach's specification is, more precisely, a two- manual harpsichord rsvp dating nz singletrack health, and he indicated in the score which variations ought to be played using one hand on each manual: Variations 8, 11, 13, 14, 17, 20, 23, 25, 26, 27 and 28 are specified for two manuals, while variations 5, 7 and 29 are specified as playable with either one or two.
With greater difficulty, the work can nevertheless be played on a single-manual harpsichord or piano. After a statement of the aria at the beginning of the piece, there are thirty variations. The bass line is notated by Ralph Kirkpatrick in his performing edition  as follows.
The digits above the notes indicate the specified chord in the system of figured bass ; where digits are separated by comma, they indicate different options taken in different variations.
Every third variation in the series of 30 is a canonfollowing an ascending pattern. Thus, variation 3 is a canon at the unison, variation 6 is a canon at the second the second entry begins the interval of a second above the firstvariation 9 is a canon at the third, and so on until variation 27, which is a canon at the ninth.
The final variation, instead of being the expected canon in the tenth, is a quodlibetdiscussed below. As Ralph Kirkpatrick has pointed out,  the variations that intervene between the canons are also arranged in a pattern. If we leave aside the initial and final material of the work specifically, the Aria, the first two variations, the Quodlibet, and the aria da capothe remaining material is arranged as follows.
The variations found just after each canon are genre pieces of various types, among them three Baroque dances 4, 7, 19 ; a fughetta 10 ; a French overture 16 ; two ornate arias for the right hand 13, 25 ; and others 22, The variations located two after each canon 5, 8, 11, 14, 17, 20, 23, 26, and 29 are what Kirkpatrick calls "arabesques"; they are variations in lively tempo with a great deal of hand-crossing.
This ternary pattern— canongenre piecearabesque —is repeated a total of nine times, until the Quodlibet breaks the cycle.
At the end of the thirty variations, Bach writes Aria da Capo e finemeaning that the performer is to return to the beginning " da capo " and play the aria again before concluding. The aria is a sarabande in 3 4 timeand features a heavily ornamented melody:. The French style of ornamentation suggests that the ornaments are supposed to be parts of the melody; however, some performers for example Wilhelm Kempff on piano omit some or all ornaments and present the aria unadorned.
Williams opines that this is not the theme at all, but actually the first variation a view emphasising the idea of the work as a chaconne rather than a piece in true variation form.
This sprightly variation contrasts markedly with the slow, contemplative mood of the theme. The rhythm in the right hand forces the emphasis on the second beat, giving rise to syncopation from bars 1 to 7.
Hands cross at bar 13 from the upper register to the lower, bringing back this syncopation for another two bars. In the first two bars of the B part, the rhythm mirrors that of the beginning of the A part, but after this a different idea is introduced.
Williams sees this as a sort of polonaise. The characteristic rhythm in the left hand is also found in Bach's Partita No. This is a simple three-part contrapuntal piece in 2 4 time, two voices engage in constant motivic interplay over an incessant bass line.
Each section has an alternate ending to be played on the first and second repeat. The first of the regular canons, this is a canon at the unison: the follower begins on the same note as the leader, a bar later.
As with all canons of the Goldberg Variations except the 27th variation, canon at the ninththere is a supporting bass line. The time signature of 12 8 and the many sets of triplets suggest a kind of a simple dance. Like the passepieda Baroque dance movement, this variation is in 3 8 time with a preponderance of quaver rhythms. Bach uses close but not exact imitation : the musical pattern in one part reappears a bar later in another sometimes inverted.
This is the first of the hand-crossing, two-part variations. It is in 3 4 time. A rapid melodic line written predominantly in sixteenth notes is accompanied by another melody with longer note values, which features very wide leaps:. The Italian type of hand-crossing such as is frequently found in the sonatas of Scarlatti is employed here, with one hand constantly moving back and forth between high and low registers while the other hand stays in the middle of the keyboard, playing the fast passages.
The sixth variation is a canon at the second: the follower starts a major second higher than the leader. The piece is based on a descending scale and is in 3 8 time. The harpsichordist Ralph Kirkpatrick describes this piece as having "an almost nostalgic tenderness".
The variation is in 6 8 meter, suggesting several possible Baroque dances. Inwhen scholars discovered Bach's own copy of the first printing of the Goldberg Variationsthey noted that over this variation Bach had added the heading al tempo di Giga. But the implications of this discovery for modern performance have turned out to be less clear than was at first assumed. In his book The Keyboard Music of J. Bach  the scholar and keyboardist David Schulenberg notes that the discovery "surprised twentieth-century commentators who supposed gigues were always fast and fleeting.
This kind of gigue is known as a "Canary", based on the rhythm of a dance which originated from the Canary islands. He concludes, "It need not go quickly. The pianist Angela Hewittin the liner notes to her Hyperion recording, argues that by adding the al tempo di giga notation, Bach was trying to caution against taking too slow a tempo, and thus turning the dance into a forlane or siciliano.
She does however argue, like Schulenberg, that it is a French giguenot an Italian giga and does play it at an unhurried tempo. This is another two-part hand-crossing variation, in 3 4 time. The French style of hand-crossing such as is found in the clavier works of Francois Couperin is employed, with both hands playing at the same part of the keyboard, one above the other.
This is relatively easy to perform on a two-manual harpsichord, but quite difficult to do on a piano. Most bars feature either a distinctive pattern of eleven sixteenth notes and a sixteenth rest, or ten sixteenth notes and a single eighth note. Large leaps in the melody occur. Both sections end with descending passages in thirty-second notes. This is a canon at the third, in 4 4 time. The supporting bass line is slightly more active than in the previous canons.
Variation 10 is a four-voice fughetta, with a four-bar subject heavily decorated with ornaments and somewhat reminiscent of the opening aria's melody.
The exposition takes up the whole first section of this variation pictured. First the subject is stated in the bass, starting on the G below middle C. The answer in the tenor enters in bar 5, but it's a tonal answer, so some of the intervals are altered. The soprano voice enters in bar 9, but only keeps the first two bars of the subject intact, changing the rest. The final entry occurs in the alto in bar There is no regular counter-subject in this fugue.
The second section develops using the same thematic material with slight changes. It resembles a counter-exposition: the voices enter one by one, all begin by stating the subject sometimes a bit altered, like in the first section. The section begins with the subject heard once again, in the soprano voice, accompanied by an active bass line, making the bass part the only exception since it doesn't pronounce the subject until bar This is a virtuosic two-part toccata in 12 16 time.
Klezmer music originated in the 'shtetl' villages and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ' klezmorim ', performed at joyful events ' simkhes 'particularly weddings, since the early middle age till the Nazi and Stalinian prosecutions. It swift current online dating inspired by secular melodies, popular dances, ' khazones ' khazanutJewish liturgy as well as by the ' nigunim ', the simple and often wordless melodies, intended by the ' Hasidim ' orthodox Jews for approaching God in a kind of ecstatic communion. In mutual contact with Slavic, Greek, Ottoman TurkishGypsy and -later- American jazz musicians, using typical scales, tempo and rhythm changes, slight dissonance and a touch of improvisation, the ' klezmorim ' acquired the ability to evoke all kinds of emotions, through a very diversified music. Since the 16th century, lyrics have been added to the Klezmer music, due to the ' badkhn ' the wedding master of ceremonyto the ' Purimshpil ' the play of Esther at the Purim celebrationand to the Yiddish theater. With its artistic copiousness and its distinctive sound, Klezmer music is unique, easily recognizable and widely appreciated, both by 'ethnic insiders' and by larger audiences, all around the world. Klezmer music is also an invitation to dance and undergoes since the 60's a real revival. Klezmer music and Yiddish songs include nowadays a huge repertoire in which the whole gamut of human emotions can be expressed, from joy to despair, from devotion to revolt and from meditation to drunkenness, notwithstanding love and Jewish humor! The Bible is rich with description of ritualized instrumental music played in Jerusalem but we don't know how the music sounded like by this time for there was no system of writing and no recordings!
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I think I have the algorithm ok. Bur for the moment the "swing ratio" is hard coded. I wonder where and how users might want to choose this swing ratio. More than shuffle makes sense? If it is not too complicated I would suggest that the user-definable selection be a choice of all 3 that you suggest.