Marco Ambrosini, nyckelharpa
Eva-Maria Rusche, organ/harpsichord
NOTE RUBATE
("Stolen music")
Plagiarism and the theft of ideas is not solely an issue in the arts today. In the Baroque era, it was an essential part of a musician's education to copy or transcribe the works of others in order to learn from them – often with complete transparency, by naming the original composer. Another common practice was to “recycle” one's own compositions, to be able to use them for multiple occasions. Additionally, there were many instances where the works of another composer were consciously published under one's own name. Today, these publications provide us with much entertaining material for musicological speculation and detective work.
Programme (example):
(with baroque organ or harpsichord)
Elias N. Ammerbach (1530-1597)
Passamezo italica (nach P. Phalèse / C. Gervaise)
Dieterich Buxtehude (1637-1707)
Toccata BuxWV 164
Sonata per viola da gamba BuxWV 268
Heinrich Scheidemann (1596-1663)
Courant (after G. Frescobaldi)
Anonimo fiammingo (XVII sec.)
Fantasia in sol minore
J. S. Bach (1685-1750)
Praeludium BWV Praeludium BWV 539
Fuga BWV 1001 / Fuga BWV 539
Adagio – Vivace (from BWV 528)
Allegro moderato (from BWV 1039 / BWV 1027)
Johann Kaspar Kerll (1627-1693)
Capriccio sopra il Cucu
Nicolas Chédeville (1705-1782)
Sonata in sol minore op.13 Nr.6 (Il Pastor Fido)
J. S. Bach / A. Vivaldi
Concerto BWV 593 / RV 522
Marco Ambrosini, nyckelharpa
Eva-Maria Rusche, organ/harpsichord
