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BIBLIOTHÈQUE
Johnson, Robert Robert Johnson
États-Unis États-Unis
(1911 - 1936)

5 Partitions
4 MP3




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Partitions Basson Basson Trio Robert Johnson
Johnson, Robert: "In Nomine" for Bassoon Trio

"In Nomine" for Bassoon Trio
Robert Johnson



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EcouterTélécharger MP3 (2.69 Mo)143x 616x VoirTélécharger PDF : "In Nomine" for Bassoon Trio (1 page - 138.31 Ko)456x
 

 
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Compositeur :Robert JohnsonJohnson, Robert (1911 - 1936)
Instrumentation :

Basson Trio

Genre :

Renaissance

Arrangeur :
Editeur :
Robert JohnsonMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Robert Johnson (c. 1583 – c. 1634) was an English composer and lutenist of the late Tudor and early Jacobean eras. He is sometimes called "Robert Johnson II" to distinguish him from an earlier Scottish composer. Johnson worked with William Shakespeare providing music for some of his later plays. He was the son of John Johnson, who was lutenist to Elizabeth I. In 1594 Robert's father died, and in 1596 he joined the household of George Carey, 2nd Baron Hunsdon as an apprentice. Robert is assumed to have been around 13 at the time, as this was a typical age to begin an apprenticeship, but his date of birth is not known. Carey and his wife Elizabeth Spencer, were patrons of the lutenist and composer John Dowland, who dedicated various compositions to them. The family's country home Hunsdon House partially survives.

His compositions for the King's Men theatrical company have been dated to 1610-1617, a period when the company was using the Blackfriars Theatre as its winter base. It has been noted that the facilities at the Blackfriars Theatre offered increased scope for incidental music — songs and instrumental music — compared to the larger Globe Theatre. However, the company continued to perform at The Globe, and other venues such as the court, where Johnson's theatre music would presumably also have been heard. At this time the King's Men were producing plays by Shakespeare and other playwrights such as Ben Jonson, Francis Beaumont and John Fletcher. Johnson's main claim to fame is that he composed the original settings for some of Shakespeare's lyrics, the best-known being probably those from The Tempest: "Where the Bee Sucks" and "Full Fathom Five." He is the only composer known to have composed the original settings of Shakespeare's lyrics. While other contemporary settings of Shakespeare's lyrics exist, for example those by Thomas Morley, they have not been proved to be connected to a stage performance.

In Nomine is a title given to a large number of pieces of English polyphonic, predominantly instrumental music, first composed during the 16th century.

This "most conspicuous single form in the early development of English consort music" (Edwards 2001) originated in the early 16th century from a six-voice mass composed before 1530 by John Taverner on the plainchant Gloria Tibi Trinitas. In the Benedictus section of this mass, the Latin phrase "in nomine Domini" was sung in a reduced, four-part counterpoint, with the plainchant melody in the mean (alto part). At an early point, this attractive passage became popular as a short instrumental piece, though there is no evidence that Taverner himself was responsible for any of these arrangements (Bowers, Doe, and Benham 2001). Over the next 150 years, English composers worked this melody into "In Nomine" pieces of ever greater stylistic range.

Although originally written for Viol Quartet, I created this arrangement for Bassoon Trio.
Source / Web :Musescore
Ajoutée par magataganm le 2013-06-25


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Cette partition est associée à la collection de magataganm :
bois
bois
arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings
› "Amen Chorus" for Oboes & Strings






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