FOOTNOTES:[59]Distinction between church music and chamber music, as far as can be ascertained, was first made by Nic. Vicentino in 1555 in a work entitledL’antica musica ridotta alla moderna. The term chamber music had its origin in the practice of rich citizens and princes who regularly kept in their service musicians to provide private concerts in their chambers (camera) for the delectation of their friends. The musicians thus employed were given the title of chamber musicians, or chamber singers. The official title of chamber musician—suonatore di violino da camera—was probably used for the first time by Carlo Farina (1627) in the service of the court at Dresden.[60]It was G. B. Vitali whom Henry Purcell (1658-1695) ‘faithfully endeavored to imitate’ in his ‘Sonatas of three parts: two violins and bass: to the Organ or Harpsichord.’ Purcell’s twelve sonatas show power, originality, and inspiration, and are not lacking in emotional content of considerable warmth.[61]Trio sonatas for two oboes and bassoons (1693), Chamber duets (1711), Trio sonatas for two violins (or two oboes or two flutes) and bassoon (1732), Sonatas or Trios (1737), four Chamber Duets (1741), two Chamber Duos, Chamber Duets (1745).
FOOTNOTES:[59]Distinction between church music and chamber music, as far as can be ascertained, was first made by Nic. Vicentino in 1555 in a work entitledL’antica musica ridotta alla moderna. The term chamber music had its origin in the practice of rich citizens and princes who regularly kept in their service musicians to provide private concerts in their chambers (camera) for the delectation of their friends. The musicians thus employed were given the title of chamber musicians, or chamber singers. The official title of chamber musician—suonatore di violino da camera—was probably used for the first time by Carlo Farina (1627) in the service of the court at Dresden.[60]It was G. B. Vitali whom Henry Purcell (1658-1695) ‘faithfully endeavored to imitate’ in his ‘Sonatas of three parts: two violins and bass: to the Organ or Harpsichord.’ Purcell’s twelve sonatas show power, originality, and inspiration, and are not lacking in emotional content of considerable warmth.[61]Trio sonatas for two oboes and bassoons (1693), Chamber duets (1711), Trio sonatas for two violins (or two oboes or two flutes) and bassoon (1732), Sonatas or Trios (1737), four Chamber Duets (1741), two Chamber Duos, Chamber Duets (1745).
FOOTNOTES:
[59]Distinction between church music and chamber music, as far as can be ascertained, was first made by Nic. Vicentino in 1555 in a work entitledL’antica musica ridotta alla moderna. The term chamber music had its origin in the practice of rich citizens and princes who regularly kept in their service musicians to provide private concerts in their chambers (camera) for the delectation of their friends. The musicians thus employed were given the title of chamber musicians, or chamber singers. The official title of chamber musician—suonatore di violino da camera—was probably used for the first time by Carlo Farina (1627) in the service of the court at Dresden.
[59]Distinction between church music and chamber music, as far as can be ascertained, was first made by Nic. Vicentino in 1555 in a work entitledL’antica musica ridotta alla moderna. The term chamber music had its origin in the practice of rich citizens and princes who regularly kept in their service musicians to provide private concerts in their chambers (camera) for the delectation of their friends. The musicians thus employed were given the title of chamber musicians, or chamber singers. The official title of chamber musician—suonatore di violino da camera—was probably used for the first time by Carlo Farina (1627) in the service of the court at Dresden.
[60]It was G. B. Vitali whom Henry Purcell (1658-1695) ‘faithfully endeavored to imitate’ in his ‘Sonatas of three parts: two violins and bass: to the Organ or Harpsichord.’ Purcell’s twelve sonatas show power, originality, and inspiration, and are not lacking in emotional content of considerable warmth.
[60]It was G. B. Vitali whom Henry Purcell (1658-1695) ‘faithfully endeavored to imitate’ in his ‘Sonatas of three parts: two violins and bass: to the Organ or Harpsichord.’ Purcell’s twelve sonatas show power, originality, and inspiration, and are not lacking in emotional content of considerable warmth.
[61]Trio sonatas for two oboes and bassoons (1693), Chamber duets (1711), Trio sonatas for two violins (or two oboes or two flutes) and bassoon (1732), Sonatas or Trios (1737), four Chamber Duets (1741), two Chamber Duos, Chamber Duets (1745).
[61]Trio sonatas for two oboes and bassoons (1693), Chamber duets (1711), Trio sonatas for two violins (or two oboes or two flutes) and bassoon (1732), Sonatas or Trios (1737), four Chamber Duets (1741), two Chamber Duos, Chamber Duets (1745).