|Francesco Maria Veracini (1690-1768)
Sonata in e minor, Op. 1, No. 6(for violin and continuo)
|I. ||Fantasia. Largo|
|II. ||Allegro assai|
|IV. ||Allemanda. Larghetto|
|V. ||Pastorale. Adagio|
|VI. ||Giga. Allegro|
Published in 1721, when Veracini was around 31
14 minutes (approximately)
- adagio [It]—slow tempo, often implying a lyrical, poignant character
- allegro—fast, lively tempo
- allemande, allemanda, allemand, almain, alman—a moderately slow, serious dance (German) usually in duple meter and binary form. Often the first movement of suite. From the French word for "German."
- assai—very much. Intensifies the direction of its neighboring words, e.g. "allegro assai", very fast
- continuo, basso continuo, b.c., figured bass, thorough bass, basse chifrée—During the Baroque Era, a term for an improvised (realized) instrumental accompaniment specified by a symbolic notation for chords and a written bass line (i.e. figured bass). A continuo "part" usually implies multiple (but typically unspecified) instruments, e.g. one for a strong bass line (e.g. cello) and another for chords (e.g. lute, keyboard, organ). A continuo part may be realized by keyboard alone, and sometimes played by a bass melody instrument alone (without harmonies). wiki
- fantasia, fantasy, phantasy, phantasie, fancy, fantasie [G], fantaisie [F] —generally, a piece of music favoring a free flight of expression over strict adherence to formal rules; suggesting an improvisational character
- gigue, jig, giga, gigg—A lively dance (of English origin); often the finale of a Baroque suite. Compound meters exhibit both duple and triple meter rhythms.
- larghetto—slow, but a bit faster than largo
- largo—slow, solemn, sustained.slower than lento. faster than grave
- pastorale, pastoral—referring to the bucolic setting of shepherds, the countryside and an idealized relationship to nature
- sonata, sonate, suonato—a complicated term. Originally, "sounded" rather than "sung" (sonar vs. cantar), e.g. instrumental music. According to historical period, sonata began to imply a formal plan of movements as well as the structure within a single movement, e.g. sonata form. In general usage as a work title, it designates a multi-movement piece for solo or duo instruments with one of the instruments enjoying a feature role.