Francesco Bonporti

Francesco Bonporti (1672-1749)

Nationality: Italian
Baptized: June 11, 1672, Trent Died: December 19, 1749, Padua (age 77)
wikipedia | imslp

Sonata da camera a tre in b minor, Op. 4, No. 2

(for 2 violins and continuo)
1:36 I. Preludio. Andante
1:44 II. Allemanda. Allegro
1:48 III. Sarabanda. Largo
1:20 IV. Giga
Duration: 6 minutes (approximately)
Published: 1703 (age 30-31)
1 recording, 4 videos
autoopen autoplay
1:36
Accademia I Filarmonici
I. Preludio. Andante
1:44
Accademia I Filarmonici
II. Allemanda. Allegro
1:48
Accademia I Filarmonici
III. Sarabanda. Largo
1:20
Accademia I Filarmonici
IV. Giga

Related Composers

1700 Arcangelo Corelli (1653-1713) Francesco Bonporti (1672-1749)
Arcangelo Corelli
Arcangelo Corelli (1653-1713)
Teacher
Nationality: Italian
Born: February 17, 1653, Fusignano Died: January 8, 1713, Rome (age 59)

glossary

  • allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
  • allemande, allemanda, allemand, almain, almaine, alman—In the Renaissance/Baroque eras, a moderately slow, serious dance usually in duple meter and binary form. Often the first movement of suite. From the French word for "German." Later usage (e.g. Haydn, etc.) might suggest more generally "in a German style", e.g. a folk dance, perhaps even lively and in a triple meter like a Ländler.
  • andante [I]—moderately slow tempo (e.g. walking). Faster than adagio but slower than allegretto
  • camera [I], da camera, per camera—room; chamber. Used in "Sonata da camera" to distinguish a "chamber" sonata from a "church" sonata (Sonata da chiesa). A chamber sonata tends to include dance movements whereas a church sonata emphasizes counterpoint. Such distinctions are often quite blurry in practice.
  • chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
  • 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
  • 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.
  • largo—slow, solemn, sustained.slower than lento. faster than grave
  • opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
  • prelude, prélude, präludium [G], präludien [G, pl], praeludium, preludio—a movement preceding another almost by way of introduction: to let listeners and players acclimate, often to prepare for greater demands ahead
  • sarabande, saraband, sarabanda—A Spanish Renaissance / Baroque dance in triple meter. In France and Germany, it tended to be slow and stately.
  • 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.
  • trio sonata, sonate en trio, sonata a tre—one of the chief forms of chamber music in the Baroque era. Trio indicates three components: 2 soloists and continuo (accompaniment). Typically comprises four movements in one of many specific plans.