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Francesco Veracini

Francesco Veracini (1690-1768)

Nationality: Italian
Born: February 1, 1690, Florence Died: October 31, 1768, Florence (age 78)
wikipedia | imslp

Sonata in D major, Op. 2, Sonate accademiche, No. 1

(for violin and continuo)
4:05 I. Toccata. Adagio, e come stà - Presto - Adagio
4:53 II. Capriccio primo. Allegro ma non presto
2:41 III. Allegro
3:30 IV. Epilogo della toccata. Largo, e nobile - Presto - Adagio
3:37 V. Capriccio secondo. Allegro, e brillante - Più allegro
Duration: 19 minutes (approximately)
Published: 1744 (age 53-54)
Dedication: Augustus III of Poland
2 recordings, 10 videos
autoopen autoplay
3:38
Trio Settecento
I. Toccata. Adagio, e come stà - Presto - Adagio
4:32
Trio Settecento
II. Capriccio primo. Allegro ma non presto
3:06
Trio Settecento
III. Allegro
3:33
Trio Settecento
IV. Epilogo della toccata. Largo, e nobile - Presto - Adagio
3:19
Trio Settecento
V. Capriccio secondo. Allegro, e brillante - Più allegro
4:31
Locatelli Trio
I. Toccata. Adagio, e come stà - Presto - Adagio
5:14
Locatelli Trio
II. Capriccio primo. Allegro ma non presto
2:15
Locatelli Trio
III. Allegro
3:27
Locatelli Trio
IV. Epilogo della toccata. Largo, e nobile - Presto - Adagio
3:54
Locatelli Trio
V. Capriccio secondo. Allegro, e brillante - Più allegro

Related Composers

1700 Antonio Veracini (1659-1733) Francesco Veracini (1690-1768)
Antonio Veracini (1659-1733)
uncle
Nationality: Italian
Born: January 17, 1659, Florence Died: October 26, 1733, Florence (age 74)

glossary

  • adagio [It]—slow tempo, often implying a lyrical, poignant character
  • allegro [I]—fast, lively tempo. From the Italian word for cheerful or gay.
  • brillante [I], brillant [F]—brilliant, showy, spirited, sparkling
  • capriccio, caprice, capriccioso, capricieux, capricieuse—a short character piece, typically in a humorous, fanciful, or playful manner. The concept juxtaposes the improvisatory free-form fantasy against the more formal, "serious" and logically "worked-out" sonata forms.Within a caprice, the range of expression may well include the serious and dark as well as demanding extraordinary technical skills such as a prelude or etude.
  • 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
  • come [I], comme—like, as
  • 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
  • epilogue, epilogo [I]—coda, musical conclusion, final thought; opposite of prologue
  • largo—slow, solemn, sustained.slower than lento. faster than grave
  • nobile [I], nobilemente—noble, grand, impressive
  • 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
  • più—more
  • presto—very fast, more so than allegro.
  • prima [I], primo—first; often used to designate a part or a return the "first" part as in "come prima", i.e. "like the first part" or "like the beginning"
  • secondo [I]—second
  • 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.
  • sta [I]—this, as it stands, to be played as written
  • toccata [I]—from toccare, to touch: traditionally a virtuosic piece for keyboard, often a prelude to something such as a fugue
  • violin sonata—a multi-movement work for violin and keyboard (or continuo) though there are sonatas for solo violin as well as sonatas in a single movement. While the violin would seem to be the featured instrument, many sonatas starting with the classical period find the piano to be an equal partner in the sense of a chamber work for two players.