Francesco Veracini (1690-1768)

Nationality: Italian

Born: February 1, 1690, Florence Died: October 31, 1768, Florence (age 78)

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Sonata in d minor, Op. 2, Sonate accademiche, No. 12

(for violin and continuo)

3:20	I.	Passagallo - Largo assai e come sta, ma con grazia
2:58	II.	Capriccio cromatico con due soggetti e loro rovescio
1:37	III.	Adagio
5:21	IV.	Ciacona

Duration: 13 minutes (approximately)

Published: 1744 (age 53-54)

1 recording, 4 videos

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3:20

Trio Settecento

I. Passagallo - Largo assai e come sta, ma con grazia

2:58

Trio Settecento

II. Capriccio cromatico con due soggetti e loro rovescio

1:37

Trio Settecento

III. Adagio

4:52

Trio Settecento

IV. Ciacona

Related Composers

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
assai—very much. Intensifies the direction of its neighboring words, e.g. "allegro assai", very fast
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.
chaconne, ciaconna [I], ciacona, chiacona, ciaccona, chacony—a Baroque term for a musical form comprising a series of variations over an unchanging short theme or ground base. chaconne and passacaglia are closely related if not indistinguishablewiki
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
con [I,S]—with
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
cromatico [I]—chromatic; emphasizing half-step intervals rather than the more spacious diatonic scale
grazioso [I], con grazia, gratioso, graziös [G], Mit Grazie—graceful, gracefully; easy
largo—slow, solemn, sustained.slower than lento. faster than grave
ma—but, however
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
passacaglia, passacaille [F], pasacalle [S]—A variation form based on a recurring bass line or chord progression closely related to the chaconne. Of Spanish origin first appearing in the early 17th century. Some generalizations suggest a grave character, a minor key and a triple meter. wiki
rovescio [I]—reverse; often used to label a theme played "backwards" (retrograde)
soggetto, soggetti (pl)—a musical subject or theme; typically used for contrapuntal writing such as a fugue and may well imply a relatively short subject.
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