Podcasts about basso continuo

Marin Marais war der bedeutendste Virtuose auf der Viola da gamba – ein Instrument, das im Frankreich des Sonnenkönigs als das vornehmste Instrument überhaupt galt. Berühmt wurde Marais auch durch Alain Corneaus Film «Die siebente Saite». In diesem Film von 1991 ist auch ein besonderer Hit von Marin Marais zu hören: «Les Folies d'Espagne». Darin komponiert Marais 32 Variationen auf die berühmte Folia-Melodie für Viola da Gamba und Basso Continuo - und kostet alle Facetten der Gambe darin aus. Wir vergleichen fünf Aufnahmen dieses Werks, und auch Bearbeitungen für andere Instrumente. Gäste von Jenny Berg sind die Gambistin Jane Achtman und die Musikwissenschaftlerin Martina Papiro.

Title: Italian Fever Tracks: Sonata for Violin, Violoncello and Basso Continuo in E Minor, WD 677: II. Alla breve, Giovanni Benedetto Platti Artist: Radio Antiqua Publisher: ℗ 2019 Outhere

DescriptionIt may not be to everyone's taste, yet Pachelbel's Canon in D is one of the most famous pieces of classical music of all time. Take a minute to get the scoop!Take a listen to: Canon and Gigue for Three Violins and Continuo in D Major: Canon · Jean-François Paillard c/o YouTubeFun FactPachelbel wrote more than 500 pieces over his lifetime. He was a prolific organist in his hometown of Nuremberg, and even taught the man who became Bach's teacher. Despite the sheer volume of his output, there's still no system to number all of his works.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Episode 6 – Basso continuoBasso continuo (på norsk: generalbass) er en akkompagnementsteknikk i barokkmusikk, brukt på 1600- og 1700-tallet, og den er skrevet opp i en slags stenografi-skrift for musikere!Jeg heter Astrid Kirschner, og i dagens episode av min podkast BAROKKPODDEN har jeg med meg hele tre gjester, og alle tre er spesialister i basso-continuo-spill: Cembalisten Christian Kjos ph.d., luttenisten Jadran Duncumb og cellisten/gambisten Gunnar Hauge. Vi snakker sammen om et av de viktigste temaene innen barokkmusikk, nemlig generalbass-spill. Hva er så egentlig en generalbass, hvordan er den notert, hvem spiller den, når oppsto den, og hvorfor? Hvilke kilder har vi for å lære hvordan musikerne på 1600- og 1700-tallet spilte generalbass?Vi hører også at oppstarten av basso continuo skjer omtrent samtidig med oppstarten av opera-sjangren og er en av de store musikalske ‘oppfinnelsene' som definerer hele barokk-epoken.Mine gjester forteller meg også hvor forskjellig tilnærmingen til generalbassen for de ulike instrumentalistene kan være, slik at den samme basslinjen kan interpreteres veldig ulikt! Ulike instrumenter har ulike midler og muligheter på sine respektive instrumenter, og alle kan interpretere et bestemt musikalsk uttrykk, for eks sinne, eller kjærlighet på hver sin ulike måte. Men også komponistene, for eks. Monteverdi, Händel og Bach – alle hadde sin egen spesielle måte å skrive generalbass.Igjen har jeg laget for dere en egen spilleliste til dagens episode nr.6 – Basso continuo, den ligger allerede ute på Spotify og venter på dere, den er smekkfull av spesielt kule, betegnende, sære, beskrivende basso-continuo-steder fra den barokke musikklitteraturen. Spillelisten er denne gangen laget i samarbeid med mine gjester.Søk den opp og kos deg med musikken!Dette er linken til spillelisten for BASSO CONTINUO:https://open.spotify.com/playlist/3zI7kLIqIpgIQfsdGTRq03?si=eadc86bd3ce742da&pt=279d9e5a6645597d994ece2f9245a3a0(Denne linken virker kun innenfor Spotify! Hvis du lytter på Barokkpodden fra andre platformer enn Spotify, må du søke opp spillelisten separat!)*** Musikkeksemplene brukt i 6.episode av Barokkpodden, Basso continuo:Johann Mattheson: Fra Der Brauchbare Virtuose, Sonata Nr. 2, 1.sats: A tempo (Pablo Valetti, Petr Skalka, Dirk Börner)Dietrich Buxtehude: Sonate i F-dur for 2 fioliner, viola da gamba og basso continuo (Stylus Phantasticus)***Takk til Fond for Lyd og Bilde som støtter prosjektet Barokkpodden!Photo cred: Lars Bryngelsson

MÚSICA Alessandro Besozzi - Sonata for Oboe and Basso Continuo in F Major (CD) Gonzalo X Ruiz: Imported from Italy © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS P. Nelson Faria, sj -- LEITORES João Chaves (pontos) Cristina Seixas (textos bíblicos)

Artist: 01100110 Label: Witches Are Back Title: WITCHES005 Format: Digital Release Date: 01.09.2022 TRACKLIST: 01. Suit Kei - Black Moon 02. Ida Mandato – Ritual 03. Lady Maru – Pressure 04. BB Deng – Deconstruction 05. 01100110 - Basso Continuo 06. G.A.Z.A. ( AKA Anna Bolena ) - The Sun Will Not More Rise At East Buy the VA here: Bandcamp: https://witchesareback.bandcamp.com/album/witches005 Follow WITCHES ARE BACK here: Facebook: https://www.facebook.com/witchesareback Instagram: https://www.instagram.com/witchesareback/ Soundcloud: https://soundcloud.com/witches-are-back Follow 01100110 here: Facebook: https://www.facebook.com/ZeroElevenZero Instagram: https://www.instagram.com/zeroelevenzero/ Soundcloud: https://www.soundcloud.com/zeroelevenzero

L´Orfeo by Monteverdi - a Big Bang in the history of opera!Ottavio Dantone, conductor, outstanding cembalo and organ player and a basso continuo autodidact, demonstrates the power of music and word through some of the key moments in Monteverdi´s masterpiece. Dantone shares his visionary views on the modernity  of Monteverdi´s musical language, advocating for intuition in adapting performances to contemporary needs so as to electrify through synergy of music and words.You can find out more about Ottavio Dantone and his ensemble Accademia Bizantina on https://www.accademiabizantina.it.For the English translation, please watch the transcript.

موضوع این اپیزود، تحولات اجتماعی و اقتصادی هنر تجسمی فرانسه و انگلیس در قرن هفدهم و هجدهم است تهیه کننده: محمود باقری راوی و تدوینگر: رژین میدانی تولید محتوا: بهین‌دخت علیپور موسیقی تیتراژ: امیرمهدی حسینی طراحی لوگو و هویت بصری: فروغ خسروی یگانه اینستاگرام پادکست آرتیزان توییتر پادکست آرتیزان --- موسیقی‌های استفاده شده در متن به ترتیب Luigi Boccherini – Guitar Quintet No. 4 in D Carl Philipp Emanuel Bach – Sonata for Flute and Basso Continuo in B Flat Major William Herschel – Symphony No. 14 in D Major Thomas Arne – Overture to Artaxerxes Wolfgang Amadeus Mozart – Piano Sonata No. 16 in C Major Niccolò Paganini – La Campanella Joseph Haydn – Serenade Johann Christian Bach – Symphony in G minor Beethoven Piano Sonata No. 17

The third part of the symphony starts with the fourth movement, a tender Adagietto, one of the most intimate compositions of Mahler and certainly therefore one of the most famous, but also because Visconti used it in his film Death in Venice. After the rather trivial Scherzo, we encounter emotion and sensuality, it is pure poetry transformed into music.One feels that after the Scherzo, there was a rupture out of which a new start arises and thus the Adagietto becomes the prelude of the last movement. The orchestration is in no way inferior to the tenderness of the composition divided in three parts: Strings are exclusively used to play a clear and longing tune accompanied by a harp playing in a way the role of a Basso Continuo. In the middle part, a bit more vivid, where the harp is missing, the accessory theme of the Finale is introduced. After the Glissando of the culminating point, the harp returns and the yearning tune reaches its highest emotion before the Adagietto softly dies away.---A listening guide of Symphony No. 5 - 4th Movement with Lew Smoley.

“Sorgulanmadan geçen bir hayat yaşamaya değer olmayan, boşuna yaşanmış hayattır.” Sokrates'in bu sözü; kendini bilmek felsefesinin özünü yansıtır. Kendini bilmek, insanın kendiyle yüzleşmesi, tanıması, eksiklerinin farkında olması; varoluş sebebini anlamaya çalışması aslında. Bu varoluş arayışında insanın kendisi hakkında farkına varacağı, çözümüne ulaşacağı şeyler, ellerimizle yarattığımız birçok toplumsal ve çevresel sıkıntının da çözümüne yönelik temelleri oluşturuyor. Kendini bilme yolunda, insanın aklına başvurması gerekiyor. Akıl insanın en kuvvetli özelliği ama bir yandan da hala derinliklerini keşfedemediğimiz bir olgu. Aklın derinliklerine ne kadar inersek; kendimizin de o kadar farkında olabiliriz. Bu bölüm özelinde akıl denen olguyu Aristoteles'in perspektifinden inceleyip kendini bilmek felsefesinin temeline inmeye çalışacağım. 08:45'teki müzik: Vivaldi - Concerto for Strings and Basso Continuo in D Minor, RV 128 II. Largo 14:55'teki müzik: Vivaldi - Sinfonia in E Major, RV 132 I. Allegro 21:20''deki müzik: Vivaldi - Winter 29:10'daki müzik: Vivaldi - Storm

Classical Music for Autumn Tracklist: 0:00:00 Williams - Theme from Schindler's List - Metamorphose String Orchestra, Pavel Lyubomudrov 0:03:31 Britten - Simple Symphony, Op. 4: III. Sentimental Sarabande - Metamorphose String Orchestra, Pavel Lyubomudrov 0:10:22 Barber - Adagio for Strings - Orquesta Reino de Aragón, Ricardo Casero 0:18:40 Elgar - Serenade for Strings in E Minor, Op. 20: II. Larghetto - Ricardo Casero, Orquesta Reino de Aragón 0:25:20 Janacek - Suite for String Orchestra: II. Allemande. Adagio - Metamorphose String Orchestra, Pavel Lyubomudrov 0:29:09 Prokofiev - 6 Pieces from Cinderella, Op. 102: No. 6, Amoroso - Metamorphose String Orchestra, Pavel Lyubomudrov 0:32:02 Saint-Saens - The Carnival of the Animals: XIII, The Swan - Metamorphose String Orchestra, Pavel Lyubomudrov, Mikael Samsonov 0:35:25 Corelli - Concerto Grosso No. 1 in D Major, Op. 6: I. Largo - Kiev Chamber Orchestra, Liviu Buiuc 0:38:22 Corelli - Concerto Grosso No. 1 in D Major, Op. 6: III. Largo - Kiev Chamber Orchestra, Liviu Buiuc 0:42:19 Vivaldi - Concerto for Strings in D Major, RV 121: II. Adagio - Kaunas Chamber Orchestra, Silvano Frontalini 0:43:20 Rachmaninoff - 14 Romances, Op. 34: No. 14, Vocalise - Nike Hutchisson, Metamorphose String Orchestra, Pavel Lyubomudrov 0:48:23 Lyadov - Three Morceaux, Op. 11: No. 1, Prelude in B minor - Vadim Chaimovich 0:52:05 Lyadov - Three Morceaux, Op. 57: No. 3, Mazurka in F minor - Vadim Chaimovich 0:53:34 Tchaikovsky - Serenade for Strings, Op. 48: III. Elegia - Metamorphose String Orchestra, Pavel Lyubomudrov 1:02:46 Bach - Orchestral Suite No. 3 in D Major, BWV 1068: II. Air on the G String - Metamorphose String Orchestra, Pavel Lyubomudrov 1:08:21 Tchaikovsky - String Quartet No. 1, Op. 11: II. Andante Cantabile - Metamorphose String Orchestra, Pavel Lyubomudrov 1:14:57 Chopin - Nocturnes, Op. 48: No. 1 in C Minor - Vadim Chaimovich 1:21:32 Grieg - Holberg Suite, Op. 40: IV. Air - Metamorphose String Orchestra, Pavel Lyubomudrov 1:27:05 Puccini - Tosca: "Vissi d'arte" (Instrumental) - Ukrainian Philharmonic Orchestra, Silvano Frontalini 1:29:45 Litvinovsky - Suite for Strings "Le Grand Cahier": IX. Accusations - Metamorphose String Orchestra, Pavel Lyubomudrov 1:32:49 Vivaldi - Symphony in C Major, RV 112: II. Andante - Kaunas Chamber Orchestra, Silvano Frontalini 1:34:41 Vivaldi - Concerto for Strings and Basso Continuo in D Minor, RV 128: I. Allegro non molto - Kaunas Chamber Orchestra, Silvano Frontalini 1:37:18 Vivaldi - Concerto for Strings and Basso Continuo in D Minor, RV 128: II. Largo - Kaunas Chamber Orchestra, Silvano Frontalini 1:39:00 Corelli - Concerto Grosso No. 9 in F Major, Op. 6: I. Preludio. Largo - Kiev Chamber Orchestra, Liviu Buiuc 1:41:07 Vivaldi - The Four Seasons, Concerto No. 3 in F major, RV 293 "Autumn": I. Allegro - Metamorphose String Orchestra, Yuliya Lebedenko, Pavel Lyubomudrov 1:45:58 Vivaldi - The Four Seasons, Concerto No. 3 in F major, RV 293 "Autumn": II. Adagio molto - Metamorphose String Orchestra, Yuliya Lebedenko, Pavel Lyubomudrov 1:48:18 Vivaldi - The Four Seasons, Concerto No. 3 in F major, RV 293 "Autumn": III. Allegro - Metamorphose String Orchestra, Yuliya Lebedenko, Pavel Lyubomudrov 1:51:33 Vivaldi - Concerto for Strings & Continuo in C Major, RV 113: II. Grave - Kaunas Chamber Orchestra, Silvano Frontalini 1:53:19 Liszt/Schubert - Ständchen (Serenade), S. 560, No. 7 - Vadim Chaimovich

For the fourth episode of our new podcast, Baroque Now, the Brandenburg's Hugh Ronzani talks about tablature, figures and everything basso continuo with Principal Theorbo/Baroque Guitar Tommie Andersson.

MÚSICA Giovanni Battista Sammartini - Sonata for Oboe and Basso Continuo in G major - Andante (CD) Gonzalo X ruiz : Imported from Italy © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS Joana Viana Lopes -- LEITORES André Rodrigues (pontos) Teresa Almeida (textos bíblicos)

I'm so pleased to introduce my guest today, a real expert on early music, Harpsichordist, composer and singer, Dr. Elam Rotem. In 2014, Rotem established the award winning resources website Early Music Sources. In 2016, he finished his PhD thesis with distinction ("Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de' Cavalieri"), within a new collaborative program between the Schola Cantorum in Basel and the University of Würzburg, Germany. He is the founder and director of Profeti della Quinta. His most recent composition is the Lamentations of David, available on YouTube. 0:58 What was music scene like in the 16th century? 1:27 Who were the most famous musicians in the 16th century? 1:48 Were they so well known that everyone was copying their music? 2:25 Is Italy the main focus of interest? 3:19 What are madrigals? 3:59 Is an Italian madrigal different? 4:19 When was the Renaissance? 4:41 What was the standard form of counterpoint in 1600? Did any a significant theorist shape it? 6:17 Are treatises written often looking backwards? 7:20 How would have composers back then learned music? 8:20 Was their training more focused on improvisation and composition? 9:06 Hexachordal Solfeggio 10:44 Did they use more clefs? 11:36 Locating Fa on Fa Clefs 12:30 Did these think about cadences differently? 13:41 In any of the treatises did they talk about vertical chords? 14:56 What do prima pratica and seconda practica mean? 15:43 What were Artusi's complaints with Monteverdi? 16:12 How did Artusi get copies of Monteverdi's music before they were published? 16:47 How did Basso Continuo have an effect on composition when it came on the scene? 18:51 Did anyone criticize Basso Continuo when it appeared for the first time? 19:16 Do we distinguish between accompaniment and counterpoint? 19:50 Did Basso Continue subsequently explode in popularity? 20:25 If there were no figures, how did they interpret scores correctly? 21:03 Do we know how these musicians learned counterpoint? 22:33 Are there any historical counterpoint workbooks available? 23:45 Why was the major 6th considered the harshest interval in the renaissance? 26:28 If someone had absolute pitch, how would that work in the Renaissance? 27:23 Did you have to tune instruments on the fly if you had tunes in different keys? 27:50 Could you give examples of instruments not being able to match the flexibility of the voice in transposition? 28:26 Modes 29:58 Were these composers really only thinking horizontally and with consonances and dissonances? 30:35 What are some remaining mysteries of music in the Renaissance? 32:12 What are common questions you get about your work and research? 32:49 Is music of this period mainly vocal? 33:10 What pieces of music are required to know in order to get handle of the music of the 16th and 17th century and develop your counterpoint? 33:57 Are you singing syllables or just the notes? 35:25 What do you mean by compositional situations? 36:03 Should students study counterpoint rules from treatises? 36:57 How about the Thomas de Santa Maria treatise? 37:27 Can you learn faster with a master composer? 38:04 Has the art of counterpoint watered down with newer styles? 38:54 Do you feel that there's different languages of counterpoint for different styles of music? 39:55 How did you compose the Lamentations of David? 40:53 How long did it take you to compose it? 41:24 Were you always a composer? 42:07 Can you describe your experience studying at the Schola Cantorum Basiliensis? 43:34 Wrapping Up

Featuring Handel's Hallelujah Chorus from his 'Messiah' oratorio, we pair this iconic holiday piece with Samuel Adams 'Old Fezziwig' and tease some excerpts from Muppet's Christmas Carol.Merry Christmas to everyone.

MÚSICA Giovanni Battista Sammartini, Sonata for Oboe and Basso Continuo in G major - Andante (CD) Gonzalo X Ruiz : Imported from Italy © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS Elias Couto -- LEITORES Susana Arrais (pontos) João Chaves (textos bíblicos)

Members of Heartland Baroque join WDAV’s Rachel Stewart to perform and preview selections from their touring program, The Winged Lion and the Unremembered Sea , which is making several stops in the region. Event Details : Heartland Baroque: The Winged Lion and the Unremembered Sea This session From the John Clark Performance Studio was mixed in the Samuel R. Spencer Recording and Production Studio, and made possible by a generous gift from Keith and Tommye Miller. Heard on this episode: Giovanni Battista Fontana : Sonata Quartadecima for 2 Violins, Dulcian and Basso Continuo   Martie Perry and David Wilson, Baroque Violins Keith Collins, Dulcian Barbara Krumdieck, Baroque Cello William Simms, Theorbo   Excerpt from Mark Twain's The Innocents Abroad  (published 1869) Dennis Delamar, narrator   Giovanni Battista Fontana : Sonata Undecima for 2 Violins and Basso Continuo Martie Perry and David Wilson, Baroque Violins Barbara Krumdieck, Baroque Cello William Simms, Theorbo

Welcome to Secrets of Organ Playing Podcast #119! http://www.organduo.lt Today's guest is Nicholas Papadimitriou, an organist, pianist and composer originally from Greece but currently studying and working in the Netherlands. Born in June of the year 1993, he started studying the piano at the age of six with his first teacher Domenica Mikaits. Two years later he joined an orchestra for young children, in which he participated for six years. At the age of thirteen, he joined the Philippos Nakas Conservatory in Athens where he studied the piano with Athanasios Grozas. At the age of fifteen, he started studying the Organ privately with Zafeiria Vassiliou in the Megaron Concert Hall and in the Anglican Church in Athens. In 2009 he enrolled in the Conservatory's Department of Music Theory where he studied with Michalis Rousselakis. During this time, he also participated in Choir Direction classes with Valeri Oreskin and has been a member of the Conservatory's choir. In 2012 he received his degree in Music Theory with a Distinction. In 2011 he was accepted in the Music Department of the Ionian University in Corfu, but he interrupted his studies there as he decided to pursue his goals abroad instead. After extensively exploring the possibilities offered by various music institutions around Europe, he decided to turn his attention to the Netherlands. In 2013 he was admitted to the Conservatorium van Amsterdam, where he has since been studying the organ with Jacques van Oormerssen, Pieter van Dijk, and Matthias Havinga. In this time he also studied piano with Peter Besseling, Improvisation and Basso Continuo with Miklós Spányi and followed conducting lessons with Lucas Vis and Jos Vermunt. In the period of 2013-2017, he participated in various concerts and has performed in venues such as the ‘Orgelpark', the Waalse Kerk, the Oosterkerk and the Moses en Aaronkerk in Amsterdam. During this time he also participated numerous times in Masterclasses by Louis Robilliard. In September 2015 he was appointed Organist/Conductor in the Pastoor van Arskerk in Haarlem. In September 2016 he was appointed student assistant in the Conservatorium van Amsterdam for certain theory subjects. In October 2016 he started working as an Organist in the Pelgrimskerk in Badhoevedorp. ​​In June 2017 he graduated from the Bachelor's and was admitted to the Master's Program, where he is currently focusing on Improvisation & Innovative Music Pedagogy. In the meantime, he also published his first book, 'The Misleading Tone', an innovative teaching method about keyboard improvisation. In this conversation Nicholas shares his insights about his misical experiments, storytelling and translating the message of the composer to the listener. Make sure you listen to the very end of this interview because I ask him about what are the 3 steps in becoming a better organist. I ask this question nearly every guest on the show and all of them give a different answer. Nicholas is not an exception. ​Listen to the conversation Relevant link: https://www.nicholaspapadimitriou.com

nd today's question was sent by Max, and he writes: “Hi Vidas, just letting you know I love your channel and have found a lot of useful hints in your theory videos, particularly. You have a clear and unaffected teaching style which is rare on YouTube. Suggestion for topics I would submit (if you were looking) would be organ playing in terms of continuo and supporting vocalists (I really like the use of it in Monteverdi's Orfeo, for example).” http://www.organduo.lt

con Bettina Hoffmann

We march into March with a series of marches and other military themed works on this week's show (full playlist below). HEINRICH IGNAZ FRANZ VON BIBER (1644-1704) Battalia for Violin, Strings, and Basso Continuo in D major (8:49) From Biber: Mensa Sonora Cedille Records CDR 90000 116 (Tracks 40-47) Baroque Band Garry Clarke, conductor CARL LORENS (1851-1909) “The Jewish Country Regiment” (3:21)* HANS EISLER (1898-1962) “Solidarity Song” (1:59)** KURT WEILL (1900-1950) “Havu L’venim” — "Bring the Bricks" (2:03)*† From Dancing on the Edge of a Volcano Cedille Records CDR 90000 065 (Disc 2 Tracks 3, 17 & 20) *Stewart Figa, baritone **Julia Bentley, mezzo-soprano †Deborah Bard, soprano New Budapest Orpheum Society ROBERT KURKA (1921-1957) Julius Caesar, Symphonic Epilogue after Shakespeare, Op. 28 (1955) (8:52) From Robert Kurka: Symphonic Works Cedille Records CDR 90000 077 (Track 1) Grant Park Orchestra Carlos Kalmar, conductor ROBERT KURKA (1921-1957) The Good Soldier Schweik Act I, scene vii (“Oh, the gen’rals . . .”) (4:29)* Act II: Prelude (March) (2:51) Act II, scene vii (b) (“Wait for the ragged soldiers . . .”) (3:29) From Robert Kurka: The Good Soldier Schweik Cedille Records CDR 90000 062 (Disc 1 Tracks 16-18, Disc 2 Tracks 1 & 22) *Jason Collins, tenor *Kelli Harrington, soprano Chicago Opera Theater Alexander Platt, conductor PAUL HINDEMITH (1895-1963) String Quartet No. 4, Op. 22 (1922) III. Ruhige Viertel. Stets fließend (8:03) From Declarations: Music Between the Wars Cedille Records CDR 90000 092 (Track 11) Pacifica Quartet DMITRI SHOSTAKOVICH (1906-1975) String Quartet No. 3 in F major, Op. 73 (1946) III. Moderato—Allegretto—Andante (4:00) From The Soviet Experience: Volume II Cedille Records CDR 90000 130 (Disc 2 Track 3) Pacifica Quartet

CRC Radio Podcast Ep. 13 – Listen Now! In which Christopher chats with Augistino from Toronto. Topics include: new media, jazz, family, friends, religion. Also hear some original music from Aug himself. iTunes: Subscribe Now! Music in this podcast: Concert for Flute, Strings and Basso Continuo, No. 2 in D Major by Camerata Rhenania, Guido [...]

Der Basso continuo oder Generalbass ist die prägende Musizierpraxis des Barock. Er gab dem Zeitraum zwischen 1600 und 1750 einen zweiten Namen: Das Generalbass-Zeitalter.