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manuscript. Storace uses a transposed version of it and produces six variations with very brief connecting passages between them. A similar situation is observed in
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and the music is stylistically somewhat more related to that of northern
Italian composers, it is possible that Storace was originally from the north of Italy.
145:, the single surviving collection of Storace's music, which is also the only source of information on the composer. Messina was twice devastated by
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240:: there are fifteen variations on a six-bar theme, connected by brief transitions, and the theme is again not related to the more well-known
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is a very long work consisting of numerous repeated figures, variations, etc., all over an incessant
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111:. Almost nothing is known about his life; his only surviving collection of music contains numerous
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contains four sections (D major, A major, E major, and B minor; a total of 91 variations) and
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are rather brief pieces, less complex harmonically than their
Italian predecessors. The two
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three (F minor, B-flat minor and E-flat major; a total of 72 variations). The single
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The rest of the variation sets tend to feature longer patterns, up to 24 bars in
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included in the collection also comprises variations on a four-bar pattern.
609:, pp. 731–733. Translated by Hans Tischler. Indiana University Press.
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Very little is known about his life, except that in 1664 he served as Vice-
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contains the following works (listed here in the original order):
201:. Two of these works are split into several sections connected by
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Ricercare con l'obbligo di cantare la quinta parte senza tocarla
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on the other hand, are masterful works–the first (titled simply
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Selva di varie compositioni d'intavolatura per cimbalo ed organo
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224:. The theme of the latter piece is, curiously, not related to
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335:, the first theme of which is Frescobaldi's, from the famous
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sets and represents a transitory stage between the time of
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197:, which contain, in total, 320 representations of the
357:. There are five sections arranged symmetrically:
157:, so archival research is impossible. Given that
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46:but its sources remain unclear because it lacks
636:The New Grove Dictionary of Music and Musicians
619:Geschichte der Orgel- und Klaviermusik bis 1700
625:Hudson, Barton (2001). "Bernardo Storace". In
141:. This fact is mentioned on the title page of
670:International Music Score Library Project
77:Learn how and when to remove this message
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349:is also its most intriguing: Storace's
273:. Finally, Storace's variations on the
267:, but neither is related to the famous
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93:Title page and table of contents from
607:The History of Keyboard Music to 1700
263:uses the same theme as Frescobaldi's
232:; it is only found in a 16th-century
283:variant of the theme and two on the
193:. Particularly notable are the four
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177:One of the tonal transitions from
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701:Italian male classical composers
425:Capriccio sopra il Passo e Mezzo
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666:Free scores by Bernardo Storace
528:Passagagli sopra Fe fa ut per b
523:Passagagli sopra D sol re per #
211:Passagagli sopra Fe fa ut per b
207:Passagagli sopra D sol re per #
179:Passagagli sopra Fe fa ut per b
686:17th-century Italian composers
621:by Bärenreiter-Verlag, Kassel.
1:
596:
487:Partita sopra il Cinque passi
309:A sample of figurations from
238:Partita sopra il Cinque passi
518:Passagagli sopra C sol fa ut
399:Passagagli sopra C sol fa ut
7:
726:17th-century male musicians
513:Passagagli sopra A la mi re
405:Selva di varie compositioni
395:Passagagli sopra A la mi re
391:Selva di varie compositioni
347:Selva di varie compositioni
259:in his writings. Storace's
187:Selva di varie compositioni
185:Storace's main interest in
159:Selva di varie compositioni
95:Selva di varie compositioni
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617:. Originally published as
696:Italian Baroque composers
691:18th-century keyboardists
457:Aria sopra la Spagnoletta
389:Facsimile of a page from
222:Aria sopra la Spagnoletta
639:(2nd ed.). London:
476:Capriccio sopra Ruggiero
168:
32:This article includes a
706:Italian harpsichordists
369:, which is followed by
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61:more precise citations.
721:Musicians from Messina
716:Italian male organists
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331:) is in fact a triple
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551:Ballo della Battaglia
397:and the beginning of
393:, showing the end of
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199:descending tetrachord
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107:1664) was an Italian
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641:Macmillan Publishers
584:Ricercar di legature
345:. The last piece of
117:Girolamo Frescobaldi
435:Altro Passo e Mezzo
365:are followed by an
277:include one on the
134:Maestro di cappella
544:Variations on the
492:Variations on the
481:Variations on the
468:Variations on the
462:Variations on the
449:Variations on the
441:Variations on the
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257:Michael Praetorius
183:
98:
34:list of references
711:Italian organists
650:978-1-56159-239-5
247:The Mulliner Book
161:was published in
139:senate of Messina
121:Bernardo Pasquini
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255:as explained by
101:Bernardo Storace
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57:this article by
48:inline citations
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16:Italian composer
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381:List of works
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363:seconde parte
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67:December 2019
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507:passacaglias
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483:Cinque passi
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375:quarta parte
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119:and that of
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53:Please help
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603:Apel, Willi
452:Spagnoletta
371:terza parte
359:prima parte
253:cinquepassi
242:Cinquepassi
230:Spagnoletta
226:Frescobaldi
147:earthquakes
59:introducing
680:Categories
597:References
413:variations
355:pedal note
234:Florentine
205:passages:
203:modulatory
591:Pastorale
573:ricercars
557:correntes
444:Romanesca
351:Pastorale
323:ricercars
311:Pastorale
292:gagliarda
113:variation
633:(eds.).
605:. 1972.
579:Ricercar
566:e canzon
546:Balletto
539:Ciaccona
535:Chaconne
471:Ruggiero
329:Ricercar
318:toccatas
298:corrente
270:La FolĂa
215:chaconne
109:composer
672:(IMSLP)
668:at the
564:Toccata
415:on the
280:moderno
189:is the
153:and in
137:to the
55:improve
647:
613:
500:Follia
464:Monica
286:antico
265:Follia
261:Follia
251:or to
163:Venice
568:pairs
505:Four
495:Folia
339:from
333:fugue
169:Works
149:, in
40:, or
645:ISBN
611:ISBN
571:Two
561:Two
555:Two
373:and
367:aria
361:and
155:1908
151:1783
127:Life
295:or
244:of
228:'s
105:fl.
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