Musik by Ralf Noltensmeier (eds.)

By Ralf Noltensmeier (eds.)

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Locatelli verwendete in seinem op. 1 (A 1721) das Streicherquartett als Concertino. Dagegen hielt Geminiani in seinen Concerti grossi op. 2 und 3 (1732/33; Bearbeitungen nach Sonaten) sowie in op. 6 (1741) und op. 7 (1746) am Formund Satztypus Corellis fest, doch zeigt die Dominanz der 1. Violine die Tendenz zum Solokonzert; auch werden Bläser im Concertino eingesetzt, so in den Concerti grossi der Sammlung La Cetra (um 1738) von A. Marcello. Die 4 Concerti grossi aus Fr. M. Manfredinis op. 3 (1718) zeigen die Instabilität der Gattung, da sie teilweise in die Satztechnik des Doppelkonzerts für 2 Violinen ausweichen.

U. a. E. N. Méhuls Ouvertüre Le jeune Henri-Chasse). Angeregt durch diese Musik, machte auch Beethoven von dem Mannheimer Crescendo Gebrauch (3. Leonoren-Ouvertüre). Ein Beispiel für ein Orchestercrescendo ganz besonderer Art ist später der Bolero (1928) von M. Ravel. Im Rahmen einer rhythmisch und melodisch ostinaten Struktur ist hier das Crescendo wesentliches Ziel einer großangelegten Entwicklung mit Hilfe raffinierter klanglicher und instrumentatorischer Mittel. ), Anweisung, ein Musikstück (bis zu einer bestimmten Stelle) zu wiederholen: D.

Zeichen: < bzw. : diminuendo). C. und d. gehören zu den wesentlichen Elementen der musikalischen Dynamik und des musikalischen Vortrags. Als eigens notierte Ausführungsvorschrift für das Lauterund Leiserwerden ist die Technik des Anu. Abschwellens eines Tons erst seit Mitte des 18. Jh. belegt, doch scheint sie bereits um 1600 in den Gesangsschulen geübt worden zu sein. Auch P. Fr. Tosi beschreibt sie in Opinioni de’ cantori antichi e moderni (Bol 1723) bereits als ältere Praxis. Eine genauere Ausführungsanweisung für das Crescendieren innerhalb musikalischer Abschnitte, »louder by degrees«, findet sich bei M.

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