*_Eiji Hashimoto wrote for this recording 1/1_* THOMAS AUGUSTINE ARNE Eight Sonatas or Lessons for the Harpsichord Published by John Walsh in London, November 26, 1756 Thomas Augustine Arne (1710-1778) was among the most important English composers of the 18th century. An accomplished violinist, flutist, and harpsichordist, his chief musical fame rested on his operas and other vocal works. He wrote, however, numerous instrumental works as well, including 8 orchestral overtures, 6 concerti for keyboard instrument and orchestra, 8 Sonatas or Lessons for the Harpsichord (published by J. Walsh of London in 1756), and 7 Sonatas for two Violins with a Thorough Bass for the Harpsichord or Violoncello. Arne was the first English composer to write keyboard works under the specific title of "sonata," while on the continent, numerous composers of the time, including W. F. Bach, C. P. E. Bach, Galuppi, Platti, Martini, and D. Scarlatti, were abundantly using the word "sonata" for their keyboard works. The term "Lesson" was very widely but rather loosely used by many 17th- and 18th-century English composers for instrumental works, particularly for the harpsichord and organ. It was often a synonym for "suite" and consisted of successions of several dances, such as Alman (Allemande), Corante (Courante), Sarabande or Sarabrande, Minuet, Round-O, and Hornpipe, etc, Matthew Locke's Melothesia, A Choice Collection of the Lessons for the Harpsichord and the Organ (1673), Purcell's A Choice Collection of Lessons for the Harpsichord (1696), and Jeremiah Clarke's Choice Lessons for the Harpsichord or Spinet (1711) are examples of these. The term could also be similar to that of sonata, as it is in Arne's works, as well as in James Nares' Eight Sets of Lessons for Harpsichord (1747). It is quite possible to assume that "lesson" implies a pedagogical purpose, just as D. Scarlatti's first 30 sonatas were published under the collective title of "Essercizi" (Exercises) in 1737. Most of Arne's sonatas are quite miniature in size. Each movement is hardly more than a few minutes in length, even with all the repeats indicated in the original score; and, except for Sonata IV, all the sonatas consist of one, two or three movements. Slow movements are often merely transitional sections of a few bars, rather than complete and independent movements by themselves similar to that found in the Brandenburg Concerto No. 3 by Bach - and seem to suggest a short breathing moment with a little free improvisation, before dashing into the following movements (Sonata I, 2nd movement; Sonata III, 3rd movement; Sonata V, 2nd movement, which, incidentally, does not have a tempo mark). Nevertheless, one can find in almost all the movements a germ of the classical sonata, however condensed these elements may be. The movements are in binary form, and the second section is longer than the first. The second section begins with the opening thematic material in the dominant key, then it stretches and drifts away, and comes back to the recapitulative materials in the tonic key. The first part of the second section might be yet too meager to be called "development," or even "excursion;" it does not possess Scarlatti's bold harmony either. But these sonatas at least demonstrate the direction in which the classical sonata was developing. Arne's melodies in these sonatas are lyrical and expressive. The harmony is smooth and conservative. Dances are plentiful! Even without dance titles, certain movements suggest a dance character. For example, the opening movements of Sonatas V and VI are minuets, and the last movements of Sonatas IV and VI are unmistakable gigues (or jiggs in the English version). His favorite seems to have been the minuet, which had a fitting character for the rococo period. There are also numerous sections where the influences of his contemporaries are quite evident. Aside from the common idioms of the time, such as the Alberti Bass and smooth and round triplet figures, the styles of more famous composers are reflected in these sonatas. Handel, who was very active in London at the time, and who published harpsichord works (mostly suites, though) in the 1730's, certainly must have influenced Arne, for in Sonata III the extempore arpeggiated Prelude, followed by the rhythmically crisp Allegro which calls for left hand octave motion, could be mistaken for Handel's work. The Fugue of Sonata IV, too, resembles Handel (rather than Bach), because of the more chordally oriented theme, repetitious episode, and the harmonic rather than contrapuntal texture. It is rather curious, though, that, according to Pilkington, Arne was reportedly reacting against Handel's weightier keyboard style by a songful galant manner. (C. Vere Pilkington: A Collection of English 18th Century Harpsichord Music. This reference appears in W. Newman's The Sonata in the Baroque Era.) Scarlatti was very well known in England at the time, particularly for his early keyboard sonatas; and, again, Arne almost certainly adapted Scarlatti's hand-crossing technique (Sonata VIII) and the mixing of a minor mode in major key movements (Sonata VII, 2nd movement). Arne used trill ornaments abundantly. In a quick passage such trills give a tremendously active, vivid, and almost treacherous feeling to the music and create excitement, as in Scarlatti, EIJI HASHIMOTO
Sonata no. 3 was once recorded by Trevor Pinnock together with works by Händel, Byrd and J.C. Bach which was kind of dream team together and Christopher Hogwood recorded all 8 sonatas on a vinyl which was later transferred to CD.
Excellently written and excellently performed. He had an exceptional - fluid melodic talent - one of the most important late baroque composers, sometimes with overtones of future elements, sturm und drang, gallant, classicist even romantic sound.
Arne's son was a pianist (harpsichord), so he, otac, wrote lessons for him, as he wrote several harpsichord concertos for his son (for his career). J.S.Bach also wrote some of his famous works, with the aim of teaching his sons the craft of music.
@@stefanstamenic3640BWV 846a comes from the Klavierbüchelein he assembled for Friedemann, where it appears both in written-out form and then as block chords. It is probably an example of arpeggio realization with figuration instead of basic up-and-down. There are also collaborations between father and son, and later in JSB's career, authentic compositions by the father in conscious imitation of Emanuel, Friedmann and the others
Harpsichord Vinyl Gallery it's 02:41 in the morning where I am and you uploaded. 😊 Thank you very much, I will enjoy this early morning video. Such a pleasant listening experience for me on this early Thursday morning.
@@HarpsichordVinylGallery I will thank you! I love the harpsichord. Scarlatti is my fav but I have bumped into so many more, all a little bit different. Scott Ross is my benchmark with the Scarlatti works.
@@bornagainbornagain6697These sonatas by Arne were recorded by Christopher Hogwood in 1974 too and those are available at streaming services since that vinyl was released as a CD later. In fact I published that Hogwood recording here the 31th of January 2017, but it was blocked by TH-cam as policy of L'Oiseau Lyre since that CD was still commercially available which I did not know that in 2017.
@@HarpsichordVinylGallery i just don't like the long sustain of Dowds in particular. Of the 18th-century designs, Mietke and Taskin have a piano sound but with a faster decay Still, we would not be here without revival instruments...
@@satoko-shrigged OK, I can see. Apart from the discussion about historical informed instruments, I have the same with instruments built by Kroesbergen. Ton Koopman I consider a wonderful harpsichordist, but the instruments he prefers to play are not the ones I would prefer to hear.
*_Eiji Hashimoto wrote for this recording 1/1_*
THOMAS AUGUSTINE ARNE
Eight Sonatas or Lessons for the Harpsichord
Published by John Walsh in London, November 26, 1756
Thomas Augustine Arne (1710-1778) was among the most
important English composers of the 18th century. An accomplished
violinist, flutist, and harpsichordist, his chief musical fame rested
on his operas and other vocal works. He wrote, however, numerous
instrumental works as well, including 8 orchestral overtures, 6
concerti for keyboard instrument and orchestra, 8 Sonatas or
Lessons for the Harpsichord (published by J. Walsh of London
in 1756), and 7 Sonatas for two Violins with a Thorough Bass
for the Harpsichord or Violoncello.
Arne was the first English composer to write keyboard works
under the specific title of "sonata," while on the continent, numerous
composers of the time, including W. F. Bach, C. P. E. Bach,
Galuppi, Platti, Martini, and D. Scarlatti, were abundantly using
the word "sonata" for their keyboard works.
The term "Lesson" was very widely but rather loosely used
by many 17th- and 18th-century English composers for instrumental
works, particularly for the harpsichord and organ. It was
often a synonym for "suite" and consisted of successions of several
dances, such as Alman (Allemande), Corante (Courante), Sarabande
or Sarabrande, Minuet, Round-O, and Hornpipe, etc,
Matthew Locke's Melothesia, A Choice Collection of the Lessons
for the Harpsichord and the Organ (1673), Purcell's A Choice
Collection of Lessons for the Harpsichord (1696), and Jeremiah
Clarke's Choice Lessons for the Harpsichord or Spinet (1711) are
examples of these. The term could also be similar to that of
sonata, as it is in Arne's works, as well as in James Nares' Eight
Sets of Lessons for Harpsichord (1747). It is quite possible to
assume that "lesson" implies a pedagogical purpose, just as
D. Scarlatti's first 30 sonatas were published under the collective
title of "Essercizi" (Exercises) in 1737.
Most of Arne's sonatas are quite miniature in size. Each movement
is hardly more than a few minutes in length, even with all
the repeats indicated in the original score; and, except for Sonata
IV, all the sonatas consist of one, two or three movements. Slow
movements are often merely transitional sections of a few bars,
rather than complete and independent movements by themselves
similar to that found in the Brandenburg Concerto No. 3 by
Bach - and seem to suggest a short breathing moment with a
little free improvisation, before dashing into the following movements
(Sonata I, 2nd movement; Sonata III, 3rd movement;
Sonata V, 2nd movement, which, incidentally, does not have a
tempo mark).
Nevertheless, one can find in almost all the movements a germ
of the classical sonata, however condensed these elements may be.
The movements are in binary form, and the second section is
longer than the first. The second section begins with the opening
thematic material in the dominant key, then it stretches and drifts
away, and comes back to the recapitulative materials in the tonic
key. The first part of the second section might be yet too meager
to be called "development," or even "excursion;" it does not
possess Scarlatti's bold harmony either. But these sonatas at least
demonstrate the direction in which the classical sonata was
developing.
Arne's melodies in these sonatas are lyrical and expressive.
The harmony is smooth and conservative. Dances are plentiful!
Even without dance titles, certain movements suggest a dance
character. For example, the opening movements of Sonatas V and
VI are minuets, and the last movements of Sonatas IV and VI
are unmistakable gigues (or jiggs in the English version). His
favorite seems to have been the minuet, which had a fitting
character for the rococo period. There are also numerous sections
where the influences of his contemporaries are quite evident. Aside
from the common idioms of the time, such as the Alberti Bass
and smooth and round triplet figures, the styles of more famous
composers are reflected in these sonatas. Handel, who was very
active in London at the time, and who published harpsichord
works (mostly suites, though) in the 1730's, certainly must have
influenced Arne, for in Sonata III the extempore arpeggiated
Prelude, followed by the rhythmically crisp Allegro which calls
for left hand octave motion, could be mistaken for Handel's work.
The Fugue of Sonata IV, too, resembles Handel (rather than
Bach), because of the more chordally oriented theme, repetitious
episode, and the harmonic rather than contrapuntal texture. It is
rather curious, though, that, according to Pilkington, Arne was
reportedly reacting against Handel's weightier keyboard style by
a songful galant manner. (C. Vere Pilkington: A Collection of
English 18th Century Harpsichord Music. This reference appears
in W. Newman's The Sonata in the Baroque Era.) Scarlatti was
very well known in England at the time, particularly for his early
keyboard sonatas; and, again, Arne almost certainly adapted Scarlatti's
hand-crossing technique (Sonata VIII) and the mixing of
a minor mode in major key movements (Sonata VII, 2nd movement).
Arne used trill ornaments abundantly. In a quick passage
such trills give a tremendously active, vivid, and almost treacherous
feeling to the music and create excitement, as in Scarlatti,
EIJI HASHIMOTO
These sonatas of Dr Arne's are really beautiful works, expertly played. Thank you for sharing them.
Sonata no. 3 was once recorded by Trevor Pinnock together with works by Händel, Byrd and J.C. Bach which was kind of dream team together and Christopher Hogwood recorded all 8 sonatas on a vinyl which was later transferred to CD.
Excellently written and excellently performed. He had an exceptional - fluid melodic talent - one of the most important late baroque composers, sometimes with overtones of future elements, sturm und drang, gallant, classicist even romantic sound.
Arne's son was a pianist (harpsichord), so he, otac, wrote lessons for him, as he wrote several harpsichord concertos for his son (for his career). J.S.Bach also wrote some of his famous works, with the aim of teaching his sons the craft of music.
@@stefanstamenic3640 Thanks for the extra information!
@@stefanstamenic3640BWV 846a comes from the Klavierbüchelein he assembled for Friedemann, where it appears both in written-out form and then as block chords. It is probably an example of arpeggio realization with figuration instead of basic up-and-down. There are also collaborations between father and son, and later in JSB's career, authentic compositions by the father in conscious imitation of Emanuel, Friedmann and the others
Harpsichord Vinyl Gallery it's 02:41 in the morning where I am and you uploaded. 😊 Thank you very much, I will enjoy this early morning video. Such a pleasant listening experience for me on this early Thursday morning.
OK, it is a fine recording but not worth listening at 3.00 at night I guess. It will be there in the morning too. Enjoy it any way.
@@HarpsichordVinylGallery Thank you for the upload. It was so nice catching it when I was able to. 😊
Another gem,thanks.
Enjoy it! I am working on the French Suites and Preludes by J.S. Bach as performed by Isolde Ahlgrimm where I can use your documentation very well!
@@HarpsichordVinylGallery I am so pleased to have contributed.
@@hdibart It is so nice that all contributors give shape to the Harpsichord Vinyl Gallery!
Very nice!
Enjoy!
Wonderful music and clear rendition. Thanks for posting.
Enjoy it. These compositions by Arne and the harpsichordist Eiji both deserve lots of attention.
@@HarpsichordVinylGallery I will thank you! I love the harpsichord. Scarlatti is my fav but I have bumped into so many more, all a little bit different. Scott Ross is my benchmark with the Scarlatti works.
@@bornagainbornagain6697These sonatas by Arne were recorded by Christopher Hogwood in 1974 too and those are available at streaming services since that vinyl was released as a CD later. In fact I published that Hogwood recording here the 31th of January 2017, but it was blocked by TH-cam as policy of L'Oiseau Lyre since that CD was still commercially available which I did not know that in 2017.
The Allegro in the G Major is quite Scarlatti-esque
Thank you! 🌼
I hope you will enjoy it!
great performance, scholarship and recording
dowds sound like plucked pianos tho
Yep, like the piano is a hammered harpsichord 🙂
@@HarpsichordVinylGallery i just don't like the long sustain of Dowds in particular. Of the 18th-century designs, Mietke and Taskin have a piano sound but with a faster decay
Still, we would not be here without revival instruments...
@@satoko-shrigged OK, I can see. Apart from the discussion about historical informed instruments, I have the same with instruments built by Kroesbergen. Ton Koopman I consider a wonderful harpsichordist, but the instruments he prefers to play are not the ones I would prefer to hear.
@@HarpsichordVinylGallery I agree, they are harsh.