DIEGO ORTIZ RECERCADA PDF

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Recercada no 1 6. Recercada no 8 6. Trattado de glosas: Recercada primera 5. Passamezzo moderno 4. Trattado de glosas: Recercadas 9 on tenors - no 4 on La folia 4. Trattado de glosas: Recercadas 9 on tenors - no 8 on La folia 4. Recercada No 5 sobre el passamezzo antiguo 3. Recercada no 7 3. Trattado de glosas: Recercada segunda 3.

Divisions on the Ruggiero bass 2. Passamezzo antico 2. Recercada No 3 sobre el passamezzo moderno 2. Recercada No 7 sobre la Romanesca 2. Recercada No. Recercada primera "Oi, ricciulina" 2. There are 68 Diego Ortiz recordings available. Select a specific Work or Popular Work below.

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Diego Ortiz

Recercada no 1 6. Recercada no 8 6. Trattado de glosas: Recercada primera 5. Passamezzo moderno 4.

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Category:Ortiz, Diego

Diego Ortiz c. Ortiz published the first manual on ornamentation for bowed string instruments, and a large collection of sacred vocal compositions Stevenson Very little is known about Ortiz's life. He is believed to have been born in Toledo and probably died in Rome , where its trail is lost. In Ortiz was living in the viceroyalty of Naples. Recent findings reveal that, after his service to the Spanish Neapolitan Court, as Maestro di Cappella appeared, as " famigliare ", in the Colonna's Court in Rome, at least from April to September Morucci , 22, 37n Ortiz published two music books: Trattado de Glosas in and Musices liber primus in

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Diego Ortiz

An inevitable reference point for the study of instrumental performance practice in the 16th century, this work is of exceptional interest, both for its purely historical significance and for its artistic value, since it contains the finest examples of the known repertoire for viola da gamba vihuela de arco or violone and harpsichord in the Renaissance period. We know little today about the life of the Spanish viol player and composer Diego Ortiz. The first signs of his existence occur at the same time as the publication in Rome of the Trattado de Glosas The extent of knowledge required for the compilation of such a work leads us to think that it was composed when Ortiz was already in his maturity. By the time that he left his native country, Diego Ortiz had already completed his musical education. This is shown by the clear pioneering nature of his treatise from the strict point of view of musical style. A comparison with Sylvestro Ganassi's Regola rubertina Venice, , a treatise printed ten years before that of Ortiz and specifically dedicated to a study of viol technique, as well as the underniably Hispanic character of the work by Diego Ortiz, supports the hypothesis that Ortiz had already completed his musical education when he left his native country.

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