Thomas Roseingrave was part of a dynasty of Dublin cathedral organists. He was also a respected composer, strongly influenced by meeting Domenico Scarlatti in Venice in 1710. He fell for a girl in England but her father denied him permission to marry her because he was a musician; this affected him so deeply that he began a steady decline, retired to DunLaoghaire in 1747, and died here in 1766. We looked at a few of his flute sonatas from 1730, settled on number 12 and considered adding a Siciliana movement from no.11 just for fun (both are in G major).
We revisited Schop and Satie from last week, still trying out options for arrangement. Regarding the latter, the use of plucked 5ths on the viol in place of single Left Hand piano notes was discussed: can you expand a bass note to make it more resonant by adding the 5th without changing the harmony, if that note is not present in the RH? Not if the chord is an inversion, but what if the implied harmony of the first LH note is root position, contradicted by the subsequent RH chord?
The other thing we looked at was a song called Petit Oiseau 1850 by Hector Berlioz. It’s a folksy setting of a contemporary poem but with his typically asymmetrical phrase structure. The rustic feel appeals to us, and the fact that Berlioz was harking back to earlier folksong resonated with our forward-time-travelling project.
- Malachy 13/4/16