I. M. Caldas, AS Sonatas, Sonatas DE Pepusch, Helena Marinho, S. Carvalho, Filipa Martins Baptista, Pedro Soares, Helena Marinho, Pedro Soares, Luis Mercy, Ao Silva, Ao Fernando Paz, J. Dias, Hugo Sanches, F. Meneses, J. C. Pepusch, L. Johann, Christoph Pepusch
{"title":"Ww","authors":"I. M. Caldas, AS Sonatas, Sonatas DE Pepusch, Helena Marinho, S. Carvalho, Filipa Martins Baptista, Pedro Soares, Helena Marinho, Pedro Soares, Luis Mercy, Ao Silva, Ao Fernando Paz, J. Dias, Hugo Sanches, F. Meneses, J. C. Pepusch, L. Johann, Christoph Pepusch","doi":"10.1524/9783486843101.498","DOIUrl":null,"url":null,"abstract":"The present study shows the link between recorder works by Luis Mercy and the other from Johann Christoph Pepusch. The works are: Six Solos for a Flute with a Thorough Bass for the Harpsicord or Violoncello from Mercy and A Second Set of Solos for the Flute with A Through Bass for the Basson, Bassflute or Harpsicord from Pepusch. In these works we can find correspondences between seven movements of four different sonatas by Pepusch and three by Mercy. The correspondences can appear in the form of ornamentation of complete movements or the simple use of shared themes. The study of the biographies of these two composers alow us to conclude that Mercy was familiar with the works of Pepusch, at least the ones composed for recorder. With this information and the close observation of the scores, we can establish that Mercy relies on the work of Pepusch to ornament and transform it at his pleasure, using it to give more visibility to the sound and virtuosistic possibilities of his instrument the recorder.","PeriodicalId":319202,"journal":{"name":"Dictionary of Agriculture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Dictionary of Agriculture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1524/9783486843101.498","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The present study shows the link between recorder works by Luis Mercy and the other from Johann Christoph Pepusch. The works are: Six Solos for a Flute with a Thorough Bass for the Harpsicord or Violoncello from Mercy and A Second Set of Solos for the Flute with A Through Bass for the Basson, Bassflute or Harpsicord from Pepusch. In these works we can find correspondences between seven movements of four different sonatas by Pepusch and three by Mercy. The correspondences can appear in the form of ornamentation of complete movements or the simple use of shared themes. The study of the biographies of these two composers alow us to conclude that Mercy was familiar with the works of Pepusch, at least the ones composed for recorder. With this information and the close observation of the scores, we can establish that Mercy relies on the work of Pepusch to ornament and transform it at his pleasure, using it to give more visibility to the sound and virtuosistic possibilities of his instrument the recorder.
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