Baroque Explorations
Scarlatti / Telemann Sonatas

Ian Fritz, Wind Synthesizer

		Domenico Scarlatti (1685-1757) 

	Harpsichord Sonatas

1	L. 171 (K. 386) in F minor
2	L. 33 (K. 87) in B minor
3	L. 378 (K. 3) in A minor
4	L. 416 (K. 18) in D minor
5	L. 107 (K. 140) in D Major
6	L. 281 (K. 239) in F minor
7	L. 461 (K. 29) in D Major
8	L. 118 (K. 466) in F minor
9	L. 391 (K. 39) in A Major
10    L. 238 (K. 208) in A Major

		Georg Philipp Telemann (1681-1767)

	Trio Sonata in C minor  (From Essercizzi Musici)

11	Largo
12	Vivace
13	Andante
14	Allegro

	Sonata in F Major  (From Der Getreue Musikmeister)

15	Vivace
16	Largo
17	Allegro


Dominico Scarlatti, Harpsichord Sonatas:

Although the 550-odd keyboard sonatas of Dominico Scarlatti were written for harpsichord, they are widely regarded as highly coloristic renditions of the music and sounds that surrounded him in the Spanish court and countryside where he spent most of his working life.  They are ideal subjects for exploring the vast range of coloration and expression possible with electronic instrumentation.

Georg Philipp Telemann, Chamber Sonatas.

Telemann holds the record as the most prolific composer of all time.  Among the hundreds of his chamber works, the C-minor Trio Sonata is one of the most popular and well known.  The rendition given here begins with somewhat immitative voicings and progresses to more purely electronic sounds.

Although contemporaneous with J. S. Bach, Telemann generally worked in a brighter and sunnier style. The F major Sonata originally for flute and harpsichord is a perfect example of 
this happy disposition.


Reader,
Whether you be Dilettante of Professor, in these Compositions do not expect any profound Learning, but rather an ingenious Jesting with Art, to accommodate you to the Mastery of the Harsichord.  Neither Considerations of Interest, not Visions of Ambition, but only Obedience moved me to publish them!  Perhaps they will be agreeable to you; then all the more gladly will I obey other Commands to favor you with more simple and varied Style. Therefore show yourself more human than critical, and then your Pleasure will increase.  To designate to you the Position of the Hands, be advised that by D is indicated the Right, and by M the Left. Live Happily.

							D. Scarlatti, Essercizi, 1738

01 - ScarL171.WAV

Sounds Chaotic:  Ian Fritz, Analog synth modules

01:  Chaotic signals are easy to generate with analog electronic circuitry, and good approximations of familiar environmental sounds can be produced. 

02:  Some sounds that are not strictly immitative, but related to or plausible as natural sounds.

03:  Only vaguely similar to realistic, but still interesting.

04:  Slow, continuous variations of chaos-system parameters, including examples where short sections of the audio signals are gated to give more of a stepped impression.

05:  Discrete (stepped) slow control signals. In first clip, the synth patch is same, but the control signals are phased differently for the two sections. Each may sound random at first, but they are very different.

06:   Discrete and continuous chaotic control signals are combined.

07:  The so-called "double well" system is one of the simplest chaotic examples.  Chaotic sounds have been described as "always the same but always different".  Simple systems are closer to the "always the same" axis. Note the strong correlation in time of these examples.  

08:  The simple system is now driven by another chaos generator running at a slow rate, to give more variation to the  output.

09:  Here the simple system is driven by bursts of pulses, giving the output an entirely different character.

10:  The double well generator creates a calm drone by slow wave-mixing of several sources.

11:  The double well system producing a fairly highly correlated wave mixing of four oscillators tuned in 88CET.

12:  (Begin with more complex systems.)  Third order "Chaotica" system: Self-modulation (Poincare sections) introduces interesting correlations between system outputs.

13:  Third order system with a double spiral pattern. 

14:  Illustration of audio-rate chaos and Poincare sections with slow modulation of various system parameters.

15:   An overdriven third-order filter exhibiting regions of chaos and demonstration of chaotic transients. 

16:  Hyperchaos: Chaos on steroids. Sweeps illustrating roughness of chaotic regions and complex rhythmic counterpoint.

17:  Two examples of rich complexity produced by higher order chaos.

17 Hypster 02

16 Hypster 01

15 Threeler

14 Chaotica 02

13 Spiral

12 Chaotica 01

11 Dwell 05

10 Dwell 04

09 Dwell 03

08 Dwell 02

07 Dwell 01

06 5 Phase Both

05 5 Phase Step

04 5 Phase Sweep

03 Quasi

02 Kinda

01 Real

Modular synth development. Wind controller applications. Chaos in experimental music. Ambient soundscapes.

frijitz001

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