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In music, a thirty-second note (American) or demisemiquaver (British) is a note played for 1 ⁄ 32 of the duration of a whole note (or semibreve).It lasts half as long as a sixteenth note (or semiquaver) and twice as long as a sixty-fourth (or hemidemisemiquaver).
In music notation, a sixty-fourth note (North American), or hemidemisemiquaver or semidemisemiquaver (British), sometimes called a half-thirty-second note, [1] is a note played for half the duration of a thirty-second note (or demisemiquaver), hence the name.
Wolfgang Amadeus Mozart used 128th and 256th notes in his Variations on "Je suis Lindor", K. 354. Play ⓘ at =40 (=20). In music, a two hundred fifty-sixth note, or occasionally demisemihemidemisemiquaver (), [1] is a note played for 1 ⁄ 256 of the duration of a whole note.
There is a pedal point for four bars, with the upper manual parts accompanying the arpeggio motifs in the lowest manual part; that is followed by solo arpeggio pedalwork for seven bars; then, in a virtuosic cadenza-like coda, the regular semidemiquaver passage-work in the highest part leads up to an emphatic closing cadence in the minor key. [1]
Engraving of the Thomaskirche in Leipzig in 1723, the year in which Bach was appointed there. He took up residence with his family in the Thomasschule on the left.. The music performed by the Society was of various kinds; hence we may assume that violin and clavier concertos by Bach were also performed, though more frequently, perhaps, at Bach's house ...
Unlike Bach's other harpsichord concertos, BWV 1055 has no known precursors, either as an instrumental concerto or as a movement with obbligato organ in a cantata. It has generally been accepted that it is a reworking of a lost instrumental concerto, since Donald Francis Tovey first made the suggestion in 1935, when he proposed the oboe d'amore as the melody instrument.
Joachim Quantz, 1735. The surviving nineteenth-century sources for the sonata carry dedications to Frederick the Great's private secretary, Michael Gabriel Fredersdorf: one of the earliest hand copies of BWV 1035 is annotated "after the autograph by the composer, which was written anno 17-, when he was at Potsdam, for privy chamberlain Fredersdorf."