Intrada

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Intrada (from Italian entrata , German 'entry' , English entry , Spanish entrada , French entrée ), also intrade or entrata , describes a (mostly short) instrumental opening piece in music .

Intraden appeared in the 16th century and were further developed in the 17th century. They were originally used to open festivities, especially to accompany the entry or elevator of high-ranking personalities. The prototype of this genre, which was also given names such as elevator or signal , was mostly played by trumpets (also as a flourish ) and was characterized by simple motifs, straight march-like rhythm and frequent tone repetitions.

In addition, other types of Intrada formed:

  • a straight- bar, pavana - like type at a slow pace with more polyphonic compositional technique , for example as Entrée de Luths in the lute work of the French composer Robert Ballard or as the opening piece Entrée of suites by anonymous composers.
  • an odd-rhythm moving dance type that z. B. found in ballet as Entrée des Pas de deux or around 1700 as an instrumental piece L'Entrée by Count Tallard (Camille de Tallard).
  • a type of song characterized by folk song-like melodies and homophonic movements

The intrada's opening character brings it closer to the introduction , overture and prelude , but in contrast to these designations, the name Intrada already receded at the end of the 17th century.

In the 20th century, the term intrada was picked up again occasionally (e.g. by Joseph Ahrens , Carl Orff , Ernst Pepping and Albert Jenny ).

The counterpart in the baroque suite is the retirada .

Music samples

Beethoven's Serenade for Flute, Violin and Viola in D major, Op. 25 begins with an entrata. Likewise the parallel work, the Serenade for Flute and Piano in D major op. 41. Albert Jenny wrote an Intrada in 1964 for organ and string orchestra.

See also

literature

  • Willibald Gurlitt, Hans Heinrich Eggebrecht (Ed.): Riemann Music Lexicon . Material part. B. Schott's Sons, Mainz 1967, p. 414 f .
  • Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 4: Half a note - Kostelanetz. Updated special edition. Herder, Freiburg im Breisgau a. a. 1987, ISBN 3-451-20948-9 , p. 197.

Individual evidence

  1. ↑ Keiji Makuta: 51 selections for Lute in renaissance era. Arranged for guitar. Zen-On, Tokyo 1969, ISBN 4-11-238540-4 , p. 64 f.
  2. ↑ See for example Adalbert Quadt (ed.): Guitar music of the 16th – 18th centuries. Century. 4 volumes. German publishing house for music, Leipzig 1970–1984. Volume 3, pp. 15–17 (anonymous suite around 1700) and 27–29 (anonymous part around 1700).
  3. ↑ Hubert Zanoskar (ed.): Guitar playing of old masters. Original music from the 16th and 17th centuries. Volume 1. B. Schott's Sons, Mainz 1955 (= Edition Schott. Volume 4620), p. 19 f. ( L'Entrée followed by Gavotte ).
  4. ↑ imslp.org .