In Search of the Operatic Archives of Giuseppe Bustelli
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Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
Note Intorno Alla Contesa Teatrale Tra Pietro Chiari E Carlo Goldoni, Con Il
Note intorno alla contesa teatrale tra Pietro Chiari e Carlo Goldoni, con il contributo di alcune epistole saggi di Placido Bordoni al canonico Lodovico Ricci Valentina Garavaglia «Promette il frontespizio della mia Opera, di far conoscere il Teatro ch’è, tra le cose umane, una di quelle che meno s’intendono, quanto più sono studiate. Ma posto che non ci fosse questa spezie d’impossibilità, che presunzione è la vostra, mi si può dire, di credere che basti quanto vi avvenne, a farlo conoscere?» Antonio Piazza1 Non pochi studi sono stati dedicati negli ultimi trent’anni alla contesa teatrale che vide nei due campi avversari Carlo Goldoni e Carlo Gozzi, sollevando dall’oblio in cui era rimasto celato per due secoli un episodio di notevole interesse per la storiografia letteraria e teatrale. Diversa attenzione è stata invece dedicata allo saggi scontro che oppose per diversi anni lo stesso Goldoni a Pietro Chiari. Con l’ausilio 25 di alcune lettere2 di Placido Bordoni3, indirizzate al canonico Lodovico Ricci4 e conservate presso la Biblioteca Morcelli-Repossi in Chiari (Brescia), solo in parte note, e con la guida degli studi fin qui apparsi, intendo portare un contributo allo studio del variegato periodo di storia teatrale che occupa i primi anni Sessanta del 1. A. Piazza, Il teatro, ovvero serie di fatti di una veneziana che lo fanno conoscere, Giambattista Costantini, Venezia 1777, t. II, p. 184. 2. Si tratta di sessanta lettere contenute nella busta 2, due lettere contenute nella busta 10, quattro lettere contenuta nella busta 15, spedite da Bordoni a Ricci da Venezia e da Rovato tra il 20 giugno 1760 e il 5 ottobre 1763. -
Sacred Music, 136.4, Winter 2009
SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan. -
Raffaele Pe, Countertenor La Lira Di Orfeo
p h o t o © N i c o l a D a l M Raffaele Pe, countertenor a s o ( R Raffaella Lupinacci, mezzo-soprano [track 6] i b a l t a L u c e La Lira di Orfeo S t u d i o Luca Giardini, concertmaster ) ba Recorded in Lodi (Teatro alle Vigne), Italy, in November 2017 Engineered by Paolo Guerini Produced by Diego Cantalupi Music editor: Valentina Anzani Executive producer & editorial director: Carlos Céster Editorial assistance: Mark Wiggins, María Díaz Cover photos of Raffaele Pe: © Nicola Dal Maso (RibaltaLuce Studio) Design: Rosa Tendero © 2018 note 1 music gmbh Warm thanks to Paolo Monacchi (Allegorica) for his invaluable contribution to this project. giulio cesare, a baroque hero giulio cesare, a baroque hero giulio cesare, a baroque hero 5 Carlo Francesco Pollarolo (c165 3- 1723) Sdegnoso turbine 3:02 Opera arias (from Giulio Cesare in Egitto , Rome, 1713, I.2; libretto by Antonio Ottoboni) role: Giulio Cesare ba 6 George Frideric Handel Son nata a lagrimar 7:59 (from Giulio Cesare in Egitto , London, 1724, I.12; libretto by Nicola Francesco Haym) roles: Sesto and Cornelia 1 George Frideric Handel (168 5- 1759) Va tacito e nascosto 6:34 7 Niccolò Piccinni (from Giulio Cesare in Egitto , London, 1724, I.9; libretto by Nicola Francesco Haym) Tergi le belle lagrime 6:36 role: Giulio Cesare (sung in London by Francesco Bernardi, also known as Senesino ) (from Cesare in Egitto , Milan, 1770, I.1; libretto after Giacomo Francesco Bussani) role: Giulio Cesare (sung in Milan by Giuseppe Aprile, also known as Sciroletto ) 2 Francesco Bianchi (175 2- -
Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet. -
The Life of Haydn David Wyn Jones Index More Information
Cambridge University Press 978-0-521-89574-3 - The Life of Haydn David Wyn Jones Index More information index Abel, Carl Friedrich 125 Bach, Carl Philipp Emanuel 53–4, 140, Abingdon, Earl of 125, 168 175 Academy of Ancient Music 147 Versuch über die wahre Art das Clavier zu Adamberger, Valentin 115 spielen 53 Alba, Duke of 122 Bach, Johann Christian 125 Albert of Sachsen-Teschen, Prince 68, Bachmann, Gottlob 184 198 Baden 197, 203 Albrechtsberger, Johann Georg 130, 161 Bader, Philip Georg 85 Allegri, Gregorio 13 Badini, Francesco 171 Miserere 23 Bailleux 204 Allgemeine musikalische Zeitung 189, Banti, Brigida 171 204–5, 207, 208, 216, 220, Barmherzige Brüder 24, 50, 62, 112, 226 224 Alxinger, Johann Baptist von 188 Barthélemon, François-Hippolyte 187 Amorbach 204 baryton 56 Amsterdam 103, 218 Bath 168–9 Anacreontic Society 147 Battle of the Nile 194 André 183 Bayreuth 200 Anfossi, Pasquale 75, 84, 85, 87, 88, Beethoven, Ludwig van 1, 23, 116, 131, 98 143, 158, 160, 161, 176, 180, 222, Isabella e Rodrigo 100 223 Apponyi, Count Georg von 119, 188 Cantata on the death of Joseph II 144 Arnold, Samuel 197 Piano Concerto no. 1, 176 Artaria 91, 100, 103–10, 110, 115, 116, 119, Symphony no. 9 (‘Choral’) 116 121, 122, 128–9, 137, 185, 197, Benedict XIV, Pope 23 201, 213, 225 Bergen 211 Ascot 158 Berlin 22, 103 Ashe, Andrew 168, 173 Berwald, Johan Fredrik 195 Astarita, Genaro 88 Bianchi, Francesco 170 I visionari 84 Binder, Sebastien 223 Auenbrugger, Franziska 110 Bland, John 132–3, 137, 146, 149, 166, Auenbrugger, Maria Katherina 110 172, 202, -
Carlo Goldoni As Musical Reformer
CARLO GOLDONI AS MUSICAL REFORMER IN SEARCH OF REALISM IN THE DRAMMA GIOCOSO La vraisemblance doit toujours être la principale règle, et sans laquelle toutes les autres deviennent déréglées. -l’Abbé d’Aubignac, La Pratique du Théâtre by Pervinca Rista Dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland March 18, 2015 © Pervinca Rista All Rights Reserved Abstract Venetian playwright Carlo Goldoni (1707-1793), who is best remembered in literary history for his realist ‘reform’ of comic theatre, was also a prolific librettist. In particular, his texts for music written from 1748 onwards remain understudied but warrant significant reappraisal, for Goldoni was one of the first to give shape to the dramma giocoso, an innovative and realistic new genre of opera that went on to have a lasting legacy all the way to W. A. Mozart and Lorenzo da Ponte. Through an interdisciplinary, historical approach and intertextual analysis, the present study reevaluates Goldoni’s drammi giocosi, largely overlooked by scholarship, to uncover the lasting innovations in form and content introduced by the Venetian playwright. Analysis of these texts also reveals clear affinity between Goldoni's contributions to the dramma giocoso and his reform of prose theatre. Most importantly, unlike other types of comic opera, the dramma giocoso has the particularity of combining buffo with serio, a dynamic that, through Goldoni's mature output, continually evolves to bring new realism and social relevance to opera theatre. Goldoni’s influence on this type of musical representation has not been fully considered, but the realism in music that he achieves through the dramma giocoso must be acknowledged as a lasting contribution to modern literature, and to operatic history. -
Famiglie Di Cantanti E Compagnie Di Opera Buffa Negli Anni Di Goldoni
Famiglie di cantanti e compagnie di opera buffa saggi negli anni di Goldoni Franco Piperno Un’immagine stereotipa dell’opera italiana del Sei- Settecento è quel- la del grande evirato ritratto o in posa elegantemente vestito, indizio del rango sociale inequivocabilmente raggiunto – ne sono esempi il dipinto di Andrea Sacchi che ritrae Marcantonio Pasqualini incoronato da Apollo (1641) ora al Metropolitan saggi Museum di New York1 o uno dei tanti dedicati a Carlo Broschi detto Farinello fra 29 cui, notissimo, quello di Corrado Giaquinto (1755) conservato al Museo internazio- nale e biblioteca della musica di Bologna2 – o nell’atto di esibirsi davanti a spetta- tori sia in teatro, sia nel privato di un salotto: ad esempio Nicola Grimaldi detto Nicolino dipinto da Marco Ricci in una prova d’opera a Londra attorno al 17103. Se il cantante d’opera è raffigurato assieme ad altri, il dipinto o il disegno ne sot- tolineano in ogni caso, nella posa o negli abiti, il protagonistico individualismo: lo provano ad esempio una nota caricatura di anonimo che ritrae Gaetano Beren- stadt, Francesca Cuzzoni e Francesco Bernardi detto Senesino in abiti di scena alle prese con un’opera di Haendel a Londra nel 17234 o i disegni di soggetto ope- ristico di Giuseppe Ghezzi o Anton Maria Zanetti5. Quanto osservato si riferisce al cosmo della cosiddetta “opera seria”, il dramma per musica identificato perlopiù nella produzione esemplare di Apostolo Zeno e Pietro Metastasio destinata in primis ai teatri di corte o ai principali teatri di città. Diverso il caso del parallelo mondo degli “intermezzi” e della “opera buffa”, della commedia per musica di 29-39 1. -
Accepted Faculty of Graduate Studies
ACCEPTED FACULTY OF GRADUATE STUDIES JOSEPH HAYDN AND THE DRAMMA GIOCOSO by Patricia Anne Debly Mus.Bac., University of Western Ontario, 1978 M.Mus., Catholic University of America, 1980 M.A., University of Victoria, 1985 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard I^an G. Lazarevich, Supervisor (Faculty of Graduate Studies) Dr. E. Schwandt, Departmental Member (School of Music] Dr. A. Q^fghes, Outside Member (Theatre Department) Dr. J. ..ujiey-r-Outside (History Department) Dr. M. Tér^-Smith, External Examiner (Music Department, Western Washington University) © PATRICIA ANNE DEBLY, 1993 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. 11 Supervisor; Dean Gordana Lazarevich ABSTRACT Haydn's thirteen extant Esterhdzy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century'. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later draimi giocosi. In addition to his role as Kapellmeister Haydn adcpted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five draimi giocosi which Haydn wrote, beginning with Le pescatrici {1769) through to La fedelta preiniata (1780), within the context of the draima giocoso tradition. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. -
À Madame / Madame Marie Anne Mozart / À / Salzbourg / Franco1
0302. LEOPOLD MOZART TO HIS WIFE , SALZBURG ; POSTSCRIPTS BY WOLFGANG AND LEOPOLD À Madame / Madame Marie Anne Mozart / à / Salzbourg / Franco 1 Munich, 16 th Decemb ., 1774. Now Nannerl 2 has lodgings, and just where do you think? – – [5] With Madame , or rather, with the gracious widow Frau von Durst, 3 formerly the wife of the salt mine director at Reichenhall, to whom Herr von Mölk 4 so often drove, and whom we have heard mentioned so often, to a woman who is at most 26 or 28 years old, brunette, with black eyes, very withdrawn and extremely well-read and sensible, who by the way does not tolerate any obsequious types around her, [10] and is very polite and pleasant. And who do you think helped me to get me this place? – – Herr von Dufraisne .5 He asked me why I had not brought Nannerl with me as well. I told him that she did indeed have the opportunity to come to Munich in the company of Md. me von Robini ,6 but since we were staying with Herr von Pernat ,7 I knew of nowhere for her to stay. [15] He reflected, and finally said to me that he knew of a place, with Md:e von Durst. He wanted to speak to her privately and hear what she said; he had high hopes, since she is completely alone and is a person on whom no-one calls, except her closest friends and the parents of Herr Dufresne .8 He then brought me the news that it was in order as far as it goes, [20] but she had reservations she might bring Herr von Belval 9 into the house, because she knows that he visited us in Salzburg.