Descriptive Leaflet

Total Page:16

File Type:pdf, Size:1020Kb

Descriptive Leaflet antonio vivaldi two flute concertos, edited and reconstructed by Andrew Woolley his is the first modern edition, and Edition HH antonio vivaldi: rv 431a / rv 431 reconstruction, of a concerto for transverse flute by Vivaldi with the exotic title ‘Il Gran Mogol’, Tdiscovered in the National Archives of Scotland. Closely related to this work is the composer’s concerto rv 431, of which only the first and last movements survive. Using a transposed version of the slow movement of ‘Il Gran Mogol’, the editor Andrew Woolley has been able to complete rv 431, and the two works are conveniently presented antonio vivaldi together in this exciting new publication. concerto Performers should seize the opportunity to in D minor, rv 431a (‘Il Gran Mogol’) play these concertos, originally created for concerto the ‘amateur’ market. in E minor, rv 431 Antonio Vivaldi (1678–1741) edited and reconstructed by Two flute concertos (rv 431a/431) andrew woolley edited and reconstructed by Andrew Woolley Transverse flute solo · strings · basso continuo full score – hh272.fsc xvii/30 pages keyboard reduction with solo part – hh272.kbd ix/28 + 12 pages www.editionhh.co.uk Available in all good music shops distribution in the uk distribution in all other countries Music Distribution Services mds 7­­– 12 Raywood Office Complex music distribution services gmbh Leacon Lane Carl Zeiss-Strasse 1 Charing, Kent, tn27 0en 55129 mainz england germany Telephone: +44 (0) 1233 712233 +49 (0) 6131 505 100 Fax: +44 (0) 1233 714948 +49 (0) 6131 505 115/116 [email protected] [email protected] Edition HH should be applauded for their willingness to seek out rare but wholly worthwhile repertoire, Edition HH and their knack of bringing it to our attention Edition HH Ltd through extremely high quality and usable editions. 68 West End (The Consort) Launton Nr. Bicester Oxfordshire ox26 5dg antonio vivaldi Tel: +44 (0) 1869 241 672 Fax: +44 (0) 1869 323 509 two flute concertos Email: [email protected] il gran mogol edited and reconstructed by Andrew Woolley Concerto Per il Flauto Traversiero (rv 431a) antonio vivaldi (1678–1741) i Allegro non molto Flauto Traversiero il gran mogol Violino Primo Concerto Per il Flauto Traversiero (rv 431a) Violino Secondo * antonio vivaldi (1678–1741) Alto Viola Basso i 4 Allegro non molto p f Flauto Traversiero p f p f p f Keyboard p f * Editorially reconstructed. For further comment, see Introduction. Edited and reconstructed by Andrew Woolley Unauthorized copying of music is forbidden by law © Copyright 2010 Edition HH Ltd Das widerrechtliche Kopieren von Noten ist gesetzlich verboten HH 74 272 Printed in England Concerto per Flauto Traversiere (rv 431) antonio vivaldi 3 (1678–1741) i p f Allegro Flauto Violino I p f Violino II Viola Basso 7 4 Keyboard reduction by Andrew Woolley Edited and reconstructed by Andrew Woolley Unauthorized copying of music is forbidden by law © Copyright 2011 Edition HH Ltd Unauthorized copying of music is forbidden by law © Copyright 2010 Edition HH Ltd Das widerrechtliche Kopieren von Noten ist gesetzlich verboten HH 22 272 Printed in England Das widerrechtliche Kopieren von Noten ist gesetzlich verboten HH 74 272 Printed in England .
Recommended publications
  • 2257-AV-Venice by Night Digi
    VENICE BY NIGHT ALBINONI · LOTTI POLLAROLO · PORTA VERACINI · VIVALDI LA SERENISSIMA ADRIAN CHANDLER MHAIRI LAWSON SOPRANO SIMON MUNDAY TRUMPET PETER WHELAN BASSOON ALBINONI · LOTTI · POLLAROLO · PORTA · VERACINI · VIVALDI VENICE BY NIGHT Arriving by Gondola Antonio Vivaldi 1678–1741 Antonio Lotti c.1667–1740 Concerto for bassoon, Alma ride exulta mortalis * Anon. c.1730 strings & continuo in C RV477 Motet for soprano, strings & continuo 1 Si la gondola avere 3:40 8 I. Allegro 3:50 e I. Aria – Allegro: Alma ride for soprano, violin and theorbo 9 II. Largo 3:56 exulta mortalis 4:38 0 III. Allegro 3:34 r II. Recitativo: Annuntiemur igitur 0:50 A Private Concert 11:20 t III. Ritornello – Adagio 0:39 z IV. Aria – Adagio: Venite ad nos 4:29 Carlo Francesco Pollarolo c.1653–1723 Journey by Gondola u V. Alleluja 1:52 Sinfonia to La vendetta d’amore 12:28 for trumpet, strings & continuo in C * Anon. c.1730 2 I. Allegro assai 1:32 q Cara Nina el bon to sesto * 2:00 Serenata 3 II. Largo 0:31 for soprano & guitar 4 III. Spiritoso 1:07 Tomaso Albinoni 3:10 Sinfonia to Il nome glorioso Music for Compline in terra, santificato in cielo Tomaso Albinoni 1671–1751 for trumpet, strings & continuo in C Sinfonia for strings & continuo Francesco Maria Veracini 1690–1768 i I. Allegro 2:09 in G minor Si 7 w Fuga, o capriccio con o II. Adagio 0:51 5 I. Allegro 2:17 quattro soggetti * 3:05 p III. Allegro 1:20 6 II. Larghetto è sempre piano 1:27 in D minor for strings & continuo 4:20 7 III.
    [Show full text]
  • Concierto Barroco: Estudios Sobre Música, Dramaturgia E Historia Cultural
    CONCIERTO BARROCO Estudios sobre música, dramaturgia e historia cultural CONCIERTO BARROCO Estudios sobre música, dramaturgia e historia cultural Juan José Carreras Miguel Ángel Marín (editores) UNIVERSIDAD DE LA RIOJA 2004 Concierto barroco: estudios sobre música, dramaturgia e historia cultural de Juan José Carreras y Miguel Ángel Marín (publicado por la Universidad de La Rioja) se encuentra bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2012 publicaciones.unirioja.es E-mail: [email protected] ISBN: 978-84-695-4053-4 Afinaban cuerdas y trompas los músicos de la orquesta, cuando el indiano y su servidor se instalaron en la penumbra de un palco. Y, de pronto, cesaron los martillazos y afinaciones, se hizo un gran silencio y, en el puesto de director, vestido de negro, violín en mano, apareció el Preste Antonio, más flaco y narigudo que nunca […] Metido en lo suyo, sin volverse para mirar a las pocas personas que, aquí, allá, se habían colocado en el teatro, abrió lentamente un manuscrito, alzó el arco —como aquella noche— y, en doble papel de director y de ejecutante impar, dio comienzo a la sinfonía, más agitada y ritmada —acaso— que otras sinfonías suyas de sosegado tempo, y se abrió el telón sobre un estruendo de color… Alejo Carpentier, Concierto barroco ÍNDICE PRÓLOGO . 11 INTRODUCCIÓN . 13 PARTE I 1. Juan José Carreras Ópera y dramaturgia . 23 Nota bibliográfica 2. Martin Adams La “dramatic opera” inglesa: ¿un imposible género teatral? .
    [Show full text]
  • Estudios Sobre Música, Dramaturgia E Historia Cultural
    5 Aventuras y desventuras de Cunegonda: seis versiones musicales de La principessa fedele de Agostino Piovene ANNA TEDESCO La idea de estudiar los diversos ropajes musicales de La principessa fede- le, melodrama del conde y libretista veneciano Agostino Piovene, nació de una ocasión feliz: la ópera, en la versión de Alessandro Scarlatti, fue magnífica- mente ejecutada en el Teatro Massimo de Palermo por el Ensemble Europa Galante, dirigido por Fabio Biondi, en noviembre de 2002 en el ámbito del Festival Scarlatti.1 Fue esta una de las raras ocasiones —hoy en día afortuna- damente ya no rarísimas— de ver en el escenario una ópera de la primera mitad del siglo XVIII, aún más destacada por ser su primera ejecución moder- na. En el siglo XVIII, en cambio, el libreto de Piovene tuvo una discreta for- tuna: los montajes de los que se tiene noticia, entre 1709 y 1726, son nueve: 1 1709 Venecia, S. Cassiano, 10 de noviembre, música de Francesco Gasparini, con intermedios 2 1710 Nápoles, S. Bartolomeo, 8 de febrero de 1710, libreto adaptado por autor anónimo [¿D. Antonio Parrino?], música de Alessandro Scarlatti 1. Véase La principessa fedele, Palermo, Teatro Massimo, Festival Scarlatti, 22 de noviem- bre de 2002 (programa de mano). 111 ANNA TEDESCO 3 1712 Parma, queda sólo el libreto de los intermedios ejecutados con la ópera 4 1713 Génova, Teatro S. Agostino, música de Francesco Gasparini 5 1716 Mesina, Teatro della Munizione, música de Carlino Monza, con algunas arias de Bononcini, Caldara, Michelangelo Gasparini y A. Scarlatti 6 1717 Vicenza,
    [Show full text]
  • 573899 Itunes Grand Mogul
    THE GRAND MOGUL Virtuosic Baroque Flute Concertos Blavet Leclair Pergolesi Telemann Vivaldi Barthold Kuijken, Baroque Flute Indianapolis Baroque Orchestra The Grand Mogul The Grand Mogul Virtuosic Baroque Flute Concertos The solo concerto as an instrumental genre emerged in this can be partially borrowed from RV 431 , but at some Virtuosic Baroque Flute Concertos Northern Italy in the first quarter of the 18th century, not places (and in the complete second movement) it needs to long after the concerto grosso, in which several be newly composed. This is not such a difficult task, when all Antonio Vivaldi (1678–1741) instruments, typically two violins and violoncello, take the other parts are extant. We want to thank the publisher, 1Flute Concerto in D minor ‘Il Gran Mogol’, RV 431a xx:xx solo roles. Antonio Vivaldi (1678–1741) was one of the Edition HH (Launton, United Kingdom), to have granted us 2 Allegro non molto x:xx most influential composers of concertos. Most of his the permission to make use of their reconstruction. In the Larghetto x:xx concertos feature the violin as a solo instrument, no doubt Larghetto , Vivaldi lets the flute float over a simple chordal 3 because he was a great violin virtuoso himself. However, accompaniment of the strings. This is the type of writing that Allegro x:xx he also wrote a fair number of concertos for other strongly invites the soloist to add a layer of ornamentation Giovanni Battista Pergolesi (1710–1736) instruments: violoncello, oboe, recorder, bassoon, flute, onto the quite bare melody. I do hope that Vivaldi would have viola d’amore, mandolin, and harpsichord.
    [Show full text]
  • Clavibus Unitis 3 (2014), Pp
    II Clavibus unitis / 3 2014 Hlavní redaktor: Jiří K. Kroupa Jako on-line revue pro kulturněhistorická studia v českých zemích vydává Nadace pro dějiny kultury ve střední Evropě (association for Central European Cultural Studies), Husova 20, CZ-110 00 praha 1, [email protected] http://www.acecs.cz/?f_idx=4 ISSN 1803-7747 © Association for Central European Studies, 2014 all rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. 1 ARTICULI † Jaroslav VRCHOTKA: Heinrich Keffer jako impre- sor prvních českých tisků . 3 C Jan Baťa: Quod non fecerunt Gothi, fecerunt Scoti O aneb Dva příběhy z rudolfínské prahy . 5 Eliška Baťová: Znovunalezený novoměstský rorát- N ník Jana Kantora Starého z roku 1572 s ruko- S pisným kancionálovým přívazkem z druhé P poloviny 18. století . 17 Hana T i l l m a n o vá : Taneční mistr z pohledu Ce- E sara Negriho a jeho sbírky Nuove inventioni di C balli (1604) . 29 T Hrabě Johann Adam Questenberg (1678-1752) – U mecenáš a iniciátor hudebního dění na Moravě S v době baroka 43 Jana PeruTková – Jiří K. KROUPA: Úvodem . 45 Jiří K. KROUPA: Johanna adama Questenberga V léta studentská: disputační spis Plena pubertas Clavibus O regia (praha 1696) . 47 L Jana PeruTková: Hudební život v Jaroměřicích za hraběte Johanna adama Questenberga: U shrnutí současného stavu poznání . 77 M Miloslav ŠTUDENT: Johann adam hrabě z Questen- unitis I bergu – loutnista a skladatel .
    [Show full text]
  • CM 2-08.Indd
    czech music quarterly Ivo Kahánek Historically informed performance Musical education Tyrrell –Janáček 2 | 2 0 0 8 Franti_ek chOnd Frait,_ek, Ale- Vojt_ xanderVladimír Plocek, Po- lívka – piano (Ond__ek), a Prague Radio Or- chestra, OtakarFranti_ek Boheme),Pa_ík (Rhapso- Fran- ti_ek Stu_í_epka Ond_í_ek,(Con- certo) Editors: Miroslav PHOTO: MARTIN POPELÁŘ DAYS © OSTRAVA www.musica.cz general partners > IRINA LUNGU CHAVA ALBERSTEIN LES ARTS FLORISSANTS & WILLIAM CHRISTIE JULIA FISCHER JOEL FREDERIKSEN & ENSEMBLE PHOENIX MUNICH JIŘÍ PAVLICA & HRADIŠŤAN TENORES DI BITTI FRANÇOIS COUTURIER QUARTET MARTIN GRUBINGER LENKA DUSILOVÁ CLARINET FACTORY RABIH ABOU-KHALIL KAREL HOLAS, RADEK POBOŘIL JAZZ and CLASSIC, TRADITION and EXPERIMENT 13th International Music Festival Prague, Sept. 28–Nov. 19, 2008 for the thirteenth time across musical genres main partner > partner > co-presenters > media partners > www.strunypodzimu.cz 2 0 8 | 2 Dear Readers, The second number of Czech Music Quarterly has a thematic focus on the performance of early music in the Czech Republic, or to be more precise it is devoted to individuals and groups who are involved with what is known as “authentic” or “historically informed” performance. The boom in authentic performance is a European-wide (if not a global) phenomenon and so it is not surprising to fi nd it in this country as well. Indeed, many Bohemian and Moravian towns have the kind of atmosphere that cries out for the authentic interpretation of early music in original, “authentic” settings and contexts. The music and the “spirit of the place” complement each other marvellously, and this is naturally attractive for audiences. What is more, in many periods of history the Czech Lands have been an important crossroads of repertoire exchange, and so in the local archives it is still possible to make new and fascinating discoveries, which enthusiastic musicians (who are often also erudite musicologists) are bringing back to life.
    [Show full text]
  • Studi Vivaldiani 19
    ISTITUTO ITALIANO ANTONIO VIVALDI STUDI VIVALDIANI 19 – 2019 FONDAZIONE GIORGIO CINI VENEZIA STUDI VIVALDIANI Rivista annuale dell’Istituto Italiano Antonio Vivaldi della Fondazione Giorgio Cini Direttore Francesco Fanna Condirettore Michael Talbot Comitato scientifico Alessandro Borin Paul Everett Karl Heller Federico Maria Sardelli Eleanor Selfridge‑Field Roger‑Claude Travers Traduzioni: Alessandro Borin e Michael Talbot Redazione: Margherita Gianola Impaginazione: Tommaso Maggiolo Direttore responsabile: Gilberto Pizzamiglio Istituto Italiano Antonio Vivaldi Fondazione Giorgio Cini Isola di San Giorgio Maggiore 30124 Venezia (Italia) www.cini.it e‑mail: [email protected] Registrazione del Tribunale di Venezia n. 8 del 10 dicembre 2016 ISSN 1594‑0012 Aurelia Ambrosiano LA VERA IDENTITÀ DEL «MAR[QUIS] DU TOUREIL», DEDICATARIO DELLA SERENATA À 3 DI ANTONIO VIVALDI 1. INTRODUZIONE La Serenata à 3, RV 690, nota anche con l’incipit «Mio cor, povero cor», compo‑ sta da Antonio Vivaldi presumibilmente verso la fine della seconda decade del Settecento, è dedicata al «Mar[quis] du Toureil». Nel 1982 Michael Talbot, in un articolo sulle serenate vivaldiane, avanzò l’ipotesi – accolta con favore dagli stu‑ diosi e fino a oggi mai confutata – che il misterioso dedicatario fosse identificabile con l’abate tolosano Jean de Tourreil e che il testo della serenata fosse l’allegoria del processo cui fu sottoposto per ordine del Sant’Uffizio romano a causa della sua affiliazione al giansenismo.1 Recenti studi, però, hanno rivelato che tra il 1715 e il 1726 a Venezia visse un certo marchese «Anna Marco de Torel», cavaliere francese, che nell’autunno del 1717 tenne a battesimo Daniel Mauro, nipote di Antonio Vivaldi, nato dal matri‑ monio tra Cecilia, sorella del compositore, e il copista di musica Giovanni Antonio.2 Il suo nome esatto era Anne‑Marc Goislard du Toureil e certamente questi è il «Mar[quis] du Toureil» citato da Antonio Vivaldi sul frontespizio della Serenata à 3.
    [Show full text]
  • Una Partitura Enigmática
    MÚSICA UNA PARTITURA ENIGMÁTICA Samuel Máynez Champion En la obra de Antonio Vivaldi (1678-1741) aparece un título que suscita curiosidad y extrañeza. Se trata del Con respecto a los conciertos es abultada la lista: Il concierto Conca1 que en su traducción del dialecto gardellino, La pastorella, La tempesta di mare, La notte, Il veneciano significa caracol o concha marina.2 Lo menos piacere, Il sospetto, Il favorito, L´inquietudine, Il riposo, que puede decirse al respecto es que se trata de una rareza. L´amoroso, Il rossignolo, Il cornetto di posta, La caccia, ¿En qué estaba pensando el cura veneciano para interesarse Alla rustica, amén de las consabidas Quattro Stagioni. en un artefacto sonoro tan poco dúctil como el caracol? Tocante a las localidades o países es interesante anotar que ¿Se hablaba realmente de una concha calcárea como la que en una subasta del 1759 se citaban cuatro conciertos de usaban los antiguos mexicanos o fue nada más una Vivaldi, hoy extraviados, intitulados: La Francia, metáfora musical? Imposible precisarlo, lo cierto es que L´Inghilterra, Il Gran Mogol y La Spagna.3 del uso del caracol no había, en apariencia, indicios previos de su empleo; ni en la literatura del renacimiento Aquello que resulta incuestionable es el furor creativo que ni en la del barroco. Acorde con las verdades a medias de impulsó al Preste Rojo a emprender travesías sonoras en la historia, la primera composición que empleaba caracoles todas las direcciones que su fantasía le dictara. Bien lo fue hecha hasta 1939 por Silvestre Revueltas en su banda dijo el musicólogo Cesare Fertonani: “En los conciertos a sonora para La Noche de los Mayas.
    [Show full text]
  • Vivaldi World Premiere IL Gran Mogol Concerto for Flute, Strings and Continuo
    VIVALDI WORLD PREMIERE IL GRAN MOGOL CONCERTO FOR FLUTE, STRINGS AND CONTINUO KATY BIRCHER FLUTE LA SERENIssIMA ADRIAN CHANDLER DIRECTOR / VIOLIN ANTONIO VIVALDI (1678 – 1741) Concerto Il Gran Mogol for flute, strings & continuo in d, RV 431a x:xx 1 Allegro non molto x:xx 2 Larghetto x:xx 3 Allegro x:xx WORLD PREMIERE RECORDING Katy Bircher · Flute La Serenissima Adrian Chandler · Violin & Director Performed on period instruments nowledge that Vivaldi’s concerto in D mi- The choice of key, D minor, is unusual for an nor for transverse flute, strings and conti- eighteenth-century flute concerto (since the K nuo, ‘Il Gran Mogol’, is in existence came flute, in this period, favoured ‘sharp’ keys), and to light in April 2010. The only known copy of not one used by Vivaldi in any other of his sur- this work is a set of incomplete parts (a second viving solo concertos for the instrument; it may violin part is missing) among the papers of the be a feature that nods to the work’s suggestive Marquesses of Lothian, which were purchased title. The title, ‘Il Gran Mogol’, is written on the by the National Archives of Scotland, Edinburgh, manuscript, and indicates that it is one of the in 1991. How did the concerto find its way to four lost concertos with characteristic titles Scotland? A clue is suggested by the rising pop- listed in the 1759 sale catalogue of the Dutch ularity of the transverse flute among gentle- bookseller, Nicolaas Selhof of The Hague; the men amateurs in the early eighteenth century.
    [Show full text]
  • June 2021 Saraband Music Wind Music Catalogue Phone: +61 (0)7
    September 2021 Saraband Music Phone: +61 (0)7 3129 0537 Wind music catalogue Email: [email protected] Composer Title Publisher Item Number GST Price Export Price Type Wind treatises & books M = Modern ed. F = Facsimile Boehm, T. The Flute and flute playing Dover M-DEV D21259 $ 30.00 $ 27.27 M Hotteterre, Jacques Principles of the flute, recorder & oboe Dover M-DEV D24606 $ 22.00 $ 20.00 M Tarling, Judy The Weapons of Rhetoric Corda BK-C Weapons $ 73.00 $ 66.36 M Basson. French treatises 1600-1800 in 1 book (in French) Fuzeau M-FU 5758 $ 94.50 $ 85.91 F Basson. French treatises 1800-1860, Vol. 1 Castil-Blaze, Fetis, Ozi Fuzeau M-FU 5941 $ 143.00 $ 130.00 F Basson. French treatises 1800-1860, Vol. 2 Berr, Blumer, Choron Fuzeau M-FU 5942 $ 158.40 $ 144.00 F Basson. French treatises 1800-1860, Vol. 3 Berlioz, Willent, Dupart Fuzeau M-FU 5943 $ 160.60 $ 146.00 F Basson. French treatises 1800-1860, Vol. 4 Jancourt Fuzeau M-FU 5944 $ 174.60 $ 158.73 F Clarinette. The French treatises 1600-1800 in 1 book (in French) Fuzeau M-FU 5802 $ 187.50 $ 170.45 F Flute Traversiere. French treatises. 1600-1800 Vol. 1 (in French) Fuzeau M-FU 5822 $ 194.00 $ 176.36 F Flute Traversiere. French treatises. 1600-1800 Vol. 2 (in French) Fuzeau M-FU 5823 $ 200.20 $ 182.00 F Flute Traversiere. French treatises. 1800-1860 Vol. 1 (in French) Fuzeau M-FU 5951 $ 204.00 $ 185.45 F Flute Traversiere. French treatises. 1800-1860 Vol.
    [Show full text]
  • Academia Montis Regalis Alessandro De Marchi, Direttore Anke Herrmann, Soprano Laura Polverelli, Mezzosoprano Enrico Onofri, Violino
    lunedì 20 settembre 2004 ore 17 Chiesa di San Filippo Academia Montis Regalis Alessandro De Marchi, direttore Anke Herrmann, soprano Laura Polverelli, mezzosoprano Enrico Onofri, violino In collaborazione con Academia Montis Regalis Giovanni Battista Pergolesi (1710-1736) Stabat Mater sequenza per soprano, contralto, archi e organo Stabat Mater (grave) Cujus animam (andante) O quam tristis (larghetto) Quae moerebat (allegro moderato) Quis est homo (largo, allegro) Vidit suum (tempo giusto) Eja Mater (allegro moderato) Fac ut ardeat (allegro) Sancta Mater (tempo giusto) Fac ut portem (largo) Inflammatus (allegro) Quando corpus / Amen (largo, allegro) Antonio Vivaldi (1678-1741) Concerto in re maggiore per violino, archi e continuo RV 208 “Grosso Mogul” allegro grave – recitativo allegro Nulla in mundo pax sincera mottetto per soprano, due violini, viola e basso RV 630 Longe mala, umbrae, terrores mottetto per contralto, due violini, viola e basso RV 629 Academia Montis Regalis Enrico Onofri, Alessandro Tampieri, Elia Facchi, Daniela Godio, violini primi Hedwig Raffeiner, Ljiljana Mijatovic, Sebastiano Airoldi, violini secondi Svetlana Fomina, Elena Saccomandi, viole Marco Ceccato, Alessandro Palmeri, violoncelli Roberto Bevilacqua, contrabbasso Francesco Romano, Paolo Cherici, tiorbe Alessandro Pianu, Alessandro De Marchi, cembali Nel 1994 la Fondazione Academia Montis Regalis diede vita a Mondovì ai Corsi di Formazione Orchestrale Barocca e Clas- sica, finalizzati a offrire a giovani musicisti italiani e stranieri la possibilità di fare un’esperienza nel campo della musica antica secondo criteri storici e con l’utilizzo di strumenti ori- ginali. Nacque così l’orchestra Academia Montis Regalis, che da allora è stata regolarmente diretta dai più importanti specialisti internazionali nel campo della musica antica: Ton Koopman, Jordi Savall, Christopher Hogwood, Reinhardt Goe- bel, Chiara Banchini, Monica Huggett, Lucy van Dael, Luigi Mangiocavallo, Enrico Gatti, Alessandro De Marchi.
    [Show full text]
  • Lutist Quarterly Volume Xxxvi, No
    VOLUMEXXXVI , NO . 4 S UMMER 2 0 1 1 THE lut i st QUARTERLY The Case of the Lost Flute Concerto The Sonatas of Eugène Walckiers Mercedes Smith: Two Weeks, Two Winning Performances Unity Through Diversity: Many Flutists, One World 39th Annual NFA Convention in Charlotte, North Carolina THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXVI, NO. 4 SUMMER 2011 DEPARTMENTS 11 From the Chair 65 NFA News 13 From the Editor 68 Notes from Around the World 16 High Notes 76 New Products 20 Flute Shots 80 Reviews 42 39th NFA Convention: 91 From the 2012 Convention Unity Through Diversity: Program Chair Many Flutists, One World 92 NFA Office, Coordinators, 59 Across the Miles Committee Chairs 62 Honor Roll of Donors to the NFA 97 Index of Advertisers 22 FEATURES 22 The Case of the Lost Flute Concerto by Andrew Woolley It wasn’t Scotland Yard, and he isn’t Sherlock Holmes, but a scholar’s discovery in Scotland of a flute concerto by Antonio Vivaldi, previously believed lost, is great news for flutists and historians alike. 26 The Sonatas of Eugène Walckiers by Ursula Pešek (translated by Traute Marshall) The last five works by the French flutist and composer, including one plucked from obscurity, offer modern flutists outstanding additions to the repertoire of original flute sonatas. This is the first of a two-part article, which continues in the Fall 2011 issue with a focus on the composer himself, dubbed by author R.S. Rockstro “a man of real genius.” 34 Two Weeks, Two Winning Performances by Kyle Dzapo Conscientious practice sessions, careful planning, and frequent recitals helped Mercedes Smith achieve her one-two punches in competition wins and an early jumpstart to a promising career as a flutist.
    [Show full text]