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Umass Amherst Department of Music & Dance Presents Tasso at Ferrara
UMass Amherst Department of Music & Dance presents Tasso at Ferrara – La Compagnia del Madrigale This concert highlights the distinguished musical legacy of late-Renaissance poet Torquato Tasso (1544-1595), with an emphasis on madrigal settings composed by musicians associated with the Este court of Ferrara (Italy), where Tasso spent a substantial part of his career. The concert is inspired by Prof. Ricciardi’s Tasso in Music Project (www.tassomusic.org), an NEH- funded digital edition of the early modern settings of Torquato Tasso’s poetry. It is also a sequel to the Tasso and Music Symposium and Concerts (https://www.umass.edu/music/tasso-and- music-symposium-concerts), hosted by UMass in April 2020, which convened music historians, literary scholars, and performers from North America and Europe to offer new perspectives on Tasso and the music of his time. The concert has been made possible thanks to generous funding from the Department of Music and Dance and the College of Fine Arts and Humanities. PERFORMERS La Compagnia del Madrigale (http://www.lacompagniadelmadrigale.com/en/home-en/) Rossana Bertini and Francesca Cassinari, soprani; Elena Carzaniga, contralto; Giuseppe Maletto and Raffaele Giordani, tenori; Matteo Bellotto, basso Recorded on 25 April 2021 at the Confraternita dei santi Rocco e Sebastiano, Cumiana (Turin, Italy) TASSO AT FERRARA RIME Lodovico Agostini, “Tra Giove in cielo,” III a 6 (1582) https://www.tassomusic.org/work/?id=Trm0707a 03:35 Luzzasco Luzzaschi, “Geloso amante,” II a 5 (1576) https://www.tassomusic.org/work/?id=Trm0099a -
DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016
DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert. -
Il Fondo Musicale Dell'i.R.E. Istituzioni Di Ricovero E Di Educazione Di Venezia
GIUNTA REGIONALE DEL VENETO MINISTERO PER I BENI CULTURALI E AMBIENTALI - Ufficio Centrale per i Beni Librari e gli Istituti Culturali - FONDAZIONE UGO E OLGA LEVI ASSOCIAZIONE VENETA PER LA RICERCA DELLE FONTI MUSICALI STEFANO DE SANCTIS - NADIA NIGRIS IL FONDO MUSICALE DELL'I.R.E. ISTITUZIONI DI RICOVERO E DI EDUCAZIONE DI VENEZIA EDIZIONI TORRE D'ORFEO - ROMA 1990 COMITATO CONSULTIVO Bianca Maria Antolini, Maria Antonella Balsano, Bonifacio Baroffio, Alberto Basso, Carlo Marinelli, Franco Rossi, Giancarlo Rostirolla, Agostina Zecca Laterza La redazione di questo volume è stata curata da Francesco Passadore. Pubblicazioni promosse dalla FONDAZIONE UGO E OLGA LEVI DI VENEZIA Pubblicazione edita con il contributo determinante della Regione Veneto ai sensi della L. R. 151111985 n. 9 CATALOGHI DI FONDI MUSICALI ITALIANI A CURA DELLA SOCIETA ITALIANA DI MUSICOLOGIA IN COLLABORAZIONE CON IL RÉPERTOIRE INTERNATIONAL DES SOURCES MUSICALES 13 . © 1990 by Edizioni Torre d'Orfeo, Roma Tutti i diritti riservati per tutti i Paesi Amministrazione .' Via Roberto A1essandri, 50 00151 Roma ISBN 88 - 85147 - 23 - 2 Coordinamento editoriale per la Fondazione Levi a cura di Franco Rossi INDICE IX Il Progetto A.CO.M. XI Prefazione XIX IN1RODUZIONE XIX Cenni storici XXI L'Ospedaletto XXII Il fondo musicale XXVII Ordinamento del catalogo e sue caratteristiche XXXV Tavola delle abbreviazioni e sigle CATALOGO l Catalogo dei manoscritti - Autori 269 Catalogo dei manoscritti - Antologie 285 . Catalogo delle opere a stampa 289 Cataìogo dei libretti d'opera 293 INDICI 295 Tavola delle concordanze 299 Indice dei titoli e degli incipit testuali 313 Indice delle forme 315 Indice dei nomi 321 Indice dei personaggi IL PROGETTO A.CO.M. -
Concerto 31.03.2019
Si ringrazia don Ardiccio Dagani autore del volume “La musica di velluto” per il recupero del materiale sinfonico di Ferdinando Bertoni La musica di velluto eseguito in concerto Viaggio nel XVIII secolo tra la tradizione musicale veneziana ed il grande classicismo viennese L’evento è stato reso possibile grazie al sostegno di Fabrizio Alessandrini clarinetto *** *** *** Orchestra Giovanile di Brescia seguici su Marco Fabbri direttore contatti domenica 31 marzo 2019, ore 17.30 [email protected] Brescia - Chiesa di San Cristo Ferdinando Bertoni nacque a Salò il 15 agosto 1725. Dopo aver ricevuto i primi insegnamenti musicali nella sua città natale, nel 1740 si trasferì a Bologna, dove studiò per i successivi cinque anni sotto la guida del celebre Giovanni Battista Martini. Nel 1745 passò a Venezia, dove gli venne affidato l’incarico di organista della Chiesa di San Moisè e dove al contempo si Programma manteneva impartendo anche lezioni di clavicembalo e canto presso alcune tra le più importanti famiglie della nobiltà veneziana. Ben presto iniziò a farsi un nome come compositore d’opere e di oratori sacri. Nel 1752, ottenne la nomina di primo organista della Basilica di San Marco e, nel 1755, divenne anche maestro del coro ed insegnante di musica all’Ospedale dei Mendicanti. Fu qui che Bertoni compose Ferdinando Bertoni la maggior parte dei suoi lavori sacri, tra cui molti oratori, mottetti, antifone ed un celebre Miserere che incontrarono già all’epoca particolare ammirazione ed (1725-1813) apprezzamento ed ancor oggi vengono eseguiti. Negli anni successivi, compì numerosi viaggi in altre città italiane e compose svariate opere liriche. -
Rediscovering Capuzzi
REDISCOVERING CAPUZZI CONCERT III MUSIC OF GIUSEPPE ANTONIO CAPUZZI (1755-1818) Celebrating the 250th Anniversary of his Birth Sunday, October 30, 2005 8:00 p.m. Lillian H. Duncan Recital Hall Cl el e b rating ~a 1975-2005 I/) Years THE SHEPHERD SCHOOL ~SIC RICE UNIVERSITY PROGRAM String Quintet in G Major, Giuseppe Antonio Capuzzi Op.3 No.6 (1755-1818) Allegro Minuetto: Allegro Larghetto Rondo: Vivace Kenneth Goldsmith, violin, Adam La Motte, violin Zachary Carrettin, viola, Gregory Ewer, viola Steve Estes, cello Divertimento No.] in D Major for Violin and Bass Andante sostenuto Allegro molto Jonathan Godfrey, violin Deborah Dunham, double bass Divertimento No. 6 in G Major for Violin and Bass Andante Presto Kathleen Winkler, violin Timothy Pitts, double bass INTERMISSION Ballet Suite from "L'impostore punito" Andante sostenuto Allegro Ciaccona Rondo: Allegretto Allegro agitato Allegro Zachary Carrettin, conductor The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking of photographs and use of recording equipment are prohibited. ORCHESTRA r Violin Cello Lauren A very Kristopher Khang Zachary Carrettin Christine Kim / Kenneth Goldsmith Emily Dahl Double Bass Francis Liu Deborah Dunham Kristi Helberg Paul Ellison Stephanie Nussbaum Oboe Jennifer Salmon Dean Baxtresser Jaren Philleo Viola Amber Archibald Horn Meredith Harris Robert Johnson Jonathan Mueller Katherine Turner GIUSEPPE ANTONIO CAPUZZI (1755-1818) A virtuoso violinist, an innovative composer and a master teacher, Antonio Capuzzi was called "The Orpheus of His Age" by his contempor aries. The fact that he was highly esteemed and favorably compared to the most renowned musicians of his day makes it difficult to understand that, except for his Concerto for Contrabass, he is virtually unknown today. -
La Venexiana / Claudio Cavina
La Venexiana / Claudio Cavina roberta mameli, soprano [rm] emanuela galli, soprano [eg] francesca cassinari, soprano [fc] Cristiano Contadin, viola da gamba [ct] Gabriele Palomba, lute [gp] Marta Graziolino, harp [mg] Davide Pozzi, harpsichord [dp] 5 Recorded in Pinerolo (Chiesa di S. Giovanni), Italy, in August 2009 Engineered by Matteo Costa Produced by Claudio Cavina Executive producer and editorial director: Carlos Céster Editorial assistance: María Díaz Art direction and design: Valentín Iglesias © 2011 MusiContact GmbH Luzzasco Luzzaschi (c.1545 -1607) Concerto delle Dame Madrigali per cantare et sonare a 1, 2, 3 soprani (1601) 1 Aura soave [rm, mg] 3:49 2 O primavera gioventù dell’anno [fc, ct, gp, dp] 3:15 3 Ch’io non t’ami cor mio [eg, dp] 3:49 1 4 Toccat a [mg] 2:01 5 Stral pungente d’amore [rm, eg, mg, ct, dp] 2:58 6 Deh vieni hormai cor mio [rm, eg, ct] 3:10 7 Cor mio deh non languire [rm, eg, gp, ct, mg] 3:12 8 Io mi son giovinetta [fc, rm, dp] 3:08 2 9 Ricercar e [dp] 1:31 10 O dolcezz’amarissime d’amore [rm, fc, eg, gp, ct, mg, dp] 4:32 11 Troppo ben può [rm, fc, em, gp, ct, mg, dp] 3:58 12 T’amo mia vita [rm, eg, fc, gp, ct, mg, dp] 3:19 3 13 Canzon frances e [dp] 1:25 14 Non sa che sia dolore [rm, eg, fc, gp, ct, mg] 3:02 15 Occhi del pianto mio [rm, eg, fc, gp, ct, mg, dp] 3:11 4 16 Lodovico Agostini : Donna mentre vi mir o [rm, fc, eg, gp, ct, mg, dp] 2:13 5 17 Paolo Virchi : Segu’a rinascer l’aur a [rm, eg, fc, gp, ct, mg, dp] 3:51 Additional Sources 1 Girolamo Diruta, Il Transilvano, parte i, 1593 2 Girolamo Diruta, Il Transilvano, parte ii , 1609 3 Luzzasco Luzzaschi , Canzoni per sonare con ogni sorta di strumenti, Libro i, 1608 4 Modena, manuscript F1358 5 Paolo Virchi , Il primo libro dei madrigali a cinque voci , 1584 English English would find the ideal terrain for perfecting herself in Giulio Caccini – were acting as emissaries for the Luzzasco Luzzaschi and as an instrumentalist it was the study of singing and of the viol. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. -
«Diverse Voci…» 14 in Copertina: Modena, Biblioteca Estense, Ms
«Diverse voci…» 14 In copertina: Modena, Biblioteca Estense, ms. α.M.5.24, c. 32r: Matheus de Perusio, Le greygnour bien que nature UNIVERSITÀ DI PAVIA DIPARTIMENTO DI MUSICOLOGIA E BENI CULTURALI CARA SCIENTIA MIA, MUSICA STUDI PER MARIA CARACI VELA a cura di ANGELA ROMAGNOLI, DANIELE SABAINO, RODOBALDO TIBALDI E PIETRO ZAPPALÀ * * EDIZIONI ETS «Diverse voci…» Collana del Dipartimento di Musicologia e Beni culturali Università di Pavia Comitato scientifco Elena Ferrari Barassi, Maria Caraci Vela, Fabrizio Della Seta, Michela Garda, Giancarlo Prato, Daniele Sabaino La pubblicazione è stata realizzata con il contributo dFM © Copyright 2018 EDIZIONI ETS Piazza Carrara, 16-19, I-56126 Pisa [email protected] www.edizioniets.com Distribuzione Messaggerie Libri SPA Sede legale: via G. Verdi 8 - 20090 Assago (MI) Promozione PDE PROMOZIONE SRL via Zago 2/2 - 40128 Bologna ISBN 978-884675180-5 ISMN M 979-0-705015-37-9 Cara scientia mia, musica.indb 4 09/09/18 19:26 (Foto Gianfranco Negri) INDICE Tabula gratulatoria XIII Giancarlo Prato Prefazione XV Maria Caraci Vela – Nota biografica XVII Nota dei curatori XIX Elenco delle pubblicazioni di Maria Caraci Vela XXI Elenco delle tesi curate da Maria Caraci Vela XXIX Sigle delle biblioteche XXXV TOMO I TESTI Luigi Galasso L’armonia delle sfere celesti in un frammento di Vario (157 Hollis; F 2 Schauer) 3 Sandra Martani Un esempio di notazione ecfonetica del sistema post-classico: il manoscritto Alex. Patr. gr. 10 (a.D. 1338) 15 Marco D’Agostino Tradition and innovation in the Greek printed book of -
Instead of Microtonality the Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music Martin Kirnbauer University of Basel
Chapter Three “Vieltönigkeit” instead of Microtonality The Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music Martin Kirnbauer University of Basel Preliminary remark: this text stems from a lecture given in June 2011 at the conference Mikrotonalität—Praxis & Utopie (Microtonality—Praxis and Utopia), which took place at the Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart; this, in turn, was based upon my contribution to the 2011 International Orpheus Academy, “‘Vieltönige Musik’—Performance Practice of Chromatic and Enharmonic Music in the 16th and 17th Centuries.” Both events featured performances of a number of the music examples by Johannes Keller on a “cimbalo cromatico”—that is, a harpsichord with twenty-four keys to the octave— accompanied by the soprano Gunhild Lang-Alsvik and the violinist Eva Saladin.1 “Microtones” and “microtonality”—both the words themselves and the con- cepts behind them —are a phenomenon of recent music history, as a brief glance in a music dictionary demonstrates: the 1967 Riemann Musik-Lexikon does not recognise the term, for example, and “Mikrotöne” only appears in the first edition of Bärenreiter’s Musik in Geschichte und Gegenwart as a translation of the English term “microtones” (in reference to the works of Edgard Varèse, among others). In contrast, the New Grove (2001) has a whole article on the term; although this includes a pragmatic definition (“Any musical interval or differ- ence of pitch distinctly smaller than a semitone”), it also suggests that the use of microtones in Western art music is above all a phenomenon of the twentieth century (with reference to composers such as Julián Carrillo, Alois Hába, and Charles Ives) (Griffiths, Lindley, and Zannos 2001, 16:624–25). -
Alfonso I D'este: Music and Identity in Ferrara
Shephard, Tim (2010) Alfonso I d'Este: music and identity in Ferrara. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/13912/1/523577.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] ALFONSO I D'ESTE: MUSIC AND IDENTITY IN FERRARA Tim Shephard, MusB, PGDip. -
Migrant and Travelling Composers of the Late 18Th Century Croatian
Final concert within the HERA project Music Migrations in the Early Modern Age: the Meeting of the European East, West and South (MusMig) Migrant and travelling composers of the late 18th century Croatian Baroque Ensemble with soloists Monday, 16 May 2016 at 8 p.m. National Revival Hall Opatička 18, Zagreb Giuseppe Sarti: Sinfonia from the edition of the opera Fra i due litiganti il terzo gode by Sarti Project Giuseppe Sarti: Ah dove è andato, aria from the edition of the opera Fra i due litiganti il terzo gode by Sarti Project soloist: Monika Cerovčec, soprano Giuseppe Sarti: Sola in braccio, aria from the edition of the opera Fra i due litiganti il terzo gode by Sarti Project soloist: Monika Cerovčec, soprano Giuseppe Michele (Josip Mihovil) Stratico: Concerto for two violins and strings in D major (1) Allegro ma no(n) presto Grave Allegro soloists: Bojan Čičić, violin Ivan Jakšeković, violin Julije (Giulio) Bajamonti: Frena mio bene, aria for soprano and orchestra soloist: Monika Cerovčec, soprano Julije (Giulio) Bajamonti: Per quel paterno amplesso, aria for soprano and orchestra soloist: Monika Cerovčec, soprano Ivan Jarnović (Giovanni Giornovichi): 13th Concerto for violin and orchestra in A major Allegro Spirito Romance – Andantino Rondo soloist: Bojan Čičić, violin Croatian Baroque Ensemble Monika Cerovčec, soprano Bojan Čičić, violin solo and artistic director Violins: Laura Vadjon, Dunja Bontek, Ivana Žvan, Tanja Tortić, Saša Reba, Helga Korbar Altos: Ivan Jakšeković, Asja Frank Cello: Lea Sušanj Lujo Doublebass: Jura Herceg Harpsichord: Pavao Mašić Flutes: Ana Benić, Marta Šomođi Homan Oboes: Jelena Ilčić, Zoltan Hornyanszky Horns: Bánk Harkay, Bruno Grošić In the late 18th century, migrations and travelling played a very important role in the lives of many musicians. -
The Sacred Music of Baldassare Galuppi and the Mutability of Eighteenth- Century Style Keith Knop
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 From Venice to St. Petersburg and Back Again: The Sacred Music of Baldassare Galuppi and the Mutability of Eighteenth- Century Style Keith Knop Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC FROM VENICE TO ST. PETERSBURG AND BACK AGAIN: THE SACRED MUSIC OF BALDASSARE GALUPPI AND THE MUTABILITY OF EIGHTEENTH-CENTURY STYLE By KEITH KNOP A thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2004 The members of the Committee approve the thesis of Keith Knop defended 24 March 2004. __________________________________ Jeffery Kite-Powell Professor Directing Thesis __________________________________ Douglass Seaton Committee Member __________________________________ Denise Von Glahn Committee Member Approved: ____________________________________ Seth Beckman, Assistant Dean for Academic Affairs, School of Music The Office of Graduate Studies has approved the above named committee members. ii To my parents. iii TABLE OF CONTENTS List of Tables............................................................................................ v List of Musical Examples.......................................................................... vi Abstract...................................................................................................vii