DOCSLIB.ORG

Gioacchino Rossini: Petite Messe Solennelle (Vocal Score) Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gioacchino Rossini: Petite Messe Solennelle (Vocal Score) Pdf, Epub, Ebook GIOACCHINO ROSSINI: PETITE MESSE SOLENNELLE (VOCAL SCORE) PDF, EPUB, EBOOK Gioacchino Rossini | 212 pages | 01 Jan 2004 | NOVELLO & CO LTD | 9780853607205 | English | London, United Kingdom Gioacchino Rossini: Petite Messe Solennelle (Vocal Score) PDF Book Glory be to God on high. Musica Sacra. Kirby Shaw. Mark Brymer. Robert Buckley. Fleming points out that Rossini may have had reasons of his own to compose it, and dedicated it in response to staging the first performance. Guitar TAB. The Gloria is subdivided into six movements seven sections , similar to Baroque masses such as Bach's short masses. Ukulele Tuition. After the second exposition, the finale runs through a chain of surprising harmonies measures 75 to 80 leading to the final cadence. Text from the CD Carus Music Theory. Funko Pop! Additional material. Walton Music. Philip Sparke. Instrument Stands. John Rutter. Look, Listen, Learn. Robert Longfield. Percussion Tuition. Brahms' Piano Works. They are presented first as in the beginning of the Gloria, returning to the initial key. London College Of Music. Gloria Gloria in excelsis Deo. Piano Accessories. This music was composed by Rossini's friend Louis Niedermeyer as the "Et incarnatus" of a solemn mass, and included by Rossini "possibly as an affectionate personal tribute", as the musicologist David Hurwitz points out. Gratias agimus tibi propter magnam gloriam tuam. Brass Mutes. This section ends with a chromatic descent in the accompaniment at quadruple piano dynamic, up to a dominant seventh of G major, to prepare the return of the second section A in the original key. Model Guitars. Almost a millennium and a half later, in , an Italian opera composer called Gioachino Rossini was to write a setting of the Latin ordinary of the mass. Sor - Six divertissements pour la guitare Opus 1. Folk Instruments. Enhance Your Enjoyment when Singing. Add to wish list. Classical Guitars. Woodwind Sheet Music. This service works with Youtube, Dailymotion. Agnus Dei. Musical Games. Audio and video players are included. Das Harmonium gibt eine unverzichtbare aparte Farbe. Kyrie Kyrie eleison. Baritone Voice. Ola Gjeilo. The fifth movement of the Gloria is a bass aria on the text "Quoniam tu solus sanctus" For You alone are Holy. Lord God, heavenly King, God the almighty Father. Gioacchino Rossini: Petite Messe Solennelle (Vocal Score) Writer Qui sedes ad dexteram Patris, miserere nobis. Et in terra pax hominibus bonae voluntatis. Music critic Filippo Filippi in La Perseveranza noted: "This time, Rossini has outdone himself, because no one can say what prevails, science and inspiration. The melodic line of the soprano soloist begins with an upward broken seventh chord. Solo Voice. Peter Kleine Schaars. Related products. Sheet Music. Allegro maestoso. Messiah, HWV Guitar Tuition. Woodwind Exam Material. Contemporary Composers. Christe eleison. Flexible Ensemble. O Salutaris. Andantino moderato. Audio Interfaces. Sing With Confidence. Laudamus te, benedicimus te, adoramus te, glorificamus te. If you use and like Free-scores. Sacred Composers. ISBN: Related products that you may like. Of course this instrumental garb, reminiscent of decent, elevated salon music, produces an unmistakable timbre which through its typical Rossini rhythm obtains an additional flair. Brass Ensemble. Guitar Strings. Sacred music has evidently been entirely problematic ever since it first existed: the interconnection and intertwining of sublime texts representing the divine power of salvation, and charming melodies which directly transport the listener was already an ambivalent matter for St. Adding product Brass Instruments. Blessings to you and grant me Paradise. Gratias agimus tibi. Ukulele Tuition. Baritone Voice. Home Music scores and recordings. The fugue is worthy of Bach for erudition. The Barber of Seville William Tell. Woodwind Exams. James Curnow. Studied what? Percussion Ensemble. Opera Vocal Scores. Gioacchino Rossini: Petite Messe Solennelle (Vocal Score) Reviews Kevin Houben. Home Recording. Baritone Voice. Allegro Cristiano. Ostensibly, the work was an occasional piece, written for the dedication of a private chapel for the once well-to-do Parisian nobility. You are not connected, choose one of two options to submit your comment Login. The movement culminates in a strong eight-part affirmation of "in excelsis". Vocal Scores for Rossini's Messe Solennelle. Richard L. The rest section A' is largely in the form of sequences. Percussion Ensemble. While publications began that year, the first critical edition appeared only in , followed by more editions in , the bicentenary of the composer's birth. Classical Collections. A-Z by Series. Different from the Gloria, the text of the Creed is mostly in the same character, interrupted only for a short soprano solo "Crucifixus" Crucified and an episode "Et resurrexit" And risen , concluded by another fugue. Gratias agimus tibi. Patrick Hawes. Payment Options. Edition Number. Details Details. Joseph and the Amazing Technicolor Dreamcoat. Allegro maestoso. The voices pick up a slowly rising line on the word "Kyrie", marked sotto voce , in imitation : first tenor and bass, a measure later alto, a measure later soprano. New Sounds for Concert Band. Some versions failed to mention that Rossini intended the work to be accompanied by two pianos. Et in terra pax. Brass Tuition. Display again. Bass Voice. Jan de Haan. Beginning of the work with an ostinato of the piano and a counterpoint of the harmonium. Audrey Snyder. Philip Stopford. Mark Brymer. Christe eleison. Thomas Aquinas 's hymn "O salutaris hostia" has been used in mass settings close to the Agnus Dei from the Renaissance. Music critic Filippo Filippi in La Perseveranza noted: "This time, Rossini has outdone himself, because no one can say what prevails, science and inspiration. Blessings to you and grant me Paradise. Plate B. To finish this section, the theme arpeggiates a dominant seventh. Accordion Ensemble. Rossini composed the Petite messe solennelle in , 34 years after writing his last opera , in Passy , where he spent the last decades of his life. Strings Exam Material. This section ends with a chromatic descent in the accompaniment at quadruple piano dynamic, up to a dominant seventh of G major, to prepare the return of the second section A in the original key. For further information of Petite Messe Solennelle , please click here to visit the Wikipedia website. One could sense, from the first measures, the powerful spirit which animated this artist thirty years ago at the time when he chose to put a stop at his glorious career at its culminating point. Ernie Ball. Gioacchino Rossini: Petite Messe Solennelle (Vocal Score) Read Online Add Videos on this page Add a video related to this sheet music. This service works with Youtube, Dailymotion. Gioachino Rossini. Easy Piano. Music Books. A Cappella. A-Z by Instrument. Home For Choirs For Choirs. Tom Stanford. Gratias agimus tibi propter magnam gloriam tuam. Messiah, HWV Christe eleison. Public Not listed Private. Related categories. Brass Ensemble. Rossini specified twelve singers in all, with the soloists doubling the SATB chorus, and scored it for two pianos and harmonium. Pachelbel's Organ Works. Preludio religioso. We praise thee; we bless thee; we adore thee; we glorify thee. Trinity College London: Singing Syllabus. The middle section, "Christe eleison", is a double canon in an archaizing style. Gloria in excelsis Deo. Blank sheet music. https://cdn.starwebserver.se/shops/oliwerhenrikssonny/files/foundations-of-astronomy-13th-edition-380.pdf https://cdn.starwebserver.se/shops/tomasbergri/files/the-uttermost-part-of-the-earth-210.pdf https://files8.webydo.com/9583522/UploadedFiles/DE1EAFD6-3BDF-2141-8193-ED9FA8166685.pdf https://files8.webydo.com/9583902/UploadedFiles/2E8564C0-4443-29F0-EF02-E7610F41FD98.pdf https://cdn.starwebserver.se/shops/tomasbergri/files/zulu-english-dictionary-310.pdf https://files8.webydo.com/9583899/UploadedFiles/727C35A0-49D0-E752-C66E-B0C415DE1023.pdf.
Load more

Recommended publications
  • Repertorio (In Grassetto I Brani Più Recenti)
    Repertorio (in grassetto i brani più recenti) Opere Complete A. Vivaldi Gloria RV 589 Magnificat RV 610 C. W. Gluck Orfeo e Euridice W.A. Mozart Missa Brevis KV 220 SpatzenMesse Requiem K626 G. Rossini Petite Messe Solennelle Stabat Mater G. Donizetti Il Campanello L’Elisir d’amore G. Verdi Stabat Mater Nabucco G. Puccini Messa di Gloria P. Mascagni Cavalleria rusticana F. Durante Magnificat in Sib magg. B.Galuppi Magnificat in Sol magg. Pagine di opere di Giuseppe Verdi Aida Marcia trionfale Gran finale II Atto Chi mai fra gli inni Oberto, Conte di San Bonifacio Di vermiglia amabil luce Il Trovatore Chi del Gitano Miserere Or co’ dadi La Forza del Destino La Vergine degli Angeli I Lombardi alla prima crociata O Signore dal tetto natio Finale (Te lodiamo) La Traviata Libiamo ne’ lieti calici Si ridesta in ciel l’aurora Zingarelle e mattadori Ne appellaste? … Finale II Atto Falstaff La selva dorme Otello Fuoco di gioia Chi dell’esca ha morso Ernani Evviva, beviam Si ridesti il leon di Castiglia I due Foscari Tace il vento, è queta l’onda Ernani O sommo Carlo Don Carlo Spuntato ecco il dì (coro dell’Autodafè) Macbeth Coro delle streghe – Che faceste? Finale atto primo Coro dei sicari Brindisi Coro streghe – Tre volte miagola Patria oppressa Inno di vittoria finale Pagine di opere di Gioacchino Rossini Stabat Mater Stabat Mater Dolorosa Inflammatus Petite Messe Solennelle Kyrie Agnus Dei Mosè in Egitto Coro delle tenebre Invocazione e Quintetto Voci di giubilo Dal tuo stellato soglio Aureliano in Palmira Sposa del grande Osiride Elisabetta, regina d’Inghilterra Quanto è grato all’alma mia La donna del lago Del dì la messaggera L’assedio di Corinto Giusto ciel in tal periglio Guglielmo Tell Finale Semiramide Bel raggio lusinghier Pagine d’opera di Altri Autori A.
    [Show full text]
  • Download Booklet
    CHAN 10190 Front.qxd 31/1/07 10:41 am Page 1 CHAN 10190 CHANDOS CHAN 10190 BOOK.qxd 31/1/07 10:54 am Page 2 Gioachino Antonio Rossini (1792 – 1868) Complete Piano Edition, Volume 1 premiere recordings Unpublished Works 1 Valzer in mi bemolle maggiore (Firenze, 1 ottobre 1849) 2:13 in E flat major • in Es-Dur • en mi bémol majeur 2 Thème 2:59 Lebrecht Collection Lebrecht in E flat major • in Es-Dur • en mi bémol majeur • en mi bemolle maggiore 3 Allegretto 0:31 4 Scherzo in la minore (Firenze, 28 luglio 1850) 3:44 in A minor • in a-Moll • en la mineur 5 Un rien (Passy, 1861) 0:47 Andantino From Péchés de vieillesse, Book 3 ‘Morceaux réservés’ 9:19 5 Gammes – des montées et des descentes (rising and falling scales) Deux gammes chinoises, suivies d’une mélodie analogue (Chinese scales followed by a corresponding melody) 6 A. Première montée et descente (montée) 0:47 7 A. Première montée et descente (descente) 1:27 8 B. Deuxième montée et descente (montée) 0:32 9 B. Deuxième montée et descente (descente) 0:42 10 C. Première gamme chinoise, montante et descendante 0:49 Gioachino Antonio Rossini 11 D. Deuxième gamme chinoise, montante et descendante 0:43 12 E. L’Amour à Pékin (Mon cœur blessé): petite mélodie sur la gamme chinoise (Love in Peking [My wounded heart]: little melody on the Chinese scale) 4:00 in A major • in A-Dur • en la majeur • in la maggiore Marina De Liso contralto 3 CHAN 10190 BOOK.qxd 31/1/07 10:54 am Page 4 Rossini: Complete Piano Edition, Volume 1 From Péchés de vieillesse, Book 9 ‘Album pour piano, Enigmatic and problematic, Rossini’s piano which Rossini kept his ‘péchés de vieillesse’ violon, violoncelle, harmonium et cor’ 54:39 music requires significantly more than the (sins of old age) reopened, it is perhaps the 13 1 Mélodie candide, QR xvi/67-73 4:06 cursory glance at the black dots on the page very place we should look to solve the many in A major • in A-Dur • en la majeur • in la maggiore often used by pianists to judge a work’s mysteries of the composer’s personality.
    [Show full text]
  • Petite Messe Solennelle Gioachino Rossini
    Petite Messe Solennelle Gioachino Rossini (1792–1868) Did Napoleon III really say ‘it is neither little, nor solemn, nor particularly liturgical’’ when he heard Rossini’s Petite Messe Solennelle? The French Emperor (nephew of Napoleon Bonaparte) has some wonderful quotes accurately attributed to him, such as ‘this vice brings in one hundred million francs in taxes every year. I will certainly forbid it at once – as soon as you can name a virtue that brings in as much revenue.’ And we still argue over taxing cigarettes. So if the comment on the Rossini isn’t his, perhaps it should have been. Certainly the composer would have appreciated the witticism if he hadn’t been dead: the first public airing of this masterpiece took place three months after he died, the first actual performance having been given privately almost five years previously. Rossini would have been amused because he also appears to have had a gift for dry humour and called the work ‘the last of my péchés de vieillesse’, or sins of old age. This may all be entertaining enough (or not), but what has it got to do with the music, with Escafeld Chorale’s performance? Well, for a start the work may not be ‘particularly liturgical’ and certainly wouldn’t fit into a church service, however grand, but it wasn’t designed to fit Palestrina-like into Sunday morning worship. Major composers simply hadn’t written like that for a hundred years or more. Instead it fits elegantly into the tradition of the post-Enlightenment settings of the mass without indulging in the sentimentality of the romantic school of, say, Gounod.
    [Show full text]
  • Una Messa Quasi Per Caso 11
    Una messa quasi per caso 11 Una messa quasi per caso Forse si vuol essere indulgenti che siamo abituati ad ascoltare, con i << peccati di vecchiaia», o forse segnatamente quelle per orchestra. sembra inopportuno insistere su un L'ampio volume introduttivo che occasionale momento di stanchez­ affianca la recente edizione critica za - chi non ne ha? - certo è che promossa dalla Fondazione Rossini in genere si preferisce tacere, o al di Pesaro, oltre alla consueta resti­ più sussurrare, un'opinione assai tuzione filologica, opera quella che diffusa ... in gergo si chiama indagine 'geneti­ Eccola. La versione orchestrale della ca' della partitura. In altre parole, Petite messe solennelle è poco più sulla base dello stato della carta, che una trascrizione di circostanza. della grafia, del tipo di inchiostri, del Forse Rossini se la poteva evitare. A peso del tratto, e soprattutto delle quale scopo orchestrare quell'origi­ continue modifiche introdotte in nale per due pianoforti e armonium corso d'opera, ha potuto distinguere riuscito così bene? Il capolavoro è lì, le stratificazioni del compositore, quest'altro -la sua ingessata espan­ riconoscendo almeno otto momenti sione sinfonica- appare un ossequio diversi distribuiti nei sei anni di burocratico alle mode del tempo, lavoro sulla Petite messe, quelli pre­ oggi privo di appeal, se non per la cedenti la sua morte (1868). curiosità dell'operazione. Certo negli Rossini aveva concepito all'inizio ultimi anni sono apparse esecuzioni solo un brano sacro di circostanza eccellenti della versione orchestrale, per otto voci e pianoforte, poi, a ma la sensazione è che sia avvenuto seguito di un processo costante di quasi più per merito degli interpreti espansione, aggiunte e riorganizza­ che per efficacia della partitura zione del lavoro, ha messo insieme rossiniana.
    [Show full text]
  • Petite Messe Solennelle : Religiosità Domestica E Solennità Liturgica Guida All’Ascolto a Cura Di Marco Faelli
    Petite Messe solennelle : religiosità domestica e solennità liturgica guida all’ascolto a cura di Marco Faelli Il 13 marzo del 1864, in un salone del palazzo della Contessa Louise Pillet Will, a Parigi, viene presentata, ad uno scelto pubblico di invitati, la Petite Messe solennelle . La composizione non è destinata ad un uso liturgico (il pianoforte non è adatto all’acustica di una chiesa), ma ad un ambiente più intimo, domestico. L’organico è quindi essenziale (da qui l’aggettivo Petite , mentre Solennelle indica che tutto il testo è musicato, compreso il Credo ). Scrive Rossini nella partitura autografa: « Douze chanteurs de trois sexes Hommes, Femme et Castres seront suffisants pour sono execution, savoir huit pour les choeurs, quatre pour les solos, total Douze Cherubins »; a questi si aggiungeva il sostegno strumentale di due pianoforti e di un harmonium . Nonostante il desiderio di Rossini (sappiamo quanto rimpiangesse la ormai inevitabile scomparsa dei castrati), il “terzo sesso” non prese parte all’esecuzione: i ruoli femminili vennero infatti sostenuti dalle sorelle Barbara e Carlotta Marchisio, mentre il tenore era Italo Gardoni (primo interprete, tra l’altro, dei Masnadieri di Verdi), e il basso Louis Agniez. Il coro era costituito da studenti del Conservatorio di Parigi, scelti personalmente da Auber, e diretti (alle spalle dei solisti e con tanto di bacchetta) dal maestro Choen. Per la cronaca, al primo pianoforte sedeva un allievo di Chopin, Georges Mathias. La primitiva versione della Petite Messe venne eseguita solo tre volte durante la vita dell’autore: dopo la sua morte entrò in circolazione una versione orchestrale (in cui le parti solistiche e quelle corali rimangono identiche), strumentata dall’autore stesso, anche se malvolentieri.
    [Show full text]
  • Chapter 27 40; Dozens Romantic Opera and Musical Theater to Midcentury 12
    18 11. How many new operas were produced each year in Italy early in the 19th century. How many composers? Chapter 27 40; dozens Romantic Opera and Musical Theater to Midcentury 12. (657) What composers dominated Italian opera to 1850? 1. [653] Most opera theatres were operated by _________, Rossini, Donizetti, Bellini backed by ________ or ________. Impresarios; government subsidies; private support 13. Make a list of Rossini operas here. Separate comic from serious. 2. (664) Figure 27.1. How good is your French? When was Comic the premiere? Is Prevot a man or a woman? Can I use a L'Italiana in Algeri (Italian Woman in Algiers, Venice, 1813) "movie pass"? What time does it start? When and where Il Barbiere di Siviglia (Barber of Seville, Rome, 1816) can I get a ticket for a friend? Serious Today, Monday, February 29, 1836 (leap year!); a man; no, [Tancredi, Venice, 1813]; Otello, Naples, 1816; because it says so; 7 p.m.; at the box office, everyday, 11 Mosè in Egitto, Naples, 1818 am until 4 pm. Guillaume Tell, Paris, 1829 [Semiramide, 1823; La Cenerentola] 3. Opera was a form of ____________ status. Social 14. How did he achieve variety in his operas (and, thus, everlasting glory)? 4. How popular was opera outside the theatre? Blended serious and comic in his seria and buffa operas TQ: Published scores? When did that begin? Why? Very; arranged in various combinations; the first part of the 15. (666) What is bel canto and it's characteristics? century; operas were popular Beautiful singing; elegant style, effortless technique, beautiful tone, agility, flexibility, florid embellishment 5.
    [Show full text]
  • GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS
    CHAN 3112 Book Cover.qxd 20/9/06 11:02 am Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH BARRY BANKS BANKS BARRY tenor sings BEL CANTO ARIAS sings BEL CANTO PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner Barry Banks sings Bel canto Arias 3 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 4 Time Page Time Page Gioachino Rossini (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s Cavatina (Languir per una bella) Tom Rakewell’s Recitative and Aria 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from Stabat Mater (Cujus animam) Gaetano Donizetti (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Don Pasquale Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p.
    [Show full text]
  • Miserere Messa Di Milano
    Comune di Pesaro Enti fondatori Comune di Pesaro, Intesa Sanpaolo, Fondazione Scavolini Sotto l’Alto Patronato del Presidente della Repubblica TEATRO ROSSINI DOMENICA 15 NOVEMBRE 2020 - ORE 20.30 MISERERE per soli, coro e orchestra Edizione Carus-Verlag, a cura di GUIDO JOHANNES JOERG MANUEL AMATI ANTONIO GARÉS GRIGORY SHKARUPA MESSA DI MILANO per soli, coro e orchestra Edizione critica della Fondazione Rossini, in collaborazione con Casa Ricordi, a cura di FERDINANDO SULLA SVETLINA STOYANOVA MANUEL AMATI ANTONIO GARÉS GRIGORY SHKARUPA Direttore FERDINANDO SULLA CORO DEL TEATRO DELLA FORTUNA Maestro del Coro MIRCA ROSCIANI FILARMONICA GIOACHINO ROSSINI Il Festival ringrazia e UBI Banca per il contributo erogato tramite Art Bonus Partner Media partner Il Miserere e la Messa di Milano: la musica sacra del giovane Rossini La Messa di Milano, lavoro giovanile di Rossini, rientra in quella produzione considerata “minore” che ancora oggi risulta poco dibattuta e affrontata sia in ambito storico-scientifico, sia in ambito performativo. La vicenda biografica di Rossini tra il 1802 e il 1809, caratteriz- zata dalla formazione musicale a Lugo e l’ammissione al Liceo Musicale di Bologna nel 1806, vede la nascita anche di questa produzione che si rivela tutt’altro che marginale e ci offre, invece, oltre alla consapevolezza del suo valore artistico, una prospet- tiva altrettanto importante nel delineare il profilo giovanile del compositore pesarese. Durante la sua permanenza a Lugo (1802-1804), il giovane Ros- sini è allievo di Don Giuseppe Malerbi,
    [Show full text]
  • The Birth of an Opera
    THE BIRTH OF AN OPERA FIFTEEN MASTERPIECES from POPPEA TO WOZZECK Michael Rose IV • %'V • Norton & Company New York London Il Barbiere di Siviglia H E FIRST PERFORMANCE of Rossini's Barber was one of the great fiascos of operatic history. Yet only eight months earlier its composer had taken the first big step in what was to be the most daz- zling operatic career of the early nineteenth century. When Gioacchino Rossini arrived in Naples on 27 June 1815, he was twenty-three years old, he had fourteen operas to his credit, and he had never been this far from home in his life. Born in Pesaro and brought up in Bologna, his early successes had been largely confined to Venice and Milan, and the political divisions of the peninsula, recently reinstated after the Napoleonic interregnum, imposed at least two national borders between the Hapsburg regions of Lombardy and Venetia and the Bour- bon Kingdom of the Two Sicilies. But the Italian passion for opera had no respect for political frontiers and already Rossini was being spoken of across Italy as the latest operatic phenomenon. Since Naples had been for a century and a half one of the most important, perhaps the most influen- tial, of Italian centres of operatic activity, the appointment of this stripling from the north as director of its royal theatres raised eager anticipation (and not a few eyebrows) as well as opening a new chapter in Rossini's life. But Italian opera in the early nineteenth century was a cutthroat business. The Neapolitan contract did not tie him exclusively to Naples, and now that he had freed himself from the Venice-Milan axis of earlier years, Rossini was keen to exploit the new possibilities of his position.
    [Show full text]
  • Riccardo Muti Conductor Tatiana Serjan Soprano Daniela Barcellona
    PROGRAM ONE HUNDRED TWENTY-THIRD SEASON Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 10, 2013, at 7:30 Riccardo Muti Conductor Tatiana Serjan Soprano Daniela Barcellona Mezzo-soprano Mario Zeffiri Tenor Ildar Abdrazakov Bass Chicago Symphony Chorus Duain Wolfe Director Verdi Requiem Mass Requiem and Kyrie Dies irae Dies irae Tuba mirum Mors stupebit Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrimosa Offertory: Domine Jesu Christe Sanctus Agnus Dei Lux aeterna Libera me TATIANA SERJAN DANIELA BARCELLONA MARIO ZEFFIRI ILDAR ABDRAZAKOV CHICAGO SYMPHONY CHORUS There will be no intermission. Thanks to the generous support of Matthew and Kay Bucksbaum, people around the world will watch and listen to this concert tonight through a free live video stream on the Internet. After tonight, you may watch, for no charge, a video recording of the entire concert at www.cso.org/verdi or www.riccardomutimusic.com. This special performance of Verdi’s Requiem is sponsored by Sylvia Neil and Dan Fischel. Sponsorship of the music director and related programs is provided in part by a generous gift from the Zell Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. 33 Generous support for the Verdi Celebration provided by MATTHEW AND KAY BUCKSBAUM SYLVIA NEIL AND DAN FISCHEL JIM AND KAY MABIE GILCHRIST FOUNDATION JULIE AND ROGER BASKES WHITNEY AND ADA ADDINGTON BRUCE AND MARTHA CLINTON, FOR THE CLINTON FAMILY FUND NIB FOUNDATION 33A COMMENTS by Phillip Huscher Giuseppe Verdi Born October 10, 1813, Le Roncole, near Busseto, Italy.
    [Show full text]
  • ORCHESTRA E CORO DELL'accademia NAZIONALE DI SANTA CECILIA Sir ANTONIO PAPPANO Direttore
    stagione di musica sinFonica 2012 - 2013 AUDITORIUM PARCO DELLA MUSICA Sala Santa Cecilia Sabato 10 novembre - ore 18 - Turno A-A2 Lunedì 12 novembre - ore 21 - Turno B* Martedì 13 novembre - ore 19.30 - Turno C Orchestra E coro dell’Accademia nazionale di santa cecilia Sir Antonio pappano Direttore marina rebeKA Soprano sara mingardo Contralto Francesco meli Tenore AleX esposito Basso ciro Visco Maestro del Coro * Il concerto è trasmesso in diretta da Radio3 Rai ed è ripreso dalla Terza Rete Televisiva per successive trasmissioni Domenica 11 novembre alle ore 11, Bruno Cagli introduce la Petite Messe Solennelle di Rossini. Sala Coro – ingresso gratuito Rossini ritratto nel 1863, anno di composizione della Petite Messe Solennelle, dal fotografo Etienne Carjat con Vero AMORE DI RELIGIONE di Bruno Cagli «avendo posto in questa composizione tutto il mio piccolo sapere musicale e lavorato con vero amore di religione» (Rossini a Liszt il 23 giugno 1865) Le «dernier péché» Ultimo e massimo – in tutti i sensi – tra quelli che il vecchio Rossini in ritiro si dilettò a chiamare Péchés de vieillesse (più raramente in italiano Peccati di vecchiaia), la Messa fu munita, al pari di altri pezzi di quel periodo e di quella collocazione, di titoli e indicazioni antifrastiche ed ebbe anzi, in aggiunta, per- fino una lettera di congedo al Buon Dio. La pratica definitoria fuorviante, divenuta per il distaccato signore della Chaussée d’Antin una seconda insopprimibile natura, parte già dal pri- mo frontespizio dell’autografo che accosta l’aggettivo petite (poco consono alla durata del pezzo, ma comunque riferibile all’organico) all’altro solennelle.
    [Show full text]
  • Chapter 17: Opera in the Age of Rossini, Bellini, Donizetti, and Weber
    Chapter 17: Opera in the Age of Rossini, Bellini, Donizetti, and Weber I. Rossini A. Introduction 1. At the same as time Beethoven’s popularity in Vienna peaked, the operas of Gioachino Rossini (1792–1868) were winning acclaim, and young Franz Schubert was writing his most famous lieder. 2. Each of these composers represents the epitome of the genres with which they are most associated. a. Beethoven – instrumental music b. Schubert – smaller domestic pieces c. Rossini – opera 3. Each man’s career as a composer ended within a few years of the others: Beethoven died in 1826, Schubert in 1828, and Rossini essentially retired in 1829. B. The Popularity of Rossini 1. Rossini inherited the legacy of opera after Mozart. 2. His light, effervescent music was amazingly popular. 3. Rossini composed an average of two operas per year, and several of the early ones (including the Barber of Seville) were written in a month or less. 4. The conditions under which Rossini composed aided the quick presentation of his operas. a. He was part of a team in the theater. b. The product was commercial, and successful pieces were revamped for other productions. c. In this scenario, the composer was one of several service personnel, and the focus was on the performers. 5. Rossini and Beethoven differed substantially in many ways. a. Rossini tossed off brilliant pieces effortlessly and was involved in the practical music world. b. Beethoven worked hard on his pieces and was removed from the practical music world. 6. In opera circles, Rossini was seen as a great figure.
    [Show full text]