Valletta International Baroque Festival 2015

Total Page:16

File Type:pdf, Size:1020Kb

Valletta International Baroque Festival 2015 Valletta International Baroque Festival 2015 Performance Dates: Title of Production: Start Time: Programme: Performers: Saturday 10 th January 2015 Nine Lamentations 7.30pm Early baroque pieces for a Netherlands Kammer koor cappella choir Directed by Paul van Nevel Sunday 11th January 2015 Baroque Piano Transcriptions 11am Solo piano transcriptions by Dmytro Sukhovienko Lizst and Busoni and piano pieces by Scarlatti Bach and Handel Sunday 11th January 2015 Music for the Grand Tour . The 5pm Porpora Vivaldi Corelli, Concerto dei Cavalieri directed by Italian Concerto from Venice to Scarlatti Marcello di Lisa Naples Monday 12th January 2015 The Fruit of Love by Anthony 7.30pm A Concertino of Viols and L'Acheron Ensemble di rected by Holborne rare instruments Francois Joubert Caillet Tuesday 13th January 2015 South American Baroque Music 7.30pm A selection of Sacred and Ensemble Villancico Profane Baroque Music from Directed by Peter Pontvik the Americas Wednesday 14th January Handel Concert Arias 7.30pm Handel concert arias Robert King with King’s Consort 2015 and countertenor Iestyn Davies Valletta International Baroque Festival 2015 Thursday 15th January 2015 Commemorating the Tercentenary 7.30pm Arias by Abos, Arne, Handel Passacaglia Ensemble directed by of the birth of Maltese composer etc Girolamo Abos Friday 16th January 2015 Gabrieli and Monteverdi 7.30pm Music by Gabrieli and VIBE Monteverdi Saturday 17th January 2015 Bach Cello Suites 1 -3 12 noon Cello Suites 1 -3 Sigiswald Kuijken Saturday 17th January 2015 Ravel, Foss, Shostakovich, Strauss 7.30pm Ravel, Foss, Shostakovich, Malta Philharmonic Orchestra Strauss soloist Rebecca hall (flute) Directed by Peter Stark Sunday 18th January 2015 Bach Cello Suites 4 -6 12 noon Cello Suites 4 -6 Sigiswald Kuijken Sunday 18th January 2015 Bach’s Goldberg Variations 5pm piano performance with Joanne Camilleri lecture Monday 19th January 2015 Bach’s St. John's Passion 7.30pm oratorio Orchestra of the Age of Enlightenment Directed by XXXXX Tuesday 20th January 2015 Michelangelo Falvetti ’s Il Diluvio 7.30pm An oratorio La Cappella Mediterrane a, the Universale Namur Chamber Choir conducted by Leonardo Garcia Alarcon Valletta International Baroque Festival 2015 Wednesday 21st January Commemorating the Tercentenary 7.30pm Magnificat and Messe a due Die Kölner Akademie choir and 2015 of the birth of Maltese composer corri orchestra conducted by Michael Geronimo Abos Willens Thursday 22nd January 2015 Handel Organ Concerto s 7.30pm Handel Organ Concerto and European Union Baroque other baroque pieces Orchestra Lars Ulrik Mortennsen Friday 23rd January 2015 Works for Choir and orchestra 7.30pm Vivaldi Gloria an d Psalms Le Concert Spirituel directed by 113 121 147/ Campra Messa Herve Niquet ad maiorem Dei Gloria Saturday 24th January 2015 Abos Stabat Mater 12 noon Abos Stabat Mater VIBE Saturday 24th January 2015 Baroque Festival Ball 9pm Please note this is subject to change .
Recommended publications
  • Newsletter National Book Council of Malta - Provided Information on the 2017 AGM
    Anthi Agoropoulou, National Library of Greece Muhammad Syarif Bando, National Library of Indonesia Birgit Böcher, Deutscher Musik - verleger-Verband, Germany Alison Bullock, Library and Archives Canada Mark Camilleri, National Book Council, The participants of the ISMN meeting Malta Simona Cassano, National Book Alenka Kanič, National Library of Josie Qiu, ICIA Secretary / ISLI RA Council, Malta Slovenia COO, Hong Kong Valentina Chitoroagă, National Book Dewi Kartikasari, National Library of Dr. Bettina von Seyfried, International Chamber of Moldova Indonesia ISMN Agency, Germany Renata Cozonac, National Book Gaorere Kgotla, Botswana National Nino Simonishvili, National Parlia- Chamber of Moldova Library Service, National Reference mentary Library of Georgia Joseph Debattista, National Book Library Botswana Carolin Unger, International ISMN Council, Malta Majda Kotnik-Verčko, National Library Agency, Germany Lucya Dhamayanti, National Library of of Slovenia Mai Valtna, National Library of Estonia Indonesia Eckard Krajewski, DE-Parcon/Acamar, Stavroula Verveniotou, National Library Joanna Eliades, National Library of Germany of Greece Cyprus Wolfram Krajewski, DE-Parcon/ Jamshid Farahani, National Library of Dr. Hartmut Walravens, Inter natio nal Acamar, Germany Sweden ISMN Agency, Germany Coretta Lamptey, George Padmore Aiva Gailite, National Library of Latvia Nick Woods, International ISBN Research Library on African Affairs, Danijela Getliher, Nacionalna i Agency, United Kingdom Ghana sveučilišna knjižnica u Zagrebu, Alaxis Li, ICIA Secretary / ISLI RA Croatia COO, Hong Kong Maia Gomarteli, National Parlia mentary Library of Georgia Neo Mosweu, Botswana National Stella Griffiths, International ISBN Library Service, National Reference Library Botswana Agency, United Kingdom Opening 2 Katarzyna Nakonieczna, National Eva Holst, National Library of Norway Twelfth Annual General Meeting of Kyoko Iwamoto, National Gradual Library of Poland Iryna Pogorelovs’ka, Book Chamber of the “Internationale ISMN- Institute for Policy Studies, Mother Agen tur e.V.” 2 Earth Co.
    [Show full text]
  • The Malta International Choir Festival Composition Competition
    The Malta International Choir Festival Composition Competition The Malta International Choir Festival Composition Competition is dedicated to the memory of Girolamo Abos 1, one of Malta’s preeminent composers. Malta has regularly hosted international choir festivals and competitions since 1988. The islands of Malta and Gozo can boast of a very thriving choral scene and – with over 350 churches serving a population of about 400,000 – the choral tradition is, understandably, built around and mostly focused on sacred music. This year, the Ministry for Tourism and the Malta Tourism Authority will be holding another edition of the Malta International Choir Festival between October 29 and November 1. The organising committee of the Malta International Choir Festival is, for the first time, launching an International Composition Competition for young composers with the intention of providing an opportunity for aspiring composers to have their work premiered and recorded during the festival. Participating composers in this competition will also have the opportunity to attend a workshop during the festival. The workshop will be led by members of the adjudication panel and will focus on choral writing skills. There is no fee for participating in the workshop but international participants would be required to fund their own travel and accommodation. Competition Regulations 1. The competition is open to composers of any nationality who will be not older than 30 years of age. 2. The composition should be written for SATB choir a cappella with the possibility of some divisi (maximum two parts per voice). Whilst composers are encouraged to demonstrate their best abilities through the submitted works, one should also be as practical as possible and due attention will be given to the efficiency with which one’s musical ideas are communicated to the performers.
    [Show full text]
  • A Largely Unknown Chapter in Maltese History
    Eighteenth-Century Music and its Political Configurations: a largely unknown Chapter in Maltese History Simon MERCIECA University of Malta The period of the rule of the Knights of Saint John (1530-1798) is currently remembered and celebrated as Malta's golden age. The Knights are typically perceived as benign Christian and Catholic rulers, and the Grand Masters considered among Malta's most famous historical characters. The Order is rightly credited with having brought a cultural Renaissance to the Island. During its rule, a number of far-reaching historical events took place. Conveniently, only the victory of the Knights of Saint John at the Great Siege of 1565, when a large Ottoman force was repelled following fierce fighting, is commemorated on a national scale. The arrival of Napoleon's forces in 1798, by contrast, does not receive the same acknowledgement or coverage in popular history. Yet the Order's rule was not necessarily as golden as it is sometimes made out to be, and the Knights' administration is tarnished by various miscarriages of justice. They were despotic rulers following ancien regime principles. The artistic and architectural grandeur of the time and the cultural renaissance fostered by the Order interested the few. It has been suggested that only two per cent of a country's population was really concerned with cultural issues during the early modern period.1 The arrival in Malta of Michelangelo Merisi di Caravaggio (the year 2007 marked the 400th anniversary of that event) and the engagement of other important artists, such as Mattia Preti together with the employment of important military engineers, provide proof of the Order's contribution to Malta's cultural history.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Luca Antonio Predieri
    Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Iva Bittová Luca Antonio Predieri: Missa in C Sacratissimi Corporis Christi Magisterská diplomová práce Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. 2017 Prohlašuji, že jsem práci vypracovala samostatně a pouze s využitím uvedených pramenů a literatury. ...................................... OBSAH PŘEDMLUVA ....................................................................................................................................................... 4 ÚVOD ..................................................................................................................................................................... 5 1 STAV BÁDÁNÍ .............................................................................................................................................. 6 2 LUCA ANTONIO PREDIERI .................................................................................................................... 12 2.1 ŽIVOTOPIS .............................................................................................................................................. 12 2.2 PŘEHLED DÍLA ........................................................................................................................................ 16 3 EDICE PRAMENE MISSA IN C SACRATISSIMI CORPORIS CHRISTI ......................................... 19 3.1 POPIS PRAMENE .....................................................................................................................................
    [Show full text]
  • La Serva Padrona Set by Pergolesi
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
    [Show full text]
  • The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for the Order of Malta in the Late Eighteenth Century
    The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for The Order of Malta in the Late Eighteenth Century. By Richard Sydney Benedict Divall Doctor of Letters (Honoris Causa – Monash 1992) and Doctor of the University (Honoris Causa – Australian Catholic University 2004) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy MCD University of Divinity 2013 MCD University of Divinity To Whom it May Concern This is to certify that the thesis and music editions presented by me for the degree of Doctor of Philosophy comprises only my original work except where due acknowledgment is made in the text to all other material used. Signature: ____________________________________ Name in Full: ____________________________________ Date: ____________________________________ Abstract. Nicolò Isouard (1773-1818) is considered Malta’s national composer. After studies in France and Naples, he returned to his homeland, where from 1794 to 1798 he was an aspiring composer, and employee of the Order of Malta. In 1994 a collection of thirty-three autographs of hitherto unknown sacred music by Isouard appeared at the Bibliothèque Nationale, Paris, and I recognised the importance of these manuscripts. My intentions are to provide a précis on the Order, as the sovereign entity ruling Malta at the time, and the sacred music composed for them in their great Conventual Church in Valletta – now St John’s Co-Cathedral. The thesis will provide the background to Isouard’s early career and a complete edition and commentary of all of his sacred music, including additional works found during the research process, and a catalogue of his stage works.
    [Show full text]
  • RDA: Resource Description and Access: Chapter: 6: Identifying
    IDENTIFYING WORKS AND EXPRESSIONS 6.0 6 IDENTIFYING WORKS AND EXPRESSIONS 6.0 Purpose and Scope This chapter provides general guidelines and instructions on: a) choosing preferred titles for works (see 6.2.2) b) recording preferred and variant titles for works (see 6.2) c) recording other identifying attributes of the work or expression (see 6.3 – 6.13) d) constructing authorized access points representing the work or expression (see 6.27.1 – 6.27.3) e) constructing variant access points representing the work or expression (see 6.27.4). The chapter provides guidelines on recording titles and other identifying attributes as separate elements, as parts of access points, or as both. In addition to the general guidelines, the chapter provides instructions on recording preferred and variant titles and other identifying attributes for special types of works and their expressions: musical works (see 6.14 – 6.18) legal works (see 6.19 – 6.22) religious works (see 6.23 – 6.25) official communications (see 6.26). The preferred title for the work is used to construct the authorized access point. The variant title or titles for the work are used to construct variant access points. Other identifying attributes of the work and/or expression may also be included in the access point (see 6.27). Authorized access points representing works and expressions can be used for different purposes. They provide the means for: a) bringing together all descriptions of resources embodying a work when various manifestations have appeared under various titles b) identifying a work when the title by which it is known differs from the title proper of the resource being described c) differentiating between two or more works with the same title d) organizing hierarchical displays of descriptions for resources embodying different expressions of a work e) recording a relationship to a related work (see chapter 25) or a related expression (see chapter 26).
    [Show full text]
  • Who Was Who in the Old Conservatories
    Who Was Who In The Old Conservatories Timelines of the Various Maestros Along with Brief Histories of their Institutions The Loreto The orphanage of Santa Maria di Loreto was founded in 1535 in the poor fishermen’s district of Naples. Both boys and girls were taken in until a separate school for girls opened in 1543. Children were taught various trades, which included music after the hiring of professional music teachers (between 1630 and 1640). From 1644 onward, boys able to pay tuition could also enroll. During the eighteenth century the conservatory be- came one of Europe’s finest schools of music. The unsettled times caused by the Napoleanic wars led to Ferdinand IV req- School Uniform uisitioning the conservatory’s building in 1797 for use as a mili- tary hospital. Teachers and students moved to the conservatory of Sant’Onofrio. Finally, in 1806, the remants of Sant’Onofrio and S. M. di Loreto combined with the Pietà dei Turchini to create the new Royal College of Music. Conservatorio di Santa Maria di Loreto First Masters Second Masters Don Pietro Bartilotti 1689 1690 Nicola Acerbo Gaetano Veneziano 1695 1705 Don Giuliano Perugino Don Giuliano Perugino 1716 Giovanni Veneziano Francesco Mancini 1720 1737 Giovanni Fischietti Nicola Porpora 1739 1741 Francesco Durante 1742 Pierantonio Gallo 1755 Gennaro Manna (with Gallo) 1756 1761 Antonio Sacchini 1762 Fedele Fenaroli Fedele Fenaroli 1777 Saverio Valente Giacomo Tritto 1797 Giovanni Paisiello 1806 Fedele Fenaroli S. M. di Loreto loses its building and moves to S. Onofrio. Niccolò Zingarelli 1813 S. M. di Loreto merges with the Pietá to form the Real Collegio di Musica.
    [Show full text]
  • The Paisiello Academy
    THE PAISIELLO ACADEMY Giovanni Paisiello (1740 - 1816) KEYBOARD CONCERTOS, OPERATIC ARIAS - SYMPHONIES CONCERTI PER PIANOFORTE, ARIE OPERISTICHE - SINFONIE CONCERTO POUR CLAVIER, AIRS D’OPÉRA - SYMPHONIES GINEVRA COSTANTINI NEGRI, piano ORCHESTRA DA CAMERA CANOVA MANUELA CUSTER, mezzo ENRICO SAVERIO PAGANO, conductor THE PAISIELLO ACADEMY Giovanni Paisiello (1740 -1816) INDICE / SUMMARY / INDEX KEYBOARD CONCERTOS, OPERATIC ARIAS - SYMPHONIES CONCERTI PER PIANOFORTE, ARIE OPERISTICHE - SINFONIE CONCERTO POUR CLAVIER, AIRS D’OPÉRA - SYMPHONIES GINEVRA COSTANTINI NEGRI, piano ORCHESTRA DA CAMERA CANOVA GUIDA ALL’ASCOLTO 4 MANUELA CUSTER, mezzo ENRICO SAVERIO PAGANO, conductor LISTENING GUIDE 20 SINFONIA “LA DISFATTA DI DARIO” ✱ CONCERTO PER TASTIERA E ORCHESTRA IN FA MAGGIORE 1 Allegro 4:57 GUIDE À L’ÉCOUTE 34 2 Andante 1:21 9 Allegro 6:35 10 Largo 6:58 3 Allegro 1:25 11 Allegretto 5:18 CONCERTO PER TASTIERA E ORCHESTRA GINEVRA COSTANTINI NEGRI 48 IN SOL MINORE “LA SEMPLICE FORTUNATA “ ✱ 4 Allegro 9:39 LA DONNA QUANDO È IN FURIA 5 Largo 4:56 12 Andante 3:57 ENRICO SAVERIO PAGANO 54 6 Allegretto 6:54 SINFONIA “L’ORFANA RICONOSCIUTA” ✱ “LA SEMPLICE FORTUNATA” 13 Allegro 3:23 QUELL’ARDOR QUEL DOLCE FOCO ✱ 14 Andante 2:30 ORCHESTRA DA CAMERA CANOVA 58 7 Andante 3:18 15 Presto 0:48 SINFONIA “LA FINTA AMANTE” TOTAL TIMING 67:48 8 Allegro 5:51 (✱) First world recordings CREDITI / CREDITS 64 GUIDA ALL’ASCOLTO di Enrico Saverio Pagano Giovanni Paisiello - Biografia iovanni Gregorio Cataldo Paisiello nasce a Taranto il 9 maggio 1740. Di Salve tu domine Mozart scriverà le Variazioni K 398), poi Il matrimonio inaspettato, La famiglia piccolo borghese, manifesta già da giovanissimo un interesse mu- serva padrona (sullo stesso libretto usato da Pergolesi), Il barbiere di Siviglia e Il Mondo Gsicale che lo porta - a quattordici anni - a Napoli, per studiare al Conser- della Luna.
    [Show full text]
  • Diplomarbeit Markus Bauer
    „ […] Ewer röm: kayl: und königl: Mayt: Allerunterthänigst – treugehorbster JOHANNES HEINISCH Kayl: musicalischer Hoff Trompeter“ Versuch einer musikalischen Biographie des musikalischen Hoftrompeters von 1727 - 1751 Diplomarbeit Zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von MARKUS BAUER am Institut für Musikwissenschaft Begutachter: Univ. Prof. Michael Walter Graz, 2008 VORWORT..........................................................................................................................................3 1. EINLEITUNG.............................................................................................................................5 2. BIOGRAPHIE.............................................................................................................................7 3. DAS WIENER HOFTROMPETERKORPS............................................................................21 3.1. Geschichte........................................................................................................................................... 21 3.2. Die Voraussetzungen eines Hoftrompeters...................................................................................... 23 3.3. Die Kollegen Heinischs ...................................................................................................................... 33 3.3.1. Franz Anton Küffel ......................................................................................................................................
    [Show full text]
  • Giacomo Insanguine (Monopoli, Bari, 1728 – Napoli, 1795)
    Quaderni di musica antica ASSOCIAZIONE CULTURALE “FRANCESCO DURANTE” V Giacomo Insanguine (Monopoli, Bari, 1728 – Napoli, 1795) Messa a tre voci del sig.r Giacomo Insanguine detto Monopoli Associazione Culturale “Francesco Durante” Caserta giugno 2001 Giacomo Insanguine (Monopoli, Bari, 1728 – Napoli, 1795) Messa a tre voci del sig.r Giacomo Insanguine detto Monopoli Kyrie ………………………….. 1 Gloria ………………………… 10 Qui tollis ……………………... 23 Quoniam ……………………... 33 Biografia …………………….. 39 Note di revisione ……………... 41 Giacomo Antonio Francesco Paolo Michele Insanguine detto Monopoli nacque a Monopoli (Bari) il 22/3/1728. Inviato tredicenne a Napoli per studiare musica presso il Conservatorio dei Poveri di Gesù Cristo, ebbe come primi maestri Francesco Feo e Girolamo Abos. Alla soppressione nel 1743 del Conservatorio passò al Sant’Onofrio (fino al 1749) sempre con Abos e cui si aggiunse Francesco Durante, restandovi fino al ’55 come “mastricello”. Proseguì la carriera didattica sempre al Sant’Onofrio con l’assunzione ad “aiuto” di Carlo Cotumacci (nel ’67), poi come secondo maestro (dal ’74) e succedendogli alla carica di primo maestro nel 1785. Dal ’74 al ’76 fu maestro del secondo coro della Cappella del Tesoro di San Gennaro, ritornandovi poi dal 1781 come maestro di cappella alla morte di Lorenzo Fago. Parallelamente, alla conclusione degli studi musicali, esordì in campo teatrale con “Lo funnaco revotato” (Napoli, Teatro dei Fiorentini, 1756) raggiungendo in breve una notorietà ed un successo duraturi culminati nel clamoroso successo de “L’osteria di Marechiaro” (Napoli, Fiorentini, 1768) rappresentata per ben 60 sere consecutive. Due opere “La finta semplice” (Napoli, Nuovo, 1769, libretto di P. Mililotti) e“La Didone abbandonata” (Napoli, San Carlo, 1770, libretto di P.
    [Show full text]