DOCSLIB.ORG

Salve Regina

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Salve Regina SALVE REGINA G0100018500143 Sacred Music from Naples Leo, Pergolesi & Scarlatti MARY-ELLEN NESI CATHERINE JONES IL COMPLESSO BAROCCO P & © 2009 SONY MUSIC ENTERTAINMENT (SWITZERLAND) www.sonyclassical.ch ALAN CURTIS SALVE REGINA Leonardo Leo (1694–1744) Alessandro Scarlatti (1660–1725) Mary-Ellen Nesi, Mezzo-soprano Salve Regina in C Minor 16 Salve Regina in C Minor 10.03 c-Moll / en ut mineur for Mezzo-soprano, strings & organ Catherine Jones, Violoncello 1 I. Largo 4.01 c-Moll / en ut majeur 2 II. Allegro 0.57 IL COMPLESSO BAROCCO 3 III. Adagio e piano 1.48 Giovanni Battista Pergolesi (1710–1736) 4 IV. Lento 3.23 Salve Regina in C Minor ALAN CURTIS 5 V. Larghetto 2.19 c-Moll / en ut majeur 6 3.03 17 3.27 VI. Largo I. Largo 1st Violins: Olivia Centurioni, Ana Liz Ojeda, Daniela Nuzzoli, Boris Begelman 18 II. Andante 0.57 2nd Violins: Dmitry Sinkovsky, Elisa Imbalzano, Marta Peroni Leonardo Leo 19 III. Largo 2.47 Violas: Gianni Maraldi, Krishna Nagaraja Salve Regina in F Major 20 IV. Andante 1.25 Cellos: Catherine Jones, Ludovico Takeshi Minasi F-Dur / en fa majeur 21 V. Andante amoroso 2.08 Double bass: Davide Nava 7 I. Largo 3.59 22 VI. Largo assai 1.35 Harpsichord and Organ: Andrea Perugi Theorbo: Pier Luigi Ciapparelli 8 II. Allegro 2.59 9 III. Largo 3.13 Giovanni Battista Pergolesi 10 3.42 IV. Allegretto Salve Regina in A Minor Recorded: 18–20 December 2008, Villa San Fermo, Lonigo, Italy 11 V. Largo 3.13 a-Moll / en la mineur Recording Producer & Editing: Andreas Werner 23 I. Largo 3.24 Produced by Giulio D’Alessio · Supporting Producer: Donna Leon · Executive Procucer: Martin Korn 0.50 Preamp/Converter: RME Micstasy. Recorded, edited and mastered in Sequoia Leonardo Leo 24 II. Allegro Design & Booklet Editing: Christine Schweitzer, Köln Concerto for Cello, Strings and 25 III. Larghetto 1.04 Cover Photo: Filippo Massellani Basso Continuo in D Minor 26 IV. Allegro 2.03 Booklet: Jordan, p. 16 · Tim Mintiens, p. 18 · Pier Luigi Ciapparelli, p. 21 d-moll / en ré mineur 27 V. Largo 2.34 Total time: 67.42 12 I. Andante grazioso 3.42 Il Complesso Barocco wishes to thank Donna Leon for having given every conceivable 13 II. Con spirito 3.13 form of support, encouragement and inspiration for this project. 14 III. Amoroso 3.37 15 2.16 IV. Allegro Il COMPLESSO BAROCCO Giudecca 317 · 30133 Venezia www.ilcomplessobarocco.com 2 3 MUTTERGOTTES IN ALLER MUNDE phon doppelchörig zu vertonen, ging man besonders im Neapel des frühen 18. Jahr - hunderts dazu über, den Textes für eine Solostimme mit Instrumentalbegleitung zu Was hätten Richard Wagner und E.T.A Hoffmann wohl über Leonardo Leos Salve setzen. Bedarf für solche Kompositionen bestand besonders an den berühmten nea - Regina-Kompositionen gesagt? Und wieso gerade sie? Ganz einfach: Sie kannten po litanischen Konservatorien, die nämlich Kirchen- wie Opernsänger ausbildeten diesen alten Neapolitaner und hatten eine andere Kirchenkomposition von ihm, und darauf bedacht sein mussten, ihre besten Kräfte solistisch zur Geltung kom- nämlich das Miserere, zu einem Musterwerk erhoben. Der Romantiker Hoffmann men zu lassen. würdigte in dem Werk – mit durchaus erhobenem Zeigefinger –„das tiefe Studium Mit seinen Salve-Regina-Vertonungen legte Leonardo Leo Kompositionen vor, die des Kontrapunkts, welches durchaus nötig ist, um im Kirchenstil zu schreiben“, um weit über Neapel hinaus zu einem Muster der Gattung wurde. Wobei der vielseitige gleichzeitig seinen eigenen Zeitgenossen vorzuwerfen, dass sie eben dieses Studium Komponist, der ab 1712 am Conservatorio Sant’Onofrio lehrte, auch in anderen Gat - „gänzlich vernachlässigten“ und dass es ihnen nur darum ginge, „zu glänzen, der tun gen stilbildend wirkte: Im alten Kirchenstil perfekt ausgebildet, war er zugleich Menge zu imponieren oder wohl gar, des schnöden Geldgewinstes wegen, dem ein Wegbereiter der komischen Oper. In seinen Salve-Regina-Kompositionen lernen augenblicklichen Zeitgeschmack zu frönen“. Doch sah er nur die eine Seite der wir Leo als einen Komponisten kennen, den sein Dresdner Kollege Johann David Medaille – sicher in Ermangelung eines Überblicks über Leos Gesamtschaffen. Denn Heinichen sicher zu jenen „Practici“ gezählt hätte, die „mit recht von dem ungesalt- auch Leo konnte und wollte es sich nicht leisten, am Geschmack seiner Zeit ge - zenen Wesen eines alzu antiquen Kirchen-Styli abzugehen pflegen“. Beide Werke nossen vorbeizukomponieren. Dafür stehen seine Vertonungen des Salve Regina: sind dabei bemerkenswert ähnlich aufgebaut: Sie sind jeweils in fünf Abschnitte Werke, die dicht an den modernen Opernstil seiner Zeit angelehnt sind. mit identischen Takt- und Tempovorschriften gegliedert, wobei die Abschnitte klar Für eine populäre und moderne Schreibart bot sich das Genre der Salve-Regina- un ter schiedene Affekte ausdeuten und doch eine Einheit bilden. Sogar die Ge - Antiphonen auch besonders an. Der Text dieser Anrufung der beliebten Mut ter - samt zahl der Takte beider Kompositionen ist gleich. Alle Aufmerksamkeit ist auf gottes stammt aus der ersten Hälfte des 11. Jahrhunderts. Im 13. Jahrhundert wurde die virtuos geführte Melodiestimme gerichtet, wobei die Instrumentalbegleitung das gesungene Salve Regina Bestandteil der Komplet: jenes mönchischen Stun den - dennoch nie leer wirkt. Bei aller äußeren Gefälligkeit ist Leo darauf bedacht, seine gebets also, das vor der Nachtruhe abgehalten wurde. Das Salve Regina wechselte Zuhörer mit subtilen und ökonomisch eingesetzten Mitteln zu rühren: So lässt er am sich dabei im liturgischen Kalender mit drei weiteren Marien-Antiphonen ab; mit An fang des Werks in F-Dur das Wort „misericordiae“ („Barmherzigkeit“) in großzü- seiner sechsmonatigen „Einsatzzeit“ zwischen Trinitatis und dem ersten Advents - gigen Kolo r aturen ertönen, um ihm erst am Wortende mit einer pikanten harmo- sonntag war es jedoch das am häufigsten gesungene Marienantiphon. Und nicht nischen Schlussformel eine wehmütige, „mitleidende“ Wendung zu verleihen. nur das: Auch außerhalb der eigentlichen Stundengebete erfreute sich das Salve Fein sinnig ist auch das bittende Wort „ostende“ („zeige uns“) am Ende des vierten Re gina großer Beliebtheit. So bildete sich im 17. Jahrhundert die Tradition aus, Sam s - Abschnitts ausgedeutet: Zunächst wird es als demütige, vorsichtige Bitte auf einem tag abends eine eigene Zeremonie zur Marienverehrung abzuhalten, bei der das Halb schl uss intoniert, um erst dann mit zuversichtlichem Nachdruck vorgetragen Salve Regina erklang und die im Volksmund „Salve-Gottesdienst“ genannt wurde. zu werden. Die Vertonung in c-Moll macht dagegen besonders durch ihren kon- War es zu Anfang der Barockzeit noch allgemein üblich gewesen, den Text der Anti - trastierenden Schlussabschnitt auf sich aufmerksam: Hier verzichtet Leo auf Dar - 4 5 stellung äußerer Virtuosität, um die Singstimme eindringlich syllabisch deklamieren Bitten erhört zu werden, denn hier gelingt es den Violinen, die Himmelsleiter ein zu lassen, wäh rend die Streicher die Worte auf dem Samtkissen einer durchgehenden beträchtliches Stück zu erklimmen – doch indem Scarlatti die Bewegung plötzlich Achtel be glei tung präsentieren. abbricht und für die abschließende Anrufung Mariens wieder in den Zwölf ach tel - Aber nicht nur in der Kirchenmusik wirkt Leo stilbildend; zunehmend wird heute takt zurückfällt, unterstreicht er, wie sehr der sündige Mensch seiner Meinung auch sein Beitrag zur Entwicklung des Solokonzerts gewürdigt. Das 1738 für den nach der Fürsprache der Mittlerin bedarf. unweit Neapels residierenden Herzog von Maddaloni geschriebene d-Moll-Kon zert Auf den ersten Blick mag Pergolesis Salve Regina in c-Moll der Musiksprache geht beispielweise einen sehr eigenen, „galanten“ Weg, der sich vom Ansatz eines Scarlattis näher stehen als der Leos – dabei hätte Pergolesi, der in Neapel ausge- Vivaldi unterscheidet: Der begleitende Streichersatz, der ohne Bratsche auskommt, bildet wurde, sogar ein Schüler Leos sein können. Doch schnell bemerkt der Hörer, ist luftiger, die Motivik ist kleinteiliger und der Dialog zwischen Solist und Be glei - dass Pergolesi auch scheinbar rückwärts gewandte Mittel wie eine reiche Har mo nik tung trotz aller Virtuosität kammermusikalisch-intimer gestaltet. auf Grundlage eines motivisch stark beteiligten Basses und intensive kontrapunk- Doch auch wenn Leo für seine und die folgende Generation als Vorbild galt – die ti sche Durcharbeitung so einzusetzen weiß, dass sie eine neue, persönliche Aus - unumstrittene Vaterfigur der sogenannten „neapolitanischen Schule“ war und drucks qualität erhalten. So reichert der zum Kompositionszeitpunkt bereits tod- blieb Alessandro Scarlatti. Er ging Leonardo Leo nicht nur als gefragter Lehrer sowie kranke Komponist den Satz mit schneidenden Dissonanzen an und lässt die ebenso als Schöpfer mustergültiger Opern und Kantaten voraus, sondern bekleidete auch schlicht wie ausdrucksstark geführte Solostimme hoch emotionale Seuf zer fi gu ren vor ihm das Amt des Hoforganisten der Kapelle des Vizekönigs von Neapel. Seine ausstoßen; er taucht die Komposition in ein bewusstes Chiaroscuro zwischen Dur reiche Harmonik, seine Vertrautheit mit dem strengen Kontrapunkt, sein großes und Moll und rührt die Zuhörer durch Überraschungsmomente wie das flehende literarisches Verständnis und nicht zuletzt sein musikdramatisches Gespür ließen Ver harren der Singstimme auf der offenen Quinte am Ende des ersten Salve-Ab schnitts. ihn selbst dann noch als anregendes Vorbild für jüngere Musiker erscheinen, als Deutlich galanter kommt hingegen Pergolesis frühere a-Moll-Vertonung
Load more

Recommended publications
  • Press Caffarelli
    Caffarelli pt3 VOIX-DES-ARTS.COM, 21_09_2013 http://www.voix-des-arts.com/2013/09/cd-review-arias-for-caffarelli-franco.html 21 September 2013 CD REVIEW: ARIAS FOR CAFFARELLI (Franco Fagioli, countertenor; Naïve V 5333) PASQUALE CAFARO (circa 1716 – 1787) JOHANN ADOLF HASSE (1699 – 1783), LEONARDO LEO (1694 – 1744), GENNARO MANNA (1715 – 1779), GIOVANNI BATTISTA PERGOLESI (1710 – 1736), NICOLA ANTONIO PORPORA (1686 – 1768), DOMENICO SARRO (1679 – 1744), and LEONARDO VINCI (1690 – 1730): Arias for Caffarelli—Franco Fagioli, countertenor; Il Pomo d’Oro; Riccardo Minasi [Recorded at the Villa San Fermo, Convento dei Pavoniani, Lonigo, Vicenza, Italy, 25 August – 3 September 2012; Naïve V 5333; 1CD, 78:31; Available from Amazon, fnac, JPC, and all major music retailers] If contemporary accounts of his demeanor can be trusted, Gaetano Majorano—born in 1710 in Bitonto in the Puglia region of Italy and better known to history as Caffarelli—could have given the most arrogant among the opera singers of the 21st Century pointers on enhancing their self-appreciation. Unlike many of his 18th-Century rivals, Caffarelli enjoyed a certain level of privilege, his boyhood musical studies financed by the profits of two vineyards devoted to his tuition by his grandmother. Perhaps most remarkable, especially in comparison with other celebrated castrati who invented elaborate tales of childhood illnesses and unfortunate encounters with unfriendly animals to account for their ‘altered’ states, is the fact that, having been sufficiently impressed by the quality of his puerile voice or convinced thereof by the praise of his tutors, Caffarelli volunteered himself for castration. It is suggested that his most influential teacher, Porpora, with whom Farinelli also studied, was put off by Caffarelli’s arrogance but regarded him as the most talented of his pupils, reputedly having pronounced the castrato the greatest singer in Europe—a sentiment legitimately expressive of Porpora’s esteem for Caffarelli, perhaps, and surely a fine advertisement for his own services as composer and teacher.
    [Show full text]
  • Handel's Sacred Music
    The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have
    [Show full text]
  • Opera Olimpiade
    OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello.
    [Show full text]
  • Fra Sabba Da Castiglione: the Self-Fashioning of a Renaissance Knight Hospitaller”
    “Fra Sabba da Castiglione: The Self-Fashioning of a Renaissance Knight Hospitaller” by Ranieri Moore Cavaceppi B.A., University of Pennsylvania 1988 M.A., University of North Carolina 1996 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University May 2011 © Copyright 2011 by Ranieri Moore Cavaceppi This dissertation by Ranieri Moore Cavaceppi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Ronald L. Martinez, Advisor Recommended to the Graduate Council Date Evelyn Lincoln, Reader Date Ennio Rao, Reader Approved by the Graduate Council Date Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Ranieri Moore Cavaceppi was born in Rome, Italy on October 11, 1965, and moved to Washington, DC at the age of ten. A Fulbright Fellow and a graduate of the University of Pennsylvania, Ranieri received an M.A. in Italian literature from the University of North Carolina at Chapel Hill in 1996, whereupon he began his doctoral studies at Brown University with an emphasis on medieval and Renaissance Italian literature. Returning home to Washington in the fall of 2000, Ranieri became the father of three children, commenced his dissertation research on Knights Hospitaller, and was appointed the primary full-time instructor at American University, acting as language coordinator for the Italian program. iv PREFACE AND ACKNOWLEDGMENTS I deeply appreciate the generous help that I received from each member of my dissertation committee: my advisor Ronald Martinez took a keen interest in this project since its inception in 2004 and suggested many of its leading insights; my readers Evelyn Lincoln and Ennio Rao contributed numerous observations and suggestions.
    [Show full text]
  • Going for a Song
    FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school.
    [Show full text]
  • The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
    THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24
    [Show full text]
  • Stile Antico Josquin
    Boston Early Music Festival in partnership with The Morgan Library & Museum present Stile Antico Josquin: Father of the Renaissance Ave Maria…virgo serena Josquin des Prez (ca. 1450–1521) Kyrie from Missa Pange lingua Josquin Vivrai je tousjours Josquin El grillo Josquin Inviolata, integra et casta es Maria Josquin Gloria from Missa Pange lingua Josquin Mille regretz Josquin Salve regina a5 Josquin O mors inevitabilis Hieronymus Vinders (fl. ca. 1525) Agnus Dei I and III from Missa Pange lingua Josquin Dum vastos Adriae fluctus Jacquet de Mantua (1483–1559) Friday, February 26, 2021 at 8pm Livestream broadcast Filmed concert from All Saints Church, West Dulwich, London, England BEMF.org Stile Antico Helen Ashby, Kate Ashby, Rebecca Hickey, soprano Emma Ashby, Cara Curran, Eleanor Harries, alto Andrew Griffiths, Jonathan Hanley, Benedict Hymas, tenor James Arthur, Will Dawes, Nathan Harrison, bass This concert is organized with the cooperation of Knudsen Productions, LLC, exclusive North American artist representative of Stile Antico. Stile Antico records for Decca. PROGRAM NOTES Our program tonight is devoted to the wonderful music of Josquin des Prez, marking 500 years since his death in 1521. Josquin was unquestionably a star in his own time: no lesser figure than Martin Luther praised him as “the master of the notes,” while for the theorist Glarean, “no one has more effectively expressed the passions of the soul in music…his talent is beyond description.” So what is it about Josquin that exerted such a spell on the generations that followed—and which still speaks so eloquently to us today? Much about Josquin’s biography and career remains shadowy: it isn’t always possible to pin down where he was working, and—with a few exceptions—the chronology of his works can only be attempted on stylistic grounds.
    [Show full text]
  • Georg Friedrich Händel (1685-1759)
    Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXVII, Number 2 Summer 2012 FROM THE PRESIDENT’S DESK SUMMER 2012 I would like to thank all the members of the Society who have paid their membership dues for 2012, and especially those who paid to be members of the Georg-Friedrich-Händel Gesellschaft and/or friends of The Handel Institute before the beginning of June, as requested by the Secretary/Treasurer. For those of you who have not yet renewed your memberships, may I urge you to do so. Each year the end of spring brings with it the Handel Festivals in Halle and Göttingen, the latter now regularly scheduled around the moveable date of Pentecost, which is a three-day holiday in Germany. Elsewhere in this issue of the Newsletter you will find my necessarily selective Report from Halle. While there I heard excellent reports on the staging of Amadigi at Göttingen. Perhaps other members of the AHS would be willing to provide reports on the performances at Göttingen, and also those at Halle that I was unable to attend. If so, I am sure that the Newsletter Angelica Kauffmann, British, born in Switzerland, 1741-1807 Portrait of Sarah Editor would be happy to receive them. Harrop (Mrs. Bates) as a Muse ca. 1780-81 Oil on canvas 142 x 121 cm. (55 7/8 x 47 5/8 in.) Princeton University Art Museum. Museum purchase, Surdna Fund The opening of the festival in Halle coincided and Fowler McCormick, Class of 1921, Fund 2010-11 photo: Bruce M. White with the news of the death of the soprano Judith Nelson, who was a personal friend to many of us.
    [Show full text]
  • Judit Zsovár Anna Maria Strada Del Pò, Handel's Prima Donna: Portrait of an Uncommon Voice
    Liszt Academy of Music Doctoral School (7.6 Musical Art) Judit Zsovár Anna Maria Strada del Pò, Handel’s Prima Donna: Portrait of an Uncommon Voice PhD Theses Supervisor: Dr. Gergely Fazekas 2016 1. RESEARCH BACKGROUND George Frideric Handel’s longest continuous collaboration with a leading singer took place between 1729 and 1737 with Anna Maria Strada del Pò (according to my research, her places and dates of birth and death are: Bergamo, 1703 ‒ Naples, 20 July 1775), who ʻseems to have pleased him most’. Charles Burney considered her as an artist ‘formed by the composer himself’. I have chosen to investigate Strada’s vocal activities in connection with the music written for her not only by Handel, but also by Antonio Vivaldi, Leonardo Leo, Leonardo Vinci, Domenico Sarro and others. This singer has become a research focus neither in Handel research nor in the field of eighteenth-century vocality until now. Her neglect by modern musicology, besides the scarcity of surviving period descriptions of her singing and private life, is mainly due to the popularity of her star-contemporaries, Francesca Cuzzoni and Faustina Bordoni, and of castrati such as Senesino, Farinelli and Carestini. Nevertheless, very important remarks have been made about her singing by writers including Ellen T. Harris (‘Das Verhältnis von Lautstärke und Stimmlage im Barockgesang’, In: Aufführungspraxis der Händel-Oper, 1988/1989; ‘Singing’, Grove Music Online), Reinhard Strohm (The Operas of Antonio Vivaldi, 2008; ‘Vivaldi’s career as an opera producer’, in: Essays on Handel and Italian Opera, 1985), Rodolfo Celletti (Storia del belcanto, 1983), Winton Dean (Handel’s Operas, 1726‒1741, 2006), J.
    [Show full text]
  • METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
    METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.
    [Show full text]
  • Download Booklet
    VIVALDI - HANDEL Introduction Silete venti, HWV 242 George Frideric Handel (1685-1759) It is a great pleasure to have recorded these 1 Sinfonia e Recitativo [5.23] 2 Andante ma larghetto [7.21] glorious sacred works after performing them 3 Accompagnato [0.36] before an audience so many times. To make 4 Andante, Allergo [9.53] a recording with such a wonderful orchestra 5 Presto [3.14] and in the pearly acoustic of All Hallows’ Church, Gospel Oak was a joy. I hope you Gloria, HWV deest George Frideric Handel will share these feelings when you hear the result. 6 Gloria in excelsis Deo [2.28] 7 Et in terra pax [2.48] 8 Laudamus te, benedicimus te [2.18] Special thanks to my dearest parents, Nigel 9 Domine Deus, rex coelestis [1.14] and our wonderful children for their constant 0 Qui tollis peccata mundi [3.26] love and support. q Quoniam tu solus sanctus [3.38] Grace Davidson, 2018 Salve Regina, HWV 241 George Frideric Handel w Salve, Regina, Mater misericordiae [3.01] e Ad te clamamus exsules filii Evae [2.45] r Eia, ergo, advocate nostra [3.33] t O Clemens, O pie [1.34] Nulla in mundo pax sincera, RV630 Antonio Vivaldi (1678-1741) y Nulla in mundo pax sincera [6.09] u Blando colore oculos mundus decepit [1.13] i Spirat anguis [3.21] o Alleluia [2.13] Total timings: [76.11] GRACE DAVIDSON SOPRANO • ACADEMY OF ANCIENT MUSIC JOSePH CROUCH ARTISTIC LEADER www.signumrecords.com Silente Venti and it was perhaps composed with an eye to the upper hand of athleticism over the players, wild in places, but unmistakably Handel’.
    [Show full text]