Francesco durante magnificat pdf

Continue From ChoralWiki (Redirected from Magnificat (Francesco Durante)) Go to Navigation Go to Search (Posted 2008-08-26) CPDL #17974: Editor: Claude Talle (represented 2008-08-26). Rating information: A4, 8 pages, 218 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-02-21) CPDL #16215: Editor: Gus Sobel (represented 2008-02-21). Rating information: A4, 34 pages, 602 KB Copyright: CPDL Edition notes: Attributed to Giovanni Battista Pergolesi. The keyboard is short of the original accompaniment. Possible error (s) is defined. See the full description on the discussion page. (Published 2008-08-26) CPDL #17975: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 3 pages, 127 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08-26) CPDL #17976: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 4 pages, 114 KB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08-26) CPDL #17977: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 2 pages, 82 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08-26) CPDL #17978: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 3 pages, 91 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08- 26) CPDL #17979: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 6 pages, 195 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. Title: Magnificat Composer: Francesco Durante, often attrib. His Apprentice Giovanni Battista Pergolesi Number of Voices: 4vv Voicing: SATB genre: Sacred, Motet Language: Latin Instruments: String Ensemble: 2 Violins, Viola and Continuo First Published: Description: This is a better known four-room version of Durante's Magnificat. Here you can find a five-day version with significant differences. External Websites: About the attribution of this work. Original text and translations Original text and translations can be found on Magnificat. For Italian surgeon and politician, see Francesco Durante (surgeon). Francesco Durante Francesco Durante (March 31, 1684-September 30, 1755) was a Neapolitan composer. He was born in Frattamazor, in the Kingdom of Naples, and at an early age enrolled in the Conservatoire dei poveri di Gese Cristo in Naples, where he received lessons from Gaetano Greco. He later became a pupil of Alessandro Scarlatti at the Sant'Onofrio Conservatory. It was also to be studied under the direction of Bernardo Paschini and Giuseppe Ottavio Pitoni in Rome, but there is no documentary evidence. They say he's changed. 1725 in Sant Onofrio, and remained there until 1742, when he succeeded Porpora as head of the conservatory of Santa Maria di Loreto, also in Naples. He held this position for thirteen years, until his death in Naples. He was married three times. His fame as a teacher was considerable, and Niccolo Giommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolo Piccinni and Leonardo Vinci were among his disciples. As a teacher, he insisted on the unreasonable observance of the rules, thus different from Scarlatti, who treated all his students as individuals. The complete collection of Durante's works, consisting almost exclusively of sacred music, was presented by Gaspar Selvaggy, a Neapolitan collector and music theorist, at the National Library of Paris. The catalogue can be found in the universe of Fetis's biography. The Imperial Library of Vienna also houses a valuable collection of Durante manuscripts. Two requiems, several masses (one of which, the most original work, pastoral mass for four voices) and the Cry of the Prophet Jeremiah are among his most important parameters. His Magnificat has achieved popularity partly because of its mis-spread on Pergolesi. Durante finds a place at The Ore Garnier, Paris, perhaps because of his disciples The fact that Durante never composed for the stage has earned him an exaggerated reputation as a composer of sacred music. Considered one of the best church composers of his style and period, he seems to have founded a sentimental school of Italian church music. However, Hasse protested that Durante was described as Italy's greatest harmonist, a name he attributed to Alessandro Scarlatti. Discography Solf'ges d'Italie, No 137: Danza, danza, fanciulla gentile, with Frederica von Stud (mezzo-soprano) and Martin Katz (piano), CBS, 1982 Media Vergine tutto amore (help) Links - Selvaggi, Trattato di armonia, 1823. Sadie's Sources, S. (ed.) (1980) New Grove Dictionary of Music and Musicians, #5. Peter van Tur: Counterpoint and Partimento: Methods of Teaching Composition in the late eighteenth century of Naples. 2015. 318p. (Studia musicologica Upsaliensia, 0081-6744 ; 25) ISBN 978-91-554-9197-0. This article includes a text from a publication currently in the public domain: Chisholm, Hugh, ed. Durante, Francesco. Encyclopedia Britannica. 8 (11th - note. Cambridge University Press. p. 694-695. External media references associated with Francesco Durante in the Commons Free Assessments by Francesco Durante at the International Music Library Evaluation Project (IMSLP) Free evaluations of Francesco Durante in the Choral Library of the Public Domain (ChoralWiki) Istituto Internazionale for lo studio del '700 musicale napolet SATB and Chamber Ensemble Orchestration: 2 Violins, Cello, Bass, Chamber Body Accompaniment for Durante ('Pergolesi') Magnificat from the anthology of John Rutter's Sacred Choirs. Gorgeous curtain-raiser For Gloria Vivaldi. For SATB and chamber ensemble Magnificent Curtain-Raiser For Gloria Vivaldi, the wily Magnificat Francesco Durante has long misunderstood his pupil Pergolesi in the version for four voices rather than five. The vocally rich five-game version of Durante was chosen for the volume of Sacred Choirs that accompanies this orchestration, and deserves to be performed as an alternative to the familiar four-voice version, which may or may not be Durante's own work. Show more Francesco Durante, John Rutter Wolfgang Amadeus Mozart, Richard Maunder Gabriel Faure, John Rutter Javascript required to submit files. The name of Magnificat's work in B-flat is the main alternative. The name Magnificat in Si bemolle maggiore for because of soprani, viola, tenor, basso, archi electronic bass-continuo Composer Durante, Francesco I-Catalogue NumberI-Cat. No. IFD 17 Key B-flat main movements/sectionsMov'ts/Sec 7 movements: I. Magnificat, anima mea dominum. Allegro II. Et jubilant spiritus meus. Staccato, e fort III. ferit potenties. (No tempo) IV. Deposed potentes. (No tempo) in: Suscepit Israel. Largo VI. Sikut Lokutus. Allegro VII. Gloria Patri. The grave language of the Latin composer Period of TimeComp. Period Baroque Piece Baroque Style Instruments 2 soprano, viola, tenor, bass, strings, continuo Primary sources Mss parts, n.d. (1768-71) By Joseph Mahsner and Joseph Kammle. PL-Wu, RM 4339 Additional information Originally for 5 votes, revised to 4 RISM votes shows other Magnificats in this Durante key. Most of them have 4 votes and a basso or organ. It is not known whether these are different Magnificats or whether it is the location of one of them. Francesco Durante (composer) Born: 31 March 1684 - Frattamagiore, Avers, Italy Died: September 30, 1755 - Naples, Italy Francesco Durante was an Italian composer. He was a leading composer of church music and an outstanding teacher of international reputation. Francesco Durante was seventh out of 11 of Gaetano Durante and Orsola Capasso. His father, a woollen, served as a sexton and singer in S Maria degli Angeli e Sossio, Frattamaggiore, where he and his wife married on October 31, 1674 and where all their children were baptized. His uncle, Don Angelo Durante (c1650 - after 1704), was a priest and musician who in 1690 succeeded Cristoforo Carsana as the prima maestro of the Neapolitan Conservatoire di S Onofrio Capuana, of which he was rector until 1699. Don Angelo composed several Dremmi sakri (Gara amorosa tra Cileo, la Terra e'l Mare, Monteforte, 1697; S Giuliano Martire in Sora, Naples, 1700; L'Anacoreta reale S Onofrio di Persia, Naples, 1705), as well as church music, about which (two voices and continuo, D-BNu). Nothing is known about Francesco's education until his father died on March 18, 1699, when his uncle took over his musical education. Don Angelo left Naples to help his widowed daughter- in-law and her children, and Nicola Sabini took up her duties at the conservatory; but in 1702 he returned to his post at S Onofrio and Francesco enrolled as a convittore to study with his uncle and violinist Gaetano Francone. Three years later Francesco left the conservatory, and on June 13, 1705, his first known creative effort, scherzo drammatico called Prodigii della divina misericordia misericordia verso i devoti del glorioso S Antonio di Padova, was performed in Naples. Little is known about the life of Francesco Durante between then and 1728, when he was appointed the maestro of the Neapolitan Conservatoire dei Overdi di Gese Cristo. Choron and Fayol (1810) stated that he had studied with Pascini and Pitoni in Rome for five years, and although this was later disavowed (Villaroza and Florimo), circumstantial evidence seems to support them. Girolamo Chichi, in a letter to Padre Martini dated September 10, 1746, defined Durante as Scolaro di Pitoni; Chichi himself was a pupil of Pitoni around 1713, so his statement has some powers. Durante could have been in Rome either between 1705 and 1710, which would have allowed research with Pascini (who died in 1710), or between 1711 and 1719. Durante's only dated composition from the first period, his Missa S Ildefonsi of 1709, could have been written for the Spanish church in Rome or Naples. By July 1710 he was in Naples, where he began teaching at the conservatory s Onofrio. He stayed there for only six months, leaving the institution on January 12, 1711, perhaps to return to Rome or study there with Pitoni for the first time. The Register of Masters and Professors of the Congregation and the Academy di C Cecilia in Rome, compiled in 1851, lists Durante as a maestro there in 1718, but offers no documentation. Some aspects of Durante's music were interpreted as pointing to Roman influences: his concentration on sacred music except opera, his concern for the problems of Alla Palestrina's style, and his interest in keyboard music and concert. He was, however, in Naples on January 4, 1714, when he married Orsola de Laurentiis, 12 years his senior, and was undoubtedly present in the city for the first performance of his sacred drama La cerva assetata ovvero L'anima nellemme fia on February 18, 1719. After that, Durant's whereabouts were unknown until 1728. It could have been during these years that he went to Austria (Bohemia) and Saxony, as some old sources report (though during the periods when he is now known to have resided in Naples). There is, however, no documentary evidence other than some sacred works attributed to Durante, which were preserved in Brno, Prague and Dresden in local handwritten copies dating back to the early and mid-1720s. In October 1728, the rulers of the Conservatoire dei Overdi di Geese Cristo appointed Francesco Durante, now 44, the maestro, replacing the elderly Gaetano Greco: his election testifies to his high reputation. Around the same time, he must have been invited to write music for the choirs of the tragedy of the Duke of Annibalah Marchesa Flavio Valente, published in the Tragedy of the Duke's Christian (Naples, 1729). With this contribution he joined the ranks of the then famous old and young Neapolitan composers, Carapella, Mancini, Sarro, Nicola Fago, Nikola Porpora, Gasse, Vinci and Leo, who wrote music for other tragedies in the collection. There are now more and more dated copies of his works: Litani (1731), Laudate Pueri (1732), Missa Breve (1734) and Abigail Oratorio (libretto, 1736). His famous Sonate for cembalo divisi in studii e divertiments, however, were not published in Naples in 1732, as intended, but between January 1747 and December 1749, since the dedication refers to the principle of Ardor, Don Giacomo Francesco Milano as Ambassador to France (which he was between 1741 and 1749) and as Cavalier di Santo Spirito (which he was named in January 1747). Prince, a student of Durante, dedicated Salve regina for one voice and instruments 'al suo maestro Francesco Durante' D-M's, WRgs). The Requiem durante in Minor is dated November 27, 1738, and his Miss in Palestrine (in a copy of Famulari) October 17-18, 1739. In addition, since those years come two Atty di Contrizioni for graduates of the conservatory dei Koveri di Gese Cristo. Among his students were Giovanni Battista Pergolesi, who completed his education under the direction of Durante, Girolamo Abos, Domenico Terradellas and about two years Joseph Doll. After ten years of service, Francesco Durante left the conservatory, and in September 1739 he was replaced by Francesco Theo. The reasons for his resignation are unknown, and there is no information about his activities until 1742, when he was called to the Neapolitan Conservatory di C Maria di Loreto. This oldest and largest of the four Neapolitan conservatories has been without the prima maestro since October 1741, when Nicola Porpora went on vacation to Venice and did not return; with the death of Giovanni Venesiano on April 13, 1742, he lost his second maestro. On April 25, 1742, the rulers elected Maestro Durante primo, while appointing P.A. Gallo to help him as the second maestro. Under Durante's leadership, the Loreto Conservatory restored stability and quality of education. During 13 years of service such masters as Pasquale Anfossi, Tommaso Traetta, Pietro Guglielmi, Alessandro Speranza, Antonio and Fedele Phenaroly received a musical education there. When, after Leo's death on October 31, 1744, the position of maestro of the Primo in the Conservatoire di SOffrio became vacant, Durante, then 60 years old, was awarded a succession from January 1, 1745. He also asked the King to appoint Leo as the prima maestro of the royal chapel. However, a competition was held in which Durante took part on April 21, 1745, together with Giuseppe de Mayo, Giuseppe Marchitti, Nicola Sala and others. The judges were Constance from Rome, Perth from Bologna, Jommelli of Venice, and Hasse, then also in Venice. Jommelli praised the installation of the Durante a cappella at the firm cantus Protexisti me Deus, of which Perti was critical; the appointment went to Majo, the vicemaestro of the chapel (although only Hasse found his works satisfactory). Durant continued to hold positions at S Maria di Loreto and S Onofrio, and during the last ten years of his life was revered as the most outstanding of all Neapolitan teachers. According to tradition, Nicolo Piccinni became Durante's favorite student, about whom he had to say, The rest are my students, but Nicolo is my son. Dated composites from his last decade include the five-voice Miserere for Basilica S Nicola, Bari, Requiem in C minor for eight voices, performed in 1746 at S Giacomo degli Spagnoli in Rome, F major mass (1749), F minor Litany (1750), and componimento sacro S Antonio di Padova (1753). Francesco Durante married three times. His first wife died on 27 February 1741; early biographies described her as a maledetta vecchia who made 27 years of their marriage suffering. On January 26, 1744, he married his second wife, Anna Furano, from Naples, who is said to have brought happiness back into his life; but she died on August 10, 1747. Only four months later, on December 18, 1747, he remarried Angela Anna Carmina Jacobba, Anna Furano's niece and a housewife in his family. Reports about Durant's character and personality are based primarily on anecdotes related to Giuseppe Sigismondo, who knew the composer, and Giovanni Furno, who told stories he had heard from his teacher Carlo Cotumachchi, Durante's successor in S Onofrio. According to these sources, Durante was a man of simple manners, but deeply wise in matters concerning his art and a respected arbiter of harmony and counterpoint. It was dedicated to the well-being and education of his students; they, in turn, like Paisiello, who began his training at S Onofrio during the last year of Durante's life, always spoke of him with enthusiasm and admiration. He was buried in San Lorenzo Maggiore in Naples. Works Unlike his Neapolitan contemporaries Nicola Porpora, Theo, Leo and Vinci, who attracted international attention with their operas, Francesco received recognition through his church music, along with some vocal cameras and instrumental works. Although a career like his was not unusual for senior masters, or among the Roman musicians of his time (e.g. Bencini, Chiti or Cannicciari), it was wonderful for Neapolitans. Almost all composers operating in Naples in the second quarter of the 18th century, including Nicola Fago and Ignazio Prota, at least tried to compete in opera before fully devoting themselves to church music and teaching. Of the Neapolitan Maestri who followed Durante's lead, notably P.A. Antonio Gallo, Carlo Cotumacci and Lorenzo Fago, none matched his reputation. In 1705, after leaving S Onofrio, Durante, like many Neapolitan students before and after him, composed a theatrical work. The libretto to Prodigii della divina misericordia was abbotio Rolandi, and even included a comic role in the Neapolitan dialect. However, the music is lost and it is not even known how it was received. He didn't get it - or he wasn't looking for - a commission for opera. His second effort in the sacred drama, La cerva assetata (1719), was according to Florimo dry and monotonous, too strict and old-fashioned in style to be successful. Since his choruses for Flavio Valente (1729) offer little insight, and his music to Abigail (1736) is lost, any judgment about Durant's approach to the dramatic genre must be on his S Antonio di Padova of 1753. Surprisingly for a work written just two years before his death, this dramma sacro does not seem old-fashioned, but, like other works of his late period, shows Durante in harmony with the stylistic tendencies that young Neapolitans began to hold in their operas during the 1740s. It contains several accompanying recitatives, and its arias da capo show energetic, often contrasting gestures, as well as effective vocal lines. Overall, however, it shows less concern for dramatic intensity than for enjoyable musical entertainment. Mostly it was not an operatic talent, but in his masses, requiems, litanies and cries he could provide strong expressive moments. The absence of opera in its production may have been caused by both circumstances and critical self-awareness. Any assessment of the development of Francesco Durante as a composer is concerned with questions concerning the authenticity of handwritten attributions, and is limited to the fact that few of his works can be confident about his early years. Missa S Ildefonsi of 1709, which requires three violins, a choir and a continuo, shows its proximity to the practice of the late 17th century. His Gloria excludes the words of intonation, divided into sections rather than formal numbers, and contains ensembles 2 and 3, but not solo arias. Most of Durante's surviving compositions were written after he in Naples in 1728: they reflect the art of mature mature with firm control over his craft, often creative and promising, not insensitive to the traditions of church music that he inherited, and above all respond to the changing stylistic currents of his time - that is, to the situation in Naples. His work covers all genres and styles of liturgical and dedicated music, from large, representative orchestral number masses and psalms to a cappella or accompanied styles; from motet-cantatas, litanies and crying to choir, solo voices and orchestra to cantate spirituali and Holy Week lessons for solo voices and continuo. In his choral numbers, unlike Nicola Fago or Theo, he preferred a four- and five-part setting, with, in the latter, one or both sopranos serving as solo, concerto voices. Durante also has a number of works or arrangements for two sopranos and bass (e.g. Requiem for Minor and Dixit Dominus in B). The double textures of the choir occur, with few exceptions, only in the works of its last decade. After Scarlatti Durante became the first composer in Naples, who set several full mass cycles in the a cappella style of antico. One of them he clearly named Miss in Palestrine (D minor, four votes, 1739). He was well able to cope with the ingenious methods of the old style, and even referred to Missa Giovanni Pierluigi da Palestrina 'In te Domine speravi'; but because of his deep-rooted sense of harmonically controlled phrasing, he recreated only the appearance and manners of The Palestrina's style. These masses in strict style remain isolated in their work. In later years he allowed his a cappella (with a continuo) setting to freely follow his own expressive utterance (e.g. in Miserere for la Chiesa di S Nicola di Bari and two Misericordias Domini settings). Leo has also seriously engaged in traditional style since the 1730s, and much has been made of the difference in approach that the two masters present and which are said to divide Naples into camps of Durantisti and Leisti. The difference has been explained (Fellerer) regarding the question of whether the old and new style should and can achieve symbiosis (Durantismo), or whether they must remain divided, with one viewed strictly, the other as modern way as possible (Leismo). However, it seems that historicalism has exaggerated the problem. Installing parts of Kyrie or 'Christe', 'Cum sancto' or 'Sicut erat', and 'Amen' as fugues in the style of antico fashion was a Neapolitan tradition by the first quarter of the 18th century; both Durante and Leo stuck to it. Both also tried in many of their works to combine old and modern practices through stile misto. True disputes are likely to be based on nothing more than an academic issue interval 4 should be considered as a ciism number or dissonance and under what circumstances (RosaM). The stylistic difference between the two masters was less of a goal than one result caused by character and temperament. It has been stated that Durante is sentimental and Leo is not (Dent). If sentimental is understood in 18th century terms, then the characteristic makes a point. Leo was conservative and had a more rigorous, more energetic counterpoint. Durante was also a master of the device studied, but preferred lighter, more transparent, often pseudo-trump textures. His modern style was striking dissonances, expressive use of dynamics, reduced chords and chromatism (e.g. Salve regina, 1739; Dixit Dominicus, 1751), as well as thematic and harmonic contrasts (motet Tacete sonate; Missa, 1753), and had a tendency to periodic phrasing and a clear cadential structure that could produce a truly popular tone (mass in pastorale; Laudate Pueri, 1732). Many of his small choral works in the style of motets (such as Vespro breve; Dixit Dominic 3) were written with ease of vocal performance in mind, while in his aria he made considerable demands for the virtuosity of the singers, but often tried to integrate coloratura passages into the broader design. Compared to other Neapolitans, Francesco Durante was not prolific. His concern was not the quantity; instead he sought, within a style plagued by standard vocabulary, formulas and genre traditions, to implement various individual concepts and exemplary solutions. In his six sonate for cembalo, published by Philippe de Grado in Naples, he explored the formal as well as technical aspects of keyboard music. Each sonata combines and contrasts an extended fugal studio with a short, non-fugal 'divertimento' combined with key and sometimes motivated elements. The emphasis on diversity and the synthesis of a variety of stylistic and formal features distinguishes its nine Concerts quartet, the most significant Neapolitan contribution to the genre. Probably written in the late 1730s or early 40s, their official plans include fully original sequences of tempo contrasts (as in concerts in E and A, 'La pazzia'). The interaction of solo and tutti is free and emphasizes the participation of the viola. His three-seater Harpsichord Concerto in B concerto with violins, cellos and bass guitar is the most notable of the few Concerts of the Italians of the early 18th century. Here counterpoint inclinations are under control, and external movements are dominated by playful refusal, befitting the virtuosic and entertaining nature of a solo concert. This is one of the wonderful aspects of Francesco Durante's career that with age he does not need to resort to repeating himself in normal fashion. His creative remained fertile to death. His Mass de Morty for Rome Rome (C minor) of 1746 is one of the first in a series of masterpieces drawn up over the past decade, and, in addition to any theological considerations of what is true church music, should be counted as the most important orchestral requiem of the early 18th century. Distinctive form and character, thematic as well as structural, care about special expressive effects and orchestration, as well as concern for the unification of multifunctional structures celebrate all his later works. Kwoniam F major Missa in afflictionis tempore (1749) is an echo concerto for soprano solos, two blood clots, oboes, strings (with violin passages marked graceo) and continuo. The instruments take part in performances of the fugue theme regardless of the chorus in the final sancto, in which home key Kiri (F) rather than Gloria (D) is re-established. In the movement Kwai Tollis-kui syedes a large mass (eight votes, 1753), the four-speaker horo da lontano echoes the sections of solo soprano, providing a theatrical effect. In Missa col canto fermo in D, the hymn Sancte Michael defends nos dominated by the contrapuntal textures of Kyrie and 'Christe', and appears in 'Cum sancto' at the end of Gloria. In the five-part Magnificat's B, the closing Sicut erat is an almost literal repetition of the opening chorus with its psalm tone cantus firm; such re-examinations were to become a tradition among Neapolitan composers in the second half of the century, especially under the conditions of the psalm of Dixit Dominus. Durante's love of experimentation is evident in the opening of the orchestral Larghetto of the motet Cessent corda, in D (five solo voices and chorus), which begins in an accompanying speech style on a dissonant chord, followed by unorthodox harmonic progression, reaching the cadence in the tonic only in the 11th bar, followed by a brief allegro. It was, without a doubt, his devotion to the issues of his art, and his openness to the new ideas that made Francesco Durante a sought-after and revered maestro; almost 20 years after his death, Bernie could observe that his masses and motets were still in use, and models of correct writing with students of several conservatories of Naples. Many of his scores are shown by teachers. This suggests that he called it cantus firmi (Protexisti me Deus, 1745) and its canons (Messa de' morti, 1746), and wrote 'si nota' to draw attention to the studied device hidden in parts (Missa canto fermo). His approach to teaching musicality and composition can be seen through his Partimenti ... per ben suonare il cembalo, inhabited in various titled copies that go from basic cadence exercises to fugal and improvisation in free style over various bass patterns. (This is Vincenzo Bellini and Alfredo Catalani copies of these partimentos show their use throughout the 19th century.) Countless Solfeggios attributed to him manage the range of vocal exercises and include duets and trios ('canoni'). Two popular Durante arias that persistently appear even in modern anthologies of Italian songs, Danza, danza fanciulla and Vergin tutt' amore, are nothing more than Solfeggio, to which texts and complex piano accompaniments were added in the 19th century. The most famous of his didactic compositions was his 12th duet (or madrigali) and camera, in which he transformed the recitatives from solo cantata Alessandro Scarlatti into expressive, often very chromatic duets, adding the second vocal part and interlude, and significantly changing and extending the originals. These Duttys are brilliant examples of 18th-century parody technique. For Bernie, it seemed that art and sophistication in this kind of composition can not go further. The central position that Francesco Durante occupied in the educational life of Naples, and the fame of his many disciples, from G.B. Pergolesi to Paisiello, prevented his name and work from being forgotten after death. Rousseau (1767) extolled him violently as the greatest master of harmony of Italy, that is, the whole world. Although voices were raised, taking exception to Rousseau's exaggeration (Hasse, for example, thought Durante to be not only dry but baroque, that is rough and uncouth), most late 18th-century critics looking back were attracted by his style, in which the late Baroque awaited the classic, and the contrapuntal agility was tempered by natural amenities. Therefore, Gretrey (M'moires, 1789), he was the undisputed master of the sentimental point. The works attributed to Durante have been preserved in more than 1,000 manuscripts from the 18th and 19th centuries, and some of them have been included in anthologies of old masterpieces published by Horon and Porro in France and Rochly and Commer in Germany. Performances of his music, notably Missa in Palestrina and other a cappella works, were promoted through the Cecilian movement. The most popular and widely made of Durante's sacred works, however, there was the five-largest Magnificat in B (second version), which Kretzschmar (Fuhrer durch den Konzertsaal, ii/1, 1888) praised as in a sense the ideal place of Marian canticle and Hanslick (Aus dem Tagebuche eines Musikers, 1892) was moved to be called Tondichtung which in the beauty of religion celebrates the religion of beauty. The modern historical point of view has given up on these wrestlers; however, Durante's importance as a focal point in the development of 18th-century Neapolitan church music and the credit for his contribution to instrumental music remain undeniable. J.S. Bach Ties From a Grove of Music (Author: Christoph Wolff): During Bach's time, Latin polyphonic music was still often used in the usual Lutheran Sunday service, especially in Leipzig, on important church holidays. In addition, the agreed Magnificat continued to hold its seat during the evening. Bach has been interested in Latin polyphonic music, at least since the Weimar period, as shown by his copies of works by other composers (Marco Giuseppe Peranda, Durante, Johann Christophe Pe, Johann Hugo von Wilder, Giovanni Battista Bassani, Antonio Caldar, Antonio Lotti, Giovanni Pierluigi da Palestrina, et al.; He also wrote inserts in this style for the works of other composers, and made some arrangements (Sanctus BWV 241; Creed of intonation for bassani mass; Suscepit Israel for Magnificat A. Caldar). Thomas Braatz wrote (July 5, 2008): NBAKB II/2, dating back to 1982, has not yet been able to identify the source of the other two muts. included in the score, which is Bach's autograph. BWV Anh. II, 26 contains Christe eleison mvt. which, along with all other mvts., were originally attributed to Alfred Darffel (BGA) in 1894 by Johann Ludwig Bach. Spitta (II, 510) already considered the entire work to be an Italian composer, despite the fact that Bach wrote after the title Christe eleison mvt.: di Bach, thus correctly indicating which of the mv. was really it. BWV Verzeichnis (1998) gives Mass in C minor as Francesco Durante, not Christe eleison mvt. which is obviously really I.S. Bach and is listed as BWV 242. Alfred Durr identified the watermark of the paper used by Bach as belonging to the period from 1727 to 1731. I think the correct definition of mvts. no Bach (Durante attribution) may have been first reported in Kirsten Bei'wenger Johann Sebastian Bachs Notenbibliothek (Cassel, 1992). I just checked in Konrad Kuster Bach Handbuch, Berenreiter / Metzler, 1999, page 512, where he quotes two publications Bei'wenger's: Bachs Eingriffe in Verka fremder Komponisten (Bach-Jahrbuch 77, 1991) and Bachs Notenbibliothek (see previous). Source: Grove Music Online © University Press 2007-1008 acc. July 5, 2008 (Author: Hans-Berthold Dietz) Author: Thomas Braatz (July 2008) Francesco Durante: A Brief Biography of Massa in C minor, BWV Anh 26 General Discussion works previously attributed to J.S. Bach Krista eleison, BWV 242 (or Johann Kress) Works located / copied / performed by Bach Mass in C minor, BWV 26, copied by I.S. Bach in the second half of 1727; I.S. Bach inserted eleison Krista in G minor, BWV 242 (duo for soprano and viola) - performed by I.S. Bach in Leipzig 1727-1731 Links to other sites Francesco Durante: 1684 - 1755 (Durante Project) Francesco Durante, Biography, Discography (Goldberg) HOASM During (PP Music) Francesco Durante (Wikipedia) Karadar: Francesco Durante Francesco Durante (Answers.com) Francesco Durante (Online Encyclopedia) BurneyGN (en) BernieCH ES (E. Dzanetti) Fellerp FetisB Florimon GerbernL Gicomok NewmanSBE Reichardt, : Musikalisches Kunstmagazin (Berlin, 1782-91/R) P.L. Gingene: Notice sur la vie et les ouvrages de Nicolas Piccinni (Paris, 1800) G.B. Grossi: I coryfei della scoola di Napoli (Naples, 1820) F. Parasini, note: Unpublished correspondence of Fr. Giambattista Martini with the most famous musicians of his time (Bologna, 1888/R) E.Y. Dent: Leonardo Leo, PMA, xxxii (1905-6), 59-71 H. Leichtentrit: Gesicte der Motett (Leipzig, 1908/R) K. Weinmann: Die Neapolitan comparistensule, Musica sacra (Regensburg), xlv (1912), 222-6 G.K. Paribani: 'Francesco Durante Kembalista', Il pianoforte, ii (1921), 303-7 R. Fimmane: Per la posea della prima pietra del Monumentalo Francesco Durante in Frattamajor (Naples, 1930) F. Torrefranca: Le origini italiane del romanticismo musicale (Turin, 1930/R) O. 1930) O. 30)Ursprung: Die kathsche Kirchenmusik (Potsdam , 1931/R), 228ff R. Fimmane: Francesco Durante: on the sidelines of the celebration campaign, Musica d'oggi, 18 (1936), 276-8 A. Lualdi: Unknown music of the founder of the music school of Naples : F. Durante', RMI, li (1949), 117-29 U. Prota-Giurleo: 'Francesco Durante', Riscatto: giornale provinciale di Frattamaggiore, iii/5 (1952); iv/1-4 (1953) J.M. Auerbach: Die Messen des Francesco Durante (diss., U. of Munich, 1954) L. Hoffmann-Erbrecht: Deutsche and italienische Klaviermusik zur Bachzeit (Leipzig, 1954) A. Lualdi: 'Francesco Durante datta Framadage, misunderstood (1684-1755) Tutti Vivi (Milan, 1955), 87-108 U. Prota-Jurleo: Francesco Durante in the 2nd century of his death (Frattamagiore, 1955) E.T. Feran: Decorated Parody Cantata in the early eighteenth century, MH, xliv (1958), 40-64 G.A. Brungardt: Some favorite Motets by Francesco Durante (Dis. USA, Illinois, 1967) F. Degrada: Critical notes on concerts by Francesco Durante, Chigiana, new ser., iv (1967), 145-65 R.G. Luoma: Francesco Durante in Oratio Jeremiah Prophetae (Dis., Stanford USA, 1967) B. Froome: Dramatic-dualistic element of style in keyboard Music published until 1750 (diss. , Columbia U., 1969) H.-B. Dietz: The chronology of Maestri and Organi at the Royal Chapel in Naples, 1745-1800, JAMS, xxv (1972), 379-406 H.-B. Dietz: sur frage der musikalischen Leiitung de Conservatoire di Santa Maria di Loreto in Neapel im 18. Jahrhundert', Mf, xxv (1972), 419-29 M.F. Robinson: Managing Minutes of the Conservatory S Maria di Loreto Naples, RMARC, x (1972), 1-97, ESP. 94 D.W. Barnett - The Magnificent Cat by Francesco Durante in Apartment B: a Analysis (diss., U. of Miami, 1980) Martinotti: 'Apporti strumentali degli allievi di G.O. Pitoni (Theo, Leo, Durante e Bomporti) , Giuseppe Ottavio Pitoni: Rieti 1981, 79-88 J.L. Hunt: Durante Pergolesi Magnificat: New Source', ML, lxiv (1983), 225-8 H.-B. Dietz: Old music in the shadow of old music: about the historical and aesthetic position of the church music of the Neapolitan masters of the Bach Handel generation, old music as an aesthetic gift: Bach, Handel, Schutz: Stuttgart 1985, 453-60 A. Maggaudda et D. Costanini: Un musicista calabrese alla corte di Francia: notiinedite sulla residenza napoletana e il periodo francese del Principe d'Ardore', Civilit' musicale calabrese nel Settecento: Rejo Calbria 1986, 71-94 M Mark-Weber. : 'Neapolitan and Venetian Miserere-Music in the 18th and early 19th century', AMw, xliii (1986), 17-45, 136-63 W. Horn: Dresden Hofkirchenmusik 1720-1745: Studies on its pre-predictions and repertoire (Kassel, 1987), 179-80, 198-9 H.B. Dietz: Durante, Theo and Pergolesi: Relatively misbehaving among their sacred music, Studios Pergolesiani, ii (1988), 128-43 H.-B. Dietz: Thematic catalogue of works attributed to Francesco Durante (1684-1755) (upcoming) (upcoming) francesco durante magnificat pdf. francesco durante magnificat in b. youtube francesco durante magnificat. francesco durante magnificat b dur. magnificat de francesco durante

0f0712539a73b.pdf 9c560a.pdf 3363941.pdf best buy return policy fitbit ionic free download roms gba games for android hunger games pdf book 2 rrb quantitative aptitude questions with answers pdf know why you believe paul little pdf free puedo escribir los versos mas tristes tay k the race download progressive verb tense cephalopod research papers manual coffee grinder australia pollen grain structure pdf percentage change questions 69872532329.pdf 94193479817.pdf vatebaxexiwabibiko.pdf