DOCSLIB.ORG

Antonio Vivaldi Et La Musique Instrumentale, Paris, 1948 (Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antonio Vivaldi Et La Musique Instrumentale, Paris, 1948 (Vol IV Bibliography The following is a list of the most important relevant eight- eenth-century sources, and of some of the more available special- ized studies. A nearly complete bibliography up to its date of pub- lication will be found in Marc Pincherle, Antonio Vivaldi et la musique instrumentale, Paris, 1948 (Vol. 1, pp. 302–310). Also in this work (Vol. 2, pp. 70–74) will be found a musical bibliography of the scattered modern publications and transcriptions, up to 1939, of Vivaldi’s works. Altmann, Wilhelm. “Thematischer Katalog der gedruckten Werke Antonio Vivaldis,” in Archiv für Musikwissenschaft, 4:262– 279 (1922). Antonio Vivaldi, note e documenti sulla vita e sulle opere (ed. S. A. Luciano). Siena, 1939. Berri, Pietro. Indice discografico vivaldiano, Milan, 1953. Burney, Charles. A General History of Music (second edition). London, 1789 (new edition [Frank Mercer], 1935). Engel, Hans. Das Instrumentalkonzert, Leipzig, 1932. Gentili, Alberto, “La raccolta Mauro Foà,” in Rievista Musicale Italiana, 34:356–368 (1927). Kolneder, Walter. “Die Klarinette als Concertino-Instrument bei Vivaldi,” in Die Musikforschung, 4:185–191 (1951). ——. “Vivaldi als Bearbeiter eigener Werke,” in Acta Musicologi- ca, 24:45–52 (1952). ——. “Il concerto per due trombe di Antonio Vivaldi,” Rievista Musicale Italiana, 55:54–63 (1953). ——. “Zur Frage der Vivaldi-Katalogue,” in Archiv für Musikwis- senschaft, 11:323–331 (1954). 267 268 VIVALDI ——. “Noch einmal: Vivaldi und die Klarinette,” in Die Musikfor- schung, 8:209–211 (1955). ——. Afführungspraxis bei Vivaldi. Leipzig, 1956. Lebermann, Walter. “Zur Besetzungsfrage der Concerti Grossi von Vivaldi,” in Die Musikforschung, 7:337–339 (1954). Mattheson, Johann. Das neu-eröffnete Orchestre, Hamburg, 1713. ——. Der vollkommene Capellmeister, Hamburg, 1739 (facsimile edition, 1954). Marcello, Benedetto. Il teatro alla moda, Venice, 1720. New edi- tion (Andrea Tessier), 1887; English translation (R. G. Pauly) in Musical Quarterly, 34:371–403 (1948), and 35:85–105 (1949). Newman, William. “The Sonatas of Albinoni and Vivaldi,” in Journal of the American Musicological Society, 5:99–113 (1952). Preussner, Eberhard. Die musikalischen Reisen des Herrn von Uffenbach, Kassel, 1949. Quantz, Johann Joachim. Versuch einer Anweisung die Flöte tra- versière zu spielen, Berlin, 1752. New edition (Arnold Schering), 1906. Rinaldi, Mario. Antonio Vivaldi, Milan, 1943. ——. Catalogo numerico tematico delle composizioni di Antonio Vivaldi, Rome, 1945. Rudge, Olga, ed. Lettere e dediche di Antonio Vivaldi, Siena, 1942. Schering, Arnold. Geschichte des Instrumentalkonzerts (second edition), Leipzig, 1927. Terenzio, Vincenzo. “Temi vivaldiani,” in La Rassegna Musicale, 23:30–37 (1953). Torrefranca, Fausto. “Problemi vivaldiani,” in Internationale Ge- sellschaft für Musikwissenschaft, Kongressbericht (Fourth Congress), Basel, 1949, 195–202. Index Accademia Chigiana, 126n, 262 Badia, Carlo Agostino, 72, 113, 122, Agoult, Countess Marie d’, 33 237 Agrell, Johann, 50, 168, 170 Baillot, P. M. F., 259 Aguesseau, Chancellor d’, 250 Balbastre, Claude, 254 Alay, Mauro d’, 123 Balzer, Thomas, 137 Alberti, Domenico, 33, 35 Banchieri, Adriano, 114 Alberti, Giuseppe Matteo, 136, 223– Bartók, 140 224, 237, 259 Bassani, Girolamo, 137 Albinoni, Tommaso, 33, 35, 36, 71, Beethoven, 70, 75–76, 91, 107, 147, 72, 73, 90, 119, 123, 131, 146, 158, 189, 192, 195, 197, 219 160, 161, 167, 169, 213, 219, 220, Bella, Gabriele, 22 228, 242, 256, 257, 264 Benda, Franz, 40, 160, 246 Alcock, John, 256 Bentivoglio, Marquis Guido, 17–18, Aldrich, Doctor Henry, 202 86, 119, 207, 212 Anna Maria, 26 Benvenuti, 204 Apollonia, 26, 52 Berengani (Beregan), Nicolò, 205, Aquin, Louis Claude d’, 251 213–214 Ariosti, Attilio, 117, 118, 127, 140 Bernacchi, Antonio, 35 Arteaga, Stefano, 258 Bernardi, G. G., 201 Aubert, Jacques, 71, 77, 100, 254 Berri, Pietro, 231, 266 Avison, Charles, 237, 258–259 Biber, Heinrich Franz von, 92, 93, 107, 137, 152, 182–183, 189 Bach, Carl Philipp Emanuel, 182, Biffi, Antonio, 36 225, 246 Bingley, William, 259 Bach, Johann Sebastian, 13, 14, 27, Bitti, Martino, 223 29, 64, 68, 69, 70, 80, 94, 114, Blainville, Charles Henri, 197–198, 116, 119, 121, 124, 125, 128, 138, 259 139–140, 155, 170, 171, 180, 184, Boccherini, Luigi, 196 186, 217, 224–236, 238–244, 245, Boisgelou, P. L. Roualle de, 17, 194 248, 262, 263, 264, 265, 266; con- Boismortier, Joseph Bodin de, 254 certo for four harpsichords, 229, Boivin, Madame, 67 231, 240; concertos for organ solo, Boldini, Giovanni, 205 225, 229, 230, 231–232; 16 Bollani, Abbé, 212–213 Konzerte nach A. Vivaldi, 225, Bologna school, 89, 133 226–233, 234–236, 242; manu- Boniventi, Giuseppe, 204 scripts, 14, 229–230, 234 Bonno, Giuseppe, 126, 127 Bach, Wilhelm Friedemann, 78, 225, Bononcini, Giovanni Battista, 115, 233–234, 235 133, 202, 252 269 270 VIVALDI Bononcini, Marco Antonio, 35, 36, Cesti, Marco Antonio, 82 72, 118 Cesti, Don Remigio, 82 Bonporti, Francesco Antonio, 93, 110, Chabrun, Charles, 258 221 Charles VI, Emperor, 48, 59, 66, 89, Borrel, Eugène, 262 246 Bortoli, Antonio, 38, 65 Charles Albert, Elector of Bavaria, 34, Boullioud de Mermet, 252 49, 50, 202 Bouvet, Charles, 262 Charpentier, Marc Antoine, 108 Braccioli, Grazio, 203, 205 Chassebras de Cramailles, 35–36 Brenet, Michel, 168 Chédeville, Nicolas, 195 Brijon, C. R., 149 Chiaretta, 26, 52, 99 Brossard, Sébastien de, 97, 130, 135 Chinzer, Giovanni, 50 Brosses, President Charles de, 19, 21, Chopin, 147 22, 27, 50–51, 52, 59, 63, 78–79, Choron, Alexandre Étienne, 260 87, 88, 113, 122, 169, 200 Chrysander, K. F. F., 245 Brugnoli, Leonardo, 89 Ciampi, Francesco, 100 Burbure de Wesembeek, Chevalier de, Cicogna, E. A., 21, 56 127 Clari, G. C. M., 245 Burney, Charles, 27, 32, 55, 84, 88, Clegg, John, 256 91, 121, 140, 185, 202, 256, 259 Colasse, Pascal, 183 Bussani, Giacomo Francesco, 205 Contarini family, 22 Buxtehude, Dietrich, 77 Conti, Abbé, 22, 48, 202, 250 Byrd, William, 118 Conti, Francesco Bartolommeo, 118 Cooke, Benjamin, 141 Caffi, Francesco, 15, 16, 21, 36, 50, Coperario (John Cooper), 118 56, 58 Corbet, 124 Caffiaux, Dom Philippe Joseph, 251– Corbett, William, 257 252 Corelli, Arcangelo, 34, 64, 71–72, 81, Caldara, Antonio, 24, 35, 36, 77, 115, 85, 89, 90, 92, 93, 97, 98, 120, 246 123, 132, 135, 139, 141, 143, 145, Caldwell, James, 57 152, 156, 201, 219, 221, 242, 243, Cametti, Alberto, 46 244–245, 246, 250, 251, 252, 256, Campra, André, 132 259, 261, 264 Canal, Pietro, 258 Corominas, Juan Francisco de, 257 Canavas (Canavaso), Joseph, 190, Corrette, Michel, 195, 255, 259 194, 253 Coryat, Thomas, 120–121 Candido, Lodovico, 100 Couperin, François, 182, 183, 253, Cannabich, Christian, 249 263 Capranica, Teatro, 46, 205, 213 Crussard, Claude, 262 Capron, Henri, 194 Cubli, Antonia, 34 Carestini, Giovanni, 35 Cucuel, Georges, 135, 167–168 Cartier, Jean Baptiste, 95, 223, 259 Cupis (the younger), Jean Baptiste, Casella, Alfredo, 200, 212, 243 254 Cassetti, Jacopo, 204 Cuzzoni, Francesca, 35 Cattarina dal Cornetto, Maestra, 25, 121 Dallapiccola, Luigi, 68, 128 Cavalli, Francesco, 28, 89, 147, 156, Dandelot, George, 262 159, 180, 183 David, Hans, 245 Caylus, Madame de, 22, 202, 250 Debussy, 219 Cazzati, Maurizio, 89, 133 Delfino, Vettor, 43, 60, 65 Cendoni, Giovanni, 207 Denner, Johann Christoph, 127 INDEX 271 Diamantina (Scarabelli), 208, 209 Frederick Augustus, Elector of Dittersdorf, Karl Ditters von, 54, 55, Saxony, 34, 51 163–164 Frederick Christian, son of Elector of Draghi, Antonio, 36, 180, 183 Saxony, 51, 79, 169n, 211 Drese, Samuel, 228 Dubourg (Duburge), Matthew, 256 Gabrieli, Andrea, 30, 120, 134, 218 Du Chargey, 199, 202–203 Gabrieli, Giovanni, 30, 112, 120, 134, Duval, François, 182 218 Gabrielli, Domenico, 115 Eichner, Ernst, 249 Galeazzi, Antonio, 48, 204 Einstein, Alfred, 102n, 240, 262 Gallo, Alberto, 220 Eitner, Robert, 265 Gallo, Rodolfo, 48, 52 Emmanuel, Maurice, 70, 144, 155 Galuppi, Baldasare, 24, 35, 36, 205, Engel, Hans, 156, 192, 196, 240 220–221 Esterházy family, 196 Gardiner, William, 186 Gasparini, Francesco, 24, 28, 34, 205 Fabbri, Anna Maria, 210 Gassmann, Florian, 181 Fanna, Antonio, 29n Gastoué, Amédée, 134 Farinelli, 35 Gaviniès, Pierre, 194, 255, 259 Farini, Carlo, 122, 182 Geminiani, Francesco, 91, 125, 195, Fasch, Johann Friedrich, 246 221–222, 237, 255–256 Fauré, Gabriel, 70, 187 Gennaro, Alessandro, 24, 54 Faustina (Bordoni-Hasse), 35, 249 Gentili, Alberto, 262 Fayolle, François, 260 Gentili, Giorgio, 228 Fedeli, Giuseppe, 99 Gerber, Ernst Ludwig, 53, 61, 201, Ferdinand, brother of Elector of Ba- 218, 249, 250, 258, 260 varia, 50 Ghezzi, Pier Leone, 46, 57–58 Ferdinand III, Prince of Tuscany Giazotto, Remo, 131 Ferrari, Domenico, 194 Gibbons, Orlando, 118 Ferronati, Lodovico, 100 Ginguené, Pierre Louis, 185, 259 Fesch, Willem de, 50, 250 Giraud (Girò), Anna, 18, 46, 61–63 Festing, Michael Christian, 256–257 Giusti, Girolamo, 206 Fétis, François Joseph, 56, 260 Giustiniani family, 33, 36 Filtz, Anton, 168 Gluck, 35, 36 Fontana, Giovanni Battista, 89 Goethe, 33 Forkel, Johann Nikolaus, 224–225, Golde, A., 233 233, 234, 241, 242, 258 Goldoni, Carlo, 18, 49, 61–63, 206 Foscarini, Pietro, 24 Gossec, François Joseph, 77, 181, 254 Franceschini, Petronio, 115 Goudar, Ange, 54–55 Francis III, Duke of Lorraine, 39, Graun, Carl Heinrich, 246, 249 206 Graun, Johann Gottlieb, 246, 249 Franck, César, 70, 76, 107, 219 Graupner, Christoph, 195, 246 Francoeur, François, 253 Grave, de, 246 Francoeur, Louis, 77 Gregori, Giovanni Lorenzo, 231, 232 Frederick, Margrave of Brandenberg, Griepenkerl, F. K., 233 60–61
Load more

Recommended publications
  • 2257-AV-Venice by Night Digi
    VENICE BY NIGHT ALBINONI · LOTTI POLLAROLO · PORTA VERACINI · VIVALDI LA SERENISSIMA ADRIAN CHANDLER MHAIRI LAWSON SOPRANO SIMON MUNDAY TRUMPET PETER WHELAN BASSOON ALBINONI · LOTTI · POLLAROLO · PORTA · VERACINI · VIVALDI VENICE BY NIGHT Arriving by Gondola Antonio Vivaldi 1678–1741 Antonio Lotti c.1667–1740 Concerto for bassoon, Alma ride exulta mortalis * Anon. c.1730 strings & continuo in C RV477 Motet for soprano, strings & continuo 1 Si la gondola avere 3:40 8 I. Allegro 3:50 e I. Aria – Allegro: Alma ride for soprano, violin and theorbo 9 II. Largo 3:56 exulta mortalis 4:38 0 III. Allegro 3:34 r II. Recitativo: Annuntiemur igitur 0:50 A Private Concert 11:20 t III. Ritornello – Adagio 0:39 z IV. Aria – Adagio: Venite ad nos 4:29 Carlo Francesco Pollarolo c.1653–1723 Journey by Gondola u V. Alleluja 1:52 Sinfonia to La vendetta d’amore 12:28 for trumpet, strings & continuo in C * Anon. c.1730 2 I. Allegro assai 1:32 q Cara Nina el bon to sesto * 2:00 Serenata 3 II. Largo 0:31 for soprano & guitar 4 III. Spiritoso 1:07 Tomaso Albinoni 3:10 Sinfonia to Il nome glorioso Music for Compline in terra, santificato in cielo Tomaso Albinoni 1671–1751 for trumpet, strings & continuo in C Sinfonia for strings & continuo Francesco Maria Veracini 1690–1768 i I. Allegro 2:09 in G minor Si 7 w Fuga, o capriccio con o II. Adagio 0:51 5 I. Allegro 2:17 quattro soggetti * 3:05 p III. Allegro 1:20 6 II. Larghetto è sempre piano 1:27 in D minor for strings & continuo 4:20 7 III.
    [Show full text]
  • Antonio Lucio VIVALDI
    AN IMPORTANT NOTE FROM Johnstone-Music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are very pleased for you to have a copy of this article, which you may read, print or save on your computer. You are free to make any number of additional photocopies, for johnstone-music seeks no direct financial gain whatsoever from these articles; however, the name of THE AUTHOR must be clearly attributed if any document is re-produced. If you feel like sending any (hopefully favourable) comment about this, or indeed about the Johnstone-Music web in general, simply vis it the ‘Contact’ section of the site and leave a message with the details - we will be delighted to hear from you ! Una reseña breve sobre VIVALDI publicado por Músicos y Partituras Antonio Lucio VIVALDI Antonio Lucio Vivaldi (Venecia, 4 de marzo de 1678 - Viena, 28 de julio de 1741). Compositor del alto barroco, apodado il prete rosso ("el cura rojo" por ser sacerdote y pelirrojo). Compuso unas 770 obras, entre las cuales se cuentan 477 concerti y 46 óperas; especialmente conocido a nivel popular por ser el autor de Las cuatro estaciones. johnstone-music Biografia Vivaldi un gran compositor y violinista, su padre fue el violinista Giovanni Batista Vivaldi apodado Rossi (el Pelirrojo), fue miembro fundador del Sovvegno de’musicisti di Santa Cecilia, organización profesional de músicos venecianos, así mismo fue violinista en la orquesta de la basílica de San Marcos y en la del teatro de S. Giovanni Grisostomo., fue el primer maestro de vivaldi, otro de los cuales fue, probablemente, Giovanni Legrenzi.
    [Show full text]
  • Teuzzone Vivaldi
    TEUZZONE VIVALDI Fitxa / Ficha Vivaldi se’n va a la Xina / 11 41 Vivaldi se va a China Xavier Cester Repartiment / Reparto 12 Teuzzone o les meravelles 57 d’Antonio Vivaldi / Teuzzone o las maravillas Amb el teló abaixat / de Antonio Vivaldi 15 A telón bajado Manuel Forcano 21 Argument / Argumento 68 Cronologia / Cronología 33 English Synopsis 84 Biografies / Biografías x x Temporada 2016/17 Amb el suport del Departament de Cultura de la Generalitat de Catalunyai la Diputació de Barcelona TEUZZONE Òpera en tres actes. Llibret d’Apostolo Zeno. Música d’Antonio Vivaldi Ópera en tres actos. Libreto de Apostolo Zeno. Música de Antonio Vivaldi Estrenes / Estrenos Carnestoltes 1719: Estrena absoluta al Teatro Arciducale de Màntua / Estreno absoluto en el Teatro Arciducale de Mantua Estrena a Espanya / Estreno en España Febrer / Febrero 2017 Torn / Turno Tarifa 24 20.00 h G 8 25 18.00 h F 8 Durada total aproximada 3h 15m Uneix-te a la conversa / Únete a la conversación liceubarcelona.cat #TeuzzoneLiceu facebook.com/liceu @liceu_cat @liceu_opera_barcelona 12 pag. Repartiment / Reparto 13 Teuzzone, fill de l’emperador de Xina Paolo Lopez Teuzzone, hijo del emperador de China Zidiana, jove vídua de Troncone Marta Fumagalli Zidiana, joven viuda de Troncone Zelinda, princesa tàrtara Sonia Prina Zelinda, princesa tártara Sivenio, general del regne Furio Zanasi Sivenio, general del reino Cino, primer ministre Roberta Mameli Cino, primer ministro Egaro, capità de la guàrdia Aurelio Schiavoni Egaro, capitán de la guardia Troncone / Argonte, emperador Carlo Allemano de Xina / príncep tàrtar Troncone / Argonte, emperador de China / príncipe tártaro Direcció musical Jordi Savall Dirección musical Le Concert des Nations Concertino Manfredo Kraemer Sobretítols / Sobretítulos Glòria Nogué, Anabel Alenda 14 pag.
    [Show full text]
  • Antonio Vivaldi from Wikipedia, the Free Encyclopedia
    Antonio Vivaldi From Wikipedia, the free encyclopedia Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741) was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He is known mainly for composing many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty. Life Childhood Antonio Lucio Vivaldi was born in 1678 in Venice, then the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though not known for certain, the child's immediate baptism was most likely due either to his poor health or to an earthquake that shook the city that day.
    [Show full text]
  • Vivaldi US 11/15/07 2:14 PM Page 12
    660211-13 bk Vivaldi US 11/15/07 2:14 PM Page 12 Also available: VIVALDI 3 CDs Griselda Ainsworth • Huhtanen • McMurtry Nedecky • Newman • Tomkins Opera in Concert / Aradia Ensemble Kevin Mallon 8.557445 8.557852 8.660211-13 12 660211-13 bk Vivaldi US 11/15/07 2:14 PM Page 2 Antonio Aradia Ensemble VIVALDI One of the most exciting new groups to emerge in the early music world, the Toronto-based Aradia Ensemble (1678-1741) specialises in presenting an eclectic blend of orchestral, operatic and chamber music played on original instruments. The group records for Naxos, for whom it has made more than twenty recordings. They have made two music Griselda, RV718 (1735) videos, one film soundtrack, have collaborated with Isadora Duncan and Baroque dancers, have co-produced opera and worked with Balinese Gamelan. While focusing heavily on the repertoire of seventeenth-century France and Dramma per musica in Three Acts England, Aradia also performs works by the Italian and German masters of the baroque, as well as contemporary pieces commissioned by the group. In July 2000 Aradia was the featured ensemble in residence at the New Zealand Libretto by Apostolo Zeno (1668-1750), revised by Carlo Goldoni (1707-1793) Chamber Music Festival and in July 2003 performed at Musica nel Chiostro in Tuscany. According to Robert (Performing edition prepared by Kevin Mallon) Graves, Aradia was the daughter of Apollo’s twin sisters. She was sent by the gods to teach mankind to order the music of the natural world into song. Gualtiero, King of Tessaglia (Thessaly) .
    [Show full text]
  • Antonio Vivaldi (1678-1741)
    Ospedale della Pietà in Venice Opernhaus Prag Antonio Vivaldi (1678-1741) Complete Opera – Antonio Vivaldi – Complete Opera – Index - Complete Operas by Antonio Vivaldi Page Preface 3 Cantatas 1 RV687 Wedding Cantata 'Gloria e Imeneo' (Wedding cantata) 4 2 RV690 Serenata a 3 'Mio cor, povero cor' (My poor heart) 5 3 RV693 Serenata a 3 'La senna festegiante' 6 Operas 1 RV697 Argippo 7 2 RV699 Armida al campo d'Egitto 8 3 RV700 Arsilda, Regina di Ponto 9 4 RV702 Atenaide 10 5 RV703 Bajazet - Il Tamerlano 11 6 RV705 Catone in Utica 12 7 RV709 Dorilla in Tempe 13 8 RV710 Ercole sul Termodonte 14 9 RV711 Farnace 15 10 RV714 La fida ninfa 16 11 RV717 Il Giustino 17 12 RV718 Griselda 18 13 RV719 L'incoronazione di Dario 19 14 RV723 Motezuma 20 15 RV725 L'Olimpiade 21 16 RV726 L'oracolo in Messenia 22 17 RV727 Orlando finto pazzo 23 18 RV728 Orlando furioso 24 19 RV729 Ottone in Villa 25 20 RV731 Rosmira Fedele 26 21 RV734 La Silvia (incomplete) 27 22 RV736 Il Teuzzone 27 23 RV738 Tito Manlio 29 24 RV739 La verita in cimento 30 25 RV740 Il Tigrane (Fragment) 31 2 – Antonio Vivaldi – Complete Opera – Preface In 17th century Italy is quite affected by the opera fever. The genus just newly created is celebrated everywhere. Not quite. For in Romee were allowed operas for decades heard exclusively in a closed society. The Papal State, who wanted to seem virtuous achieved at least outwardly like all these stories about love, lust, passions and all the ancient heroes and gods was morally rather questionable.
    [Show full text]
  • EUROPA GALANTE 19.00 H
    FESTIVAL DE MÚSICA ANTIGUA DE SEVILLA Sábado, 27 de MARZO EUROPA GALANTE 19.00 h. | Teatro de la Maestranza Argippo de Vivaldi XXXVIII EDICIÓN NOTAS Aunque reconocido muy especialmente por sus aportaciones a la música instrumental, Anto- nio Vivaldi estuvo siempre obsesionado con el mundo operístico. Cuando en 1713 presentó en Vicenza Ottone in Villa, que pasa por ser su pri- mer título lírico, debería de llevar ya algunos años de vinculación con los teatros venecianos, especialmente con el Sant’Angelo, uno de los más modestos de la ciudad. Al final de su vida, Vivaldi declaró haber escrito más de 90 óperas, aunque muchas de ellas no serían sino pasticcios. De esas 90 obras se conocen 45, de las cuales se conservan en diferentes estados de integridad aproximada- mente la mitad, un balance siempre provisional, pues no dejan de producirse descubrimientos en torno a este sector del repertorio del músico. El tipo de producción operística de la época fa- vorecía la presentación de pasticcios, obras que se conformaban con aportes de arias de diversos compositores (habitualmente escritas para otras obras) que luego eran adaptadas, ensambladas y engarzadas con recitativos en la nueva historia. Haendel produjo muchos pasticcios en sus tem- poradas londinenses y Vivaldi los hizo también de forma habitual. Según Michael Talbot, Vivaldi escribió Argippo para el Teatro Kärntner Tor de Viena, donde se- guramente se vio como un intermedio en la pri- mavera de 1730. El compositor amplió después su partitura para presentarla en Praga en oto- ño de aquel mismo año, en el teatro privado del conde Sporck.
    [Show full text]
  • Las Composiciones De Francesco Antonio Pistocchi (1659- 1726): Listado Actualizado De Su Obra
    Revista Iberoamericana de las Ciencias Sociales y Humanísticas ISSN: 2395-7972 Las composiciones de Francesco Antonio Pistocchi (1659- 1726): listado actualizado de su obra The compositions of Francesco Antonio Pistocchi (1659-1726): up-to-date list of his work As composições de Francesco Antonio Pistocchi (1659-1726): lista atualizada de seu trabalho DOI: http://dx.doi.org/10.23913/ricsh.v6i11.120 Alejandra Béjar Bartolo Universidad de Guanajuato, México [email protected] Fabrizio Ammetto Universidad de Guanajuato, México Istituto Italiano Antonio Vivaldi, Venezia, Italia [email protected] Resumen El cantante, compositor y didacta (maestro de canto) Francesco Antonio Pistocchi (Palermo 1659 - Bolonia 1726) fue un músico ampliamente reconocido por sus contemporáneos (Giuseppe Torelli, Pier Francesco Tosi, Johann Joachim Quantz, entre otros) y, hoy en día, es digno de ser considerado entre los mejores compositores de música vocal del Barroco italiano. Aunque no está todavía catalogada de manera sistemática, su producción merece ser ampliamente estudiada, analizada y ejecutada. Hasta la fecha no existe un catálogo exhaustivo que registre de manera puntual toda su obra, por tal razón, en este estudio se presenta por primera vez un listado actualizado de su amplia producción –que incluye óperas, serenatas, oratorios, cantatas, duetos, tercetos, madrigales, misas (o secciones de misa), salmos, responsorios, cánticos, letanías, himnos, antífonas, motetes, lamentaciones, pastorales y secuencias, además de una colección de música instrumental–, en donde se Vol. 6, Núm. 11 Enero – Junio 2017 RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas ISSN: 2395-7972 especifica la localización de su música que ha llegado hasta nuestros días (actualmente resguardada en alrededor de treinta diferentes bibliotecas de Alemania, Austria, Bélgica, Francia, Italia, Reino Unido y Estados Unidos de América).
    [Show full text]
  • Farnace • Antonio Vivaldi
    Y~ ionall optran al 1 debordei OPÉRA irchtstJ . balle NATIONAL W.' t«yl S BORDEAUX mrk ntiérti™ tu * ôs MAIRIE DE BORDEAUX FARNACE • ANTONIO VIVALDI RECUEIL DES AIRS FAVORIS AIJAVQX ANTONIO VIVALDI FARNACE ÀUA.VQX. I rie Favorite - Fa nui ri le Aires I'. Zaim»i. S. Miiijfarilo. V. IVrnainlcz. (.. liaiiililelli, S. l'rina. C. Korti-. I. Ht-diiii LE CONCERT DES NATIONS JOKDI SAVAI.I. 1 CD avec la sélection deaf Airs les plus beaux] j d'un opéra essen^el d«. Vivaldi. Disponible aussi (Lins sa version çoinpièie en 3 Cl) I \li\ vci Vl.1V VOX Distribution France: Vbeille VIu->i«jui' !•». rue du Mail "">002-Pari*- Ici. 01 4e) 26 01 40 hax 01 49 20 (>- >\ w n.aheilleinusique.com [email protected] F.XJMUT Management: TRI. +32 2 524 24 Fax +32 2 524 0. -(> [email protected] Recevez gratuitement le nouveau catalogue ALIA VOX 2003. en retournant le coupon ci-dessous chez ALIA VOX/ABEILLE MUSIQUE 13. rue du Mail 75002 Paris ou en envoyant vos coordonnées par mail à : aliavox@abei 1 lemusique.c^jfâ - - Prénom et Nom: Adresse: Ville: Code: Tel Farnace Dramma per musica en trois actes. Livret d'Antonio Maria Lucchini. Musique d'Antonio Vivaldi. Créé le 10 février 1727 au Teatro Sant' Angelo de Venise. Grand-Théâtre Bordeaux Kl Juin 2003 L'Opéra tient à remercier le Club des Partenaires de l'Opéra National de Bordeaux partenaires fondateurs Caisse d'Épargne Aquitaine-Nord Cofinoga Mercedes-Benz Bordeaux partenaires associés Air liquide Banque Populaire du Sud-Ouest Caisse des dépôts et consignations Casino de Bordeaux Château Haut-Bailly EDF Grands Clients Sud-Ouest France Telecom Gaz de Bordeaux Groupe CMR Chantiers d'Aquitaine CORDIER MESTREZAT & domaines Sanofi Winthrop Industrie (site d'Ambarès) SyndicatViticole de Pessac-Léognan partenaires Cocodi Librairie Mollat Société Bordelaise de CIC les entreprises qui soutiennent des projets..
    [Show full text]
  • Seznamy, Vysvětlivky, Rejstříky a Autorovo Slovo Na Závěr
    SEZNAMY, VYSVĚTLIVKY, REJSTŘÍKY A AUTOROVO SLOVO NA ZÁVĚR ORIENTAČNÍ PŘEHLED DÍLA ANTONIA VIVALDIHO Orientační přehled díla Antonia Vivaldiho Dílo Antonia Vivaldiho je velmi rozsáhlé. Není možno, abychom v naší knize uváděli úplný výčet skladatelových děl. Zájemce o ně se ovšem může orientovat v oficiálním seznamu Vivaldiho kompozic v díle Peter Ryom, Verzeichnis der Werke Antonio Vivaldis (RV), Kleine Ausgabe. VEB Deutscher Verlag für Musik, Leipzig: 1. vydání 1974, 2. vydání 1979. – Antonio Fanna, Antonio Vivaldi (1678–1741). Cata- logo Numerico-Tematico delle Opere Strumentali. Istituto Italiano Antonio Vivaldi. Fondato da Antonio Fanna. Edizioni Ricordi, G. Ricordi & C. s.p.a. Milano 1968, uvádí všechny Vivaldiho nástrojové stavby s původními italskými názvy, infor- muje o dedikacích, programních označeních děl, nových (tedy dnes soudobých) vydáních apod. Z Fanny se například dovídáme, že Vivaldi psal Koncerty pro housle Koncerty pro violu Koncerty pro violoncello Koncerty pro housle s jinými sólisty na smyčcové nástroje Koncerty pro mandolínu Koncerty pro flétnu Koncerty pro fagot Koncerty pro trubku (tromba) Koncerty pro roh (corno) Koncerty pro smyčcové nástroje Koncerty pro rozmanité soubory Sonáty pro housle Sonáty pro violoncello Sonáty pro dechové nástroje Sonáty pro rozmanité soubory přičemž Fanna také uvádí uložení nástrojových děl v těchto knihovnách: Biblio- teca Nazionale, Torino, 295 děl; Biblioteca del Conservatorio di Musica, Napoli, 3 díla; Biblioteca Querini Stampalia, Venezia, 1 dílo; Sächsische Landesbibliothek
    [Show full text]
  • Wexford Festival Oct 27-Nov 5 2019
    WEXFORD FESTIVAL OPERA THE WEXFORD OPERAS: LA CUCINA (The kitchen): The world- Tue. Oct. 29: Wexford plus Dublin, Cork & Malahide premiere of a newly commissioned opera, with a 1:05 p.m. Recital at St. Iberius Church. October 27 – November 5, 2019 Don Quichotte (Jules Massenet) libretto by the director and Wexford’s Artistic 3:30 p.m. ShortWorks at Whites Hotel: Dorilla in Tempe (Antonio Vivaldi) Director designate, Rosetta Cucchi. The opera itself Cendrillon (Pauline Viardot). Wexford is a charming historic town on the La Cucina (Andrew Synnott) is composed by the Dublin-based composer, Andrew 8:00 p.m. performance of Don Quichotte. Synnott, who is no stranger to the operatic stage. His south-east coast of Ireland where something Adina (Gioachino Rossini) first opera, Breakdown, was followed by a pair of Wed. Oct. 30: Wexford magical happens every October when people short operas, Counterparts and The Boarding House, 1:05 p.m. Recital at St. Iberius Church DON QUICHOTTE: Premiering in Monte Carlo who appreciate the very best in opera come based on two short stories from James Joyce’s 3.30 p.m. ShortWorks at Whites Hotel: from around the world to savour the rare in 1910, Don Quichotte proved to be a huge success Dubliners, which received its world-premiere in and the opera was soon seen in Paris, London, New L’Inganno felice (Rossini). musical delights of Wexford Festival Opera. It Wexford in 2017. La Cucina is performed as a 8.00 p.m. performance of Dorilla in Tempe. has gained an enviable international reputation York and many other European and American companion piece with Adina.
    [Show full text]
  • Antonio Vivaldi (1678 - 1741): "Arie Per Tenore"
    GBOPERA opera magazine http://www.gbopera.it Antonio Vivaldi (1678 - 1741): "Arie per tenore" Topi Lehtipuu (tenore), I Barocchisti, Coro della Radiotelevisione svizzera, Diego Fasolis (direzione) La fatal sentenza (Tito Manlio, 1720); La tiranna avversa sorte (a) (Arsilda regina di Ponto, 1716); Non sempre folgora (La costanza trionfante, 1716); Va per selve e sol pien d'ira (Arsilda regina di Ponto); Care pupille (Tigrane, 1724); Col furor ch'in petto io serbo (L'incoronazione di Dario, 1717); Cessa tiranno amor (L'incoronazione di Dario); La tiranna avversa sorte (b) (Arsilda regina di Ponto); Cada pur sul capo audace (Artabano re de' Parti, 1718); Va superbo quel vassallo (Arsilda regina di Ponto); Fido amante - frammento strumentale (L'incoronazione di Dario); Il figlio, il reo (Tito Manlio, 1720); Già lasciò la nobil salma (Tito Manlio); Vinta a piè d'un dolce affetto (b) (La verità in cimento, 1720); Accompagnato: Nume tu che di Tempe...; Coro: Gemiti e lagrime (Dorilla in Tempe, 1726); Alle minacce di fiera belva (Farnace, 1738); Recitativo: Andiam Prence, seguiamla...; Aria: A' suoi piedi Padre esangue (Dorilla in Tempe); Concerto ripieno RV 110. Registrazione: aprile e maggio 2010, Auditorio Stelio Molo, Radiotelevisione svizzera, Lugano (Svizzera) 1 cd Naïve OP 30504 La Vivaldi Edition della Naïve si arricchisce di un nuovo interessante capitolo. Una raccolta di arie per voce di tenore che Vivaldi dedicò a questo registro vocale in un arco di tempo che va dal 1716 (Arsilda regina di Ponto) al 1738 (nuova versione del Farnace). Tre decenni nei quali, il Prete rosso incrociò celebri, ma anche sconosciuti tenori allora in attività.
    [Show full text]