DOCSLIB.ORG

The Complete Early Variations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Complete Early Variations BEETHOVEN THE COMPLETE EARLY VARIATIONS Alessandro Commellato fortepiano Ludwig van Beethoven 1770-1827 1. 32 Variations in C minor 8. 10 Variation in B flat WoO73 14. 8 Variations in C WoO67 WoO80 on an original theme 11’43 on Salieri’s air ‘La stessa on a theme by Count Waldstein 2. 5 Variations in D WoO79 la stessissima’ 12’28 for piano four hands 8’58 on ‘Rule Britannia’ 5’36 9. 8 Variations in C WoO72 on 15. 13 Variations in A WoO66 3. 7 Variations in D WoO78 Grétry’s air ‘Un fievre brûlante’ 7’12 on Dittersdorf’s air ‘Es war on ‘God save the King’ 8’43 10. 12 Variations in A WoO71 on a einmal ein alter Mann’ 14’55 4. 6 Easy Variations in G WoO77 Russian Dance from Wranitsky’s 16. 24 Variations in D WoO65 on an original theme 7’27 ballet ‘Das Waldmädchen’ 12’20 on Righini’s air ‘Venni amore’ 23’29 5. 8 Variations in F WoO76 11. 6 Variations in G WoO70 17. 6 Easy Variations in F WoO64 from Süssmayr’s theme on Paisiello's air on a Swiss air 2’57 ‘Tändeln und Scherzen’ 9’21 ‘Nel cor più non mi sento’ 5’45 18. 9 Variations in C minor WoO63 6. 7 Variations in F WoO75 12. 9 Variations in A WoO69 on on a march by Dressler 12’41 from Winter’s opera ‘Das Paisiello’s air ‘Quant’è più bello’ 6’07 unterbrochene Opferfest’ 11’54 13. 12 Variations in C WoO68 Alessandro Commellato fortepiano 7. 6 Variations in D WoO74 on the ‘Menuet à la Viganò’ Elena Costa fortepiano (1) on ‘Ich denke dein’ from Haibel’s ballet ‘Le nozze Fortepianos: J. Böhm 1823 (1, 3) for piano four hands 5’05 disturbate’ 14’41 J.A. Stein 1788 (2) A.Walter 1792 (4) Sonja Angelina Krenn soprano (7) Alessandro Commellato fortepiano A.Walter 1789 (5) Alessandro Commellato fortepiano Fortepianos: Walter & Sohn 1805 (1, 4, 6) Elena Costa fortepiano (7) A.Walter 1792 (2) Fortepianos: J. Böhm 1823 (1, 7) J. Böhm 1823 (3) The Walter and Stein fortepianos used in this A.Walter 1789 (2, 3) J.A. Stein 1788 (5) recording are copies made by Guido Bizzi A.Walter 1792 (4) Walter & Sohn 1805 (5, 6) Recording: 8–10 July 2016 & 20–22 March 2017, Villa Bossi (Varese), Italy Recording engineers: Claudio Vandelli & Ermanno Bemporad Artistic supervision: Claudio Vandelli Piano technician: Alessandro Levanti Cover: Samson and the lion, by Gian Lorenzo Bernini (1598-1680) ℗ 2017 & © 2018 Brilliant Classics Early pianos Beethoven - Early Variations These early sets of variations are full of fresh and exciting creativity, an indication of Under the title of “early variations”, we find here all those works for solo and four the young Beethoven’s awesome talent for improvisation which was so commented on hands piano without opus number, that form part of one of the most distinctive in the writings of his contemporaries. musical genres of the 18th Century: the theme with variations. The primitive mechanism of the Viennese fortepianos dating from the late 18th For one reason or another, these works were not included in the main catalogue century was forced by Beethoven toward new parameters of virtuosity, of orchestral- of Beethoven’s compositions. In actual fact, some of the variations without an opus resembling puissance, while also demanding the instrument to render the most number are not “early” at all. expressive cantabile. In particular, the famous 32 Variations on an Original Theme WoO80 were He was searching for an instrument that still didn’t exist… composed in the Autumn of 1806 and immediately published in Vienna. The instruments I have chosen in this recording include the delicate Stein, still The two series of “political” variations, the 7 on God save the King WoO78, and resembling the clavichord delicacy, which inspired me to adopt a somehow baroque the 5 on Rule Britannia WoO79, written between March and June 1804, in the wake and “inegale” phrasing; the Walter which, in 3 different exemplars, points toward of Beethoven’s admiration for the British Resistance to the proclamation of the French the future piano, offering more power and brilliance and, finally, the mature Viennese Empire, can also not be considered as early works. Further series of variations may sound of the Joseph Böhm, suggesting atmospheres of the early romantic period. be considered juvenile perhaps, but not early: the 12 variations in C major on the The challenge for the interpreter, in this corpus of themes and variations, is to “Menuett à la Vigano” WoO68 destined, according to an editor as scrupulous as catch the extemporaneous and sometimes crazy character of this genre, originating Artaria, for “Harpsichord ou Piano-Forte”. from young Beethoven’s aims of surpassing the other virtuoso pianists in Vienna, and This group of variations are of an early style and represent a sort of halfway house seducing the public of the salons. between the type of music written for the harpsichord, typical instrument of the noble (Quite differently, the piano sonatas and similarly the string quartets were salon, and the piano, soon to be such a common feature in the bourgeois drawing conceived for the almost solitary spiritual nourishment of the cultivated amateurs). room, and they represent the core of this corpus. All kinds of affetti are here explored, alternating humor, fury, seriousness, In it there are two series of variations on la Molinara by Paisiello, WoO69 and gassenhauer triviality, sweet and sincere tenderness. WoO70; those on the Russian Dance from Wranitzky ballet Das Waldmädchen, Later on, Beethoven would pick many ideas and solutions from this hidden treasure WoO71; on Grétry’s Richard the Lionheart, WoO72; on Salieri’s Falstaff, WoO73; and insert them in the much nobler corpus of the sonatas. from Peter Winter’s Das Unterbrochene Opferfest, WoO75 and on Suliman II by Is this the reason why these variations remained out of the main catalogue? Süßmayr, WoO76. This list closes with a clearly didactic work: the 6 variations ”tres Whatever the reason, this collection seems to be the most sincere and detailed self- faciles” on an original theme in G Major, WoO77. portrait we can enjoy of Ludwig, in his early “roaring” young years. The theatrical origin of these variations sheds some light on Beethoven’s life and the © Alessandro Commellato social milieu in which he lived. From this viewpoint the dedications are significant. The dedicatee of the 9 variations for pianoforte in A Major on the tune “Quanto è più bello l’amore contadino” WoO69 and of the 6 variations in G major on the duet “Nel The editorial baptism of the young Beethoven, cor più non mi sento” WoO70, from Paisiello opera “La Molinara”, is Prince Carl von who was thirteen in reality, is very significant in Lichnowsky, the first patron and friend of Beethoven in Vienna and former pupil and any case since it is a work in the key of C minor, patron of Mozart. The Prince and his wife Christine, daughter of the Bohemian count perhaps the most representative of the serious and Thun, welcomed Beethoven into their house like a son, fussing so much about his belligerent character of its author. career that he decided to search for an independent apartment in Vienna. The style showcased from the middle of the Franz Gerhard Wegeler, rector of the University of Bonn, fled to Vienna in 1794 1790’s, is rooted in the playing style of the young after the French occupation of the Rhineland and in his memoirs about Beethoven, and impetuous composer. It used to be thought reveals the reputation as a difficult and innovative composer which already that the 24 variations in D major WoO65 on surrounded Beethoven in Vienna: “The Prince was passionate about music and a the Arietta “Venni amore” by Vincenzo Righini, bit of a connoisseur. He played the piano, studied Beethoven’s pieces and played had been re-written in a new version in 1801, them more or less well. He tried to convince Beethoven that there was no need to because they no longer seemed difficult enough to change anything in his style, despite the fact that others often criticised him about the Beethoven now he was in Vienna. A. Walter, ca.1789 difficulty of some of his works”. Beethoven’s piano style was changing in this period In reality, the re-discovery in the 1980’s (copy by Guido Bizzi) and he was well aware of this fact: “In all honesty dear Streicher – he wrote in 1796 of a copy of the original, dating from 1791, to the piano builder Johann Andreas Streicher – one thing is sure, the way of playing demonstrated that both versions were identical. the pianoforte is still very primitive when compared with all the other instruments. It was no mere coincidence that the old abbot Johann Franz Xaver Sterkel, a At times one has the impression of hearing a harp being played and I am really happy delicate pianist of other times, declared the work unplayable. The author, cut to the that You are one of the few who understand and hear that also the pianoforte can be quick, immediately performed it right in front of him, improvising other even more made to sing - all you have to do is listen to it. I hope that the time will come when difficult variations, to show off his virtuosity. the harp and the pianoforte will be two completely different instruments”. Beethoven did not have an easy character and in the feverish period following his Things were different just a few years earlier, when at Bonn, before he moved departure from Bonn and his transfer to Vienna, his moods fluctuated even more than to Vienna, Beethoven wrote 6 Variations faciles in F major WoO64, inspired by a was usual.
Load more

Recommended publications
  • Songs of the Classical Age
    Cedille Records CDR 90000 049 SONGS OF THE CLASSICAL AGE Patrice Michaels Bedi soprano David Schrader fortepiano 2 DDD Absolutely Digital™ CDR 90000 049 S ONGS OF THE C LASSICAL A GE FRANZ JOSEF HAYDN MARIA THERESIA VON PARADIES 1 She Never Told Her Love.................. (3:10) br Morgenlied eines armen Mannes...........(2:47) 2 Fidelity.................................................... (4:04) WOLFGANG AMADEUS MOZART 3 Pleasing Pain......................................... (2:18) bs Cantata, K. 619 4 Piercing Eyes......................................... (1:44) “Die ihr des unermesslichen Weltalls”....... (7:32) 5 Sailor’s Song.......................................... (2:25) LUDWIG VAN BEETHOVEN VINCENZO RIGHINI bt Wonne der Wehmut, Op. 83, No. 1...... (2:11) 6 Placido zeffiretto.................................. (2:26) 7 SOPHIE WESTENHOLZ T’intendo, si, mio cor......................... (1:59) ck Morgenlied............................................. (3:24) 8 Mi lagnerò tacendo..............................(1:37) 9 Or che il cielo a me ti rende............... (3:07) FRANZ SCHUBERT bk Vorrei di te fidarmi.............................. (1:27) cl Frülingssehnsucht from Schwanengesang, D. 957..................... (4:06) CHEVALIER DE SAINT-GEORGES bl L’autre jour à l’ombrage..................... (2:46) PAULINE DUCHAMBGE cm La jalouse................................................ (2:22) NICOLA DALAYRAC FELICE BLANGINI bm Quand le bien-aimé reviendra............ (2:50) cn Il est parti!.............................................. (2:57)
    [Show full text]
  • Musical and Dramatic Structure in the Opera Buffa Finale
    Trinity College Trinity College Digital Repository Faculty Scholarship Spring 1989 Musical and Dramatic Structure in the Opera Buffa Finale John Platoff Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Musicology Commons Musical and Dramatic Structure in the Opera Buffa Finale* JOHN PLATOFF he study of the opera buffa of the late eighteenth century has for many years been virtually synonymous with the study of Mozart's mature operas. Scholars have recently shown an increased interest in the operas of Haydn, but operatic works by the leading contemporaries of these two great figures remain almost completely unknown.l It is thus not surprising that what is believed to 191 be true about the finale in opera buffa applies quite well to Mozart's finales, but far less well to those of Paisiello, Salieri, Martin y Soler, and Volume 7 ? Number 2 * Spring 1989 TheJournal of Musicology ? 1989 by the Regents of the University of California * A shorter version of this paper was presented at the annual meeting of the American Musicological Society, Louisville, Kentucky, in October 1983. I am grateful to Leonard B. Meyer, Ruth Montgomery, Gary Tomlinson, and Piero Weiss for many useful suggestions. Studies of Mozart's Viennese operatic contemporaries have been very limited in number. Those that deal in some detail with musical matters (as opposed to biographical or bibliographical issues) include Hermann Abert, W. A. Mozart: neubearbeitete und er- weiterteAusgabe von OttoJahns Mozart, 8th ed., 2 vols. (Leipzig, 1973-75), in particular the chapter on "Opera Buffa," I, 332-82; idem, "Paisiellos Buffokunst und ihre Be- ziehungen zu Mozart," Archivfiir Musikwissenschaft I (1918-19), 402-21, repr.
    [Show full text]
  • Larry Weng Piano
    BEETHOVEN Larry Weng Piano Variations on themes by Grétry • Paisiello • Righini •Winter Sonata in C, WoO 51 Ludwig van Beethoven (1770–1827) relations with the changing governments of the period, as The opera Richard Coeur-de-lion (‘Richard the Lionheart’) Piano Variations on themes by Grétry, Paisiello, Righini and Winter Bourbons replaced Bonapartists and vice versa. Paisiello by André Grétry (1741–1813) was first performed at Piano Sonata in C major, WoO 51 • Waltzes, WoO 84 and 85 served at the court of Catherine II in Russia for eight years, Fontainebleau in 1785. The plot centres on the imprisonment and spent time in Vienna and Paris. His opera La molinara of Richard, taken captive as he returns from the Third Born in Bonn in 1770, Ludwig van Beethoven was the eldest 1827, his death the occasion of public mourning in Vienna. (‘The Mill Girl’), otherwise known as L’amor contrastato Crusade, and sought by his faithful minstrel, Blondel. Une son of a singer in the musical establishment of the The art of variation lies at the heart of a great deal of (‘Love Contrasted’), was originally written for carnival in fièvre brûlante (‘A Burning Fever’) has an important part to Archbishop-Elector of Cologne, and grandson of the music. Extended works may include movements consisting Naples in 1789. It was given several performances in Vienna play, heard by Richard, who joins in his favourite song, Archbishop’s former Kapellmeister, whose name he took. of variations, whether so titled or not. In improvisation in 1794, when Beethoven is said to have heard it, and he hearing Blondel sing from outside the castle where he is The household was not a happy one.
    [Show full text]
  • Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
    Opera Box 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases).
    [Show full text]
  • COJ Article Clean Draft 1
    [THIS IS AN EARLY DRAFT (APOLOGIES!): PLEASE DO NOT CIRCULATE] ‘Sounds that float over us from the days of our ancestors’: Italian Opera and Nostalgia in Berlin, 1800-1815 Katherine Hambridge To talk of an identity crisis in Berlin at the end of the eighteenth century might sound curiously anachronistic, if not a little crass – but one writer in 1799 expressed the situation in exactly these terms, and at the level of the entire state: All parties agree that we are living in a moment when one of the greatest epochs in the revolution of humanity begins, and which, more than all previous momentous events, will be important for the spirit of the state. At such a convulsion the character of the latter emerges more than ever, [and] the truth becomes more apparent than ever, that lack of character for a state would be yet as dangerous an affliction, as it would for individual humans.1 The anxiety underlying this writer’s carefully hypothetical introduction – which resonates in several other articles in the four-year run of the Berlin publication, the Jahrbücher der preußichen Monarchie – is palpable. Not only were Prussia’s values and organising principles called into question by the convulsion referred to here – the French revolution – and its rhetoric of liberté, égalité, fraternité (not to mention the beheading of the royal family); so too was the state’s capacity to defend them. Forced to settle with France at the 1795 Peace of Basel, Prussia witnessed from the sidelines of official neutrality Napoleon’s manoeuvres around Europe over the next ten years, each victory a threat to this ‘peace’.
    [Show full text]
  • Dear All a Couple of Things to Cheer You up This Month. Firstly a Link to A
    Dear All A couple of things to cheer you up this month. Firstly a link to a Guardian article about Pavel Kolesnikov which was sent to me to send to you all for you to enjoy and to dream of concerts to come: https://www.theguardian.com/music/2020/oct/29/js-bach-goldberg-variations-review- pavel-kolesnikov?CMP=Share_AndroidApp_Other Secondly, I don't know how much notice you take of the adverts on the television or whether you tend to record your programmes and fast-forward over them. However, if you happen to see the current advert for an insurance comparison site, which features a certain opera singer, and if you listen to the orchestra playing in the background you may be reminded of the last concert we held back in 2019. The orchestra which played at Sir Karl Jenkin's 70th Birthday celebration concert is the same one playing on the advert. It is The Chamber Orchestra Of Wales which has performed many times in the Gower Festival over the years and is Swansea’s only professional Orchestra. So, even though there won’t be any opportunity to hear that Orchestra playing ‘live’ this year, we can still see and hear it on TV over for the next few months and hopefully remind ourselves of the Gower Festival and the thought of better days to come. Finally, our wonderful Mumbling Maestro has penned another little article to keep us amused over the next month. I hope you all enjoy it! -------------------------------------------------------------------------------------------------------- Now, before I get my Mumbling mojo going, I’d like to draw your attention to a short series that's playing this week on BBC's Radio 3.
    [Show full text]
  • Omaggio Ad Alirio Diaz
    Ottetto di fiati "Musica rara" concerto con due oboi, due clarinetti, due corni e due fagotti musiche di: Wolfgang Amadeus Mozart, A. Salieri, Vincenzo Righini Il ricavato delle serate sarà devoluto per il restauro della tomba di Vincenzo Righini, collocata nella Loggia a Levante della certosa di Bologna. Vincenzo Righini (Bologna 1756 - ivi, 1812). Studiò canto e composizione all'Accademia Filarmonica di Bologna. Kappelmeister dal 1779 al 1788 a Vienna come successore di A. Salieri. Dal 1789 al 1793 è a Magonza e dal 1794 a Berlino. Dopo la rivoluzione francese svolse una intensa attività in Europa. Morì a Bologna nel 1812 in occasione di un suo ritorno temporaneo nella città natale. Octet ensemble "Musica rara" concert with two oboes, two clarinets, two horns and two bassons Music by: Wolfgang Amadeus Mozart, Antonio Salieri, Vincenzo Righini All the income will be allocated to the restoration of the Vincenzo Righini monument, placed in to the Certosa Cemetery, Bologna. Vincenzo Righini (Bologna 1756 - Bologna, 1812). Studied chant and composition at the Accademia Filarmonica of Bologna. Kappelmeister in Vienna from 1779 to 1788 as successor of A. Salieri. He was in Magonza from 1789 to 1793 and from 1794 in Berlin. After the french revolution carried out an intense musical activity in Europe. He died at Bologna in 1812 on the occasion of his temporary return in his hometown. Ingresso con offerta libera Il ricavato delle due serate sarà devoluto per il restauro della tomba di Vincenzo Righini. Info e prenotazioni +39 345.2699200 (dalle ore 14.00 alle ore 21.00). Ritrovo all’ingresso principale della Certosa (Cortile Chiesa), via della Certosa, 18.
    [Show full text]
  • Table of Contents
    2 Gateway to Italian Art Songs Table of Contents About This Edition . 3 Gaetano Donizetti Page CD Track Leonora . 108. 18 The Composers and Their Times . 5 Se a te d’intorno scherza Songs (Romanza) . 113. 19 Luigi Rossi Page CD Track Che vuoi di piú? (Duet) . 117. 20 Anime voi (Cantata) . 9. 1 Vincenzo Bellini Mario Savioni Per pietà, bell’idol mio (Arietta) . 125. 21 Fugga Amor/Segua Amor (Duet) . 18. 2 Vaga luna, che inargenti (Arietta) . 130. 22 Il zeffiro (Arietta) . 136. 23 Alessandro Scarlatti Alfin m’ucciderete (Cantata) . 26 Marietta Brambilla Recitative: Alfin m’ucciderete . 29. 3 L’allegro (Ballata) . 140. 24 Aria: Io morirei contento . 32. 4 Recitative: Clori mia, Clori bella . 36. 5 Giuseppe Verdi Aria: Faría la pena mia . 38. 6 In solitaria stanza (Romanza) . 146. 25 Deh, pietoso, o Addolorata Francesco Conti (Romanza) . 153. 26 Dopo tante e tante pene (Cantata) . 44 Aria: Dopo tante e tante pene . 46. 7 Luigi Arditi Recitative: Dubbio di vostra fede . 49. 8 Il bacio (Valzer) . 162. 27 Aria: Quella fiamma che m’accende . 50. 9 Amilcare Ponchielli Dimenticar, ben mio (Romanza) . 174. 28 Francesco Durante Alfin m’ucciderete (Duet) . 57. 10 Francesco Paolo Tosti Donna, vorrei morir (Melodia) . 179. 29 Giovanni Battista Pergolesi Ideale (Melodia) . 182. 30 Dite ch’ogni momento (Aria) . 67. 11 Ruggiero Leoncavallo Vincenzo Righini Mattinata . 188. 31 Nò, non vedrete mai (Arietta) . 74. 12 Lasciati amar . 192. 32 Isabella Colbran-Rossini Giacomo Puccini Già la notte s’avvicina (Barcarola) . 80. 13 Sole e amore . 198. 33 E l’uccellino (Ninna-nanna) . 202.
    [Show full text]
  • Marc Niubo, Prag the Italian Opera Between Prague and Dresden In
    Marc Niubo, Prag The Italian Opera between Prague and Dresden in the Second Half of the Eighteenth Century (For Ortrun Landmann) One of the most interesting chapters in the musical relations between Saxony and Bohemia consists in the history of opera in their respective capitals. Falling on the turn of the century, the very beginnings of public opera in Prague bear certain Dresden-like connotations: in 1698, Count Heřman Jakub Czernin consulted with the former Saxon Kapellmeister Nicolaus Adam Strungk the idea of founding an operatic scene in Prague. Around the same time, Strungk was attempting to produce operas in Leipzig in collaboration with Girolamo Sartorio who – undoubtedly not by mere chance – was responsible for the first public operatic productions in Prague between 1702 and 1704.1 Yet, opera in Prague did not fledge fully until the year following the coronation festivities which included, among others, the spectacular, open-air performances of Costanza e Fortezza by Johann Joseph Fux in 1723. It is worth mentioning that the singers in the Italian operatic company, which Antonio Maria Peruzzi and Antonio Denzio brought to Bohemia in 1724, were contracted to engage also in productions outside Prague, namely in Dresden and Leipzig.2 While it is not likely that any tours of Denzio’s company to Saxony took place in the end, conducting business within the broader Central-European context and achieving a stable income ranked high among the priorities of all the other Prague impresarios. This is well apparent in the case of the Mingotti
    [Show full text]
  • Das Opernrepertoire Des Joseph Haydn
    DAS OPERNREPERTOIRE DES JOSEPH HAYDN Bei dieser Auflistung des Opernrepertoires, das Joseph Haydn am Hofe Esterház von 1762 bis 1790 zur Aufführung brachte, folgte ich den Ausführung Janos Harichs[1] und erweiterte bzw. ergänzte sie mit den Ergebnissen Detlef Altenburgs[2]. Natürlich gab es da und dort Ungereimtheiten und Unterschiede in Zahlen und Fakten. Ich gestehe es, dass es mir um ein paar Aufführungen oder gar die eine oder andere Oper mehr oder weniger nicht ankam. Das hätte die Arbeit nicht beeinflusst. Es ist ohnehin unmöglich, vollständige Zahlen und Fakten über Haydns Tätigkeit als Opernkomponist bzw. Kapellmeister am Hofe Esterház anzuführen. I. PERIodE: 1762 - 1775 II. PERIodE: 1776 - 1779 III. PERIodE: 1780 - 1785 (1790) JAHR OPER KomPONIST GattunG LIBRETTO aufführunGsjahre aufführunGen uraufführunG WIEN 1762 LA VEdovA Joseph Haydn Commedia ? 1762 1 IL DOTTORE Joseph Haydn Commedia ? 1762 1 IL SCANAREllo Joseph Haydn Commedia ? 1762 [3] 1 1763 ACIDE Joseph Haydn Festa teatrale Giovanni A. Migliavacca 1763, 1774 1+1 LA MARCHESA NESPolA Joseph Haydn Commedia ? 1763 [4] 1 Il mercato di Malmantile Domenico Fischietti Dramma giocoso Carlo Goldoni 1763 1757 Venedig 1763 1766 LA CANTERINA Joseph Haydn Intermezzo in Musica ? 1766, 1767, 1774 1+1+1 1768 LO SPEZIALE Joseph Haydn Dramma giocoso Carlo Goldoni 1768, 1770, 1774 6+1+1 1769 La contadina in corte Antonio Sacchini Dramma giocoso Niccolò Tassi 1769, 1781, 1782 1+7+13 1766 Rom 1767 1770 LE PESCATRICI Joseph Haydn Dramma giocoso Carlo Goldoni 1770 2 1773 L’infedeLtà deLusa Joseph Haydn Burletta per Musica Marco Coltellini 1773, 1774 2+1 1775 L’incontro improvviso Joseph Haydn Dramma giocoso Friberth nach Dancourt 1775, 17 76 1+13? 1776 Orfeo ed Euridice Christoph Willibald Gluck Azione teatrale Ranieri de’ Calzabigi 1776 12 1762 Wien 1762 ll finto pazzo per amore Karl D.
    [Show full text]
  • Cedille Records CDR 90000
    Cedille Records CDR 90000 064 DDD Absolutely Digital™ CDR 90000 064 Divas of Mozart’s Day Patrice Michaels soprano Classical Arts Orchestra / Stephen Alltop conductor with Peter Van De Graaff bass-baritone Based on a concept by musicologist Dorothea Link C ATARINA C AVALIERI (1755-1801) Diva years in Vienna: 1778-1793 The Wrß Conßanze in Die Entführung aus dem Serail (1782) Wolfgang Amadeus Mozart (1756-1791) 1 “Tra l’oscure ombre funeße” from Davidde penitente, K. 469 (1785) (6:58) Vincenzo Righini (1756-1812) 2 “Per pietà, deh, ricercate” from L’incontro inaspettato (1785) (4:50)* Antonio Salieri (1750-1825) 3 “Wenn dem Adler das GeWeder” from Der Rauchfangkehrer (1781) (5:25)* N ANCY S TORACE (1765-1817) Diva years in Vienna: 1783-1787 The Wrß Susanna in Le Nozze di Figaro (1786) Wolfgang Amadeus Mozart 4 “Ch’io mi scordi di te . Non temer, amato bene” (scena con rondò) K. 505 (1787) (10:10) with Stephen Alltop, fortepiano solo Vicente Martín y Soler (1754-1806) 5 “Dolce mi parve un dì” from Una cosa rara (1786) (3:33) Antonio Salieri 6 “La ra la, che Wlosofo buVon” from La grotta di Trofonio (1785) (2:57)* with Peter Van De GraaV, bass-baritone Stephen Storace (1762-1796) 7 “How Mißaken is the Lover” from The Doctor and the Apothecary (1788) (3:25)* A DRIANA F ERRARESE DEL B ENE ( c . 1 7 6 0 - a f t e r 1 8 0 4 ) Diva years in Vienna: 1788-1791 The Wrß Fiordiligi in Così fan tutte (1790) Wolfgang Amadeus Mozart 8 “Al desìo di chi t’adora” K.
    [Show full text]
  • Download Booklet
    La saison des fleurs: Songs of the 18th & 19th Centuries for Voice and Fortepiano Louise Toppin John O’Brien 1 Liner Notes Although the philosopher Voltaire dismissed offered a wider range of pitches and, most it as a “a tinker’s kettle” in 1774, fit merely importantly, the ability to vary the volume to accompany songs of mediocre quality, the of each note. Here, at last, was a keyboard fortepiano revolutionized Western European instrument capable of complementing the music of the late eighteenth and nineteenth human voice in its expressivity and power. centuries. This revolution unfolded slowly. Italian instrument maker Bartolomeo The fortepiano in the first four sets of songs Cristofori invented the fortepiano around on this recording is a 1976 reproduction 1700, but more than half a century passed by John Lyon of an instrument by Gabriel before the instrument began to supplant Anton Walter (1752–1826), the most famous its predecessors. Austro-German builders Viennese piano maker of his time. Walter’s such as Johann Stein, Anton Walter, and prestige was such that in 1790 the court of Conrad Graf improved on Cristofori’s work, Emperor Leopold II granted him the title and by the 1770s their instruments were “Imperial Royal Chamber Organ Builder commonplace in Vienna, then the musical and Instrument Maker.” Mozart himself capital of Europe. Their fortepianos, along acquired one of Walter’s instruments in 1782, with those of local manufacturers, could be and most of the composer’s piano concertos heard across Europe’s cities by the turn of were written with this fortepiano in mind.
    [Show full text]