DOCSLIB.ORG

Sacred Handel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sacred Handel SACRED HANDEL GIORDANO ANTONELLI Music for the Carmelite Vespers Rome 1700 MUSICA ANTIQUA LATINA CORO DA CAMERA ITALIANO SACRED HANDEL MUSIC FOR THE CARMELITe VESPErs – ROME 1700 In Festo Beatae Virginis de Monte Carmelo Ex Antiphonale Missarum Juxta Ritum Carmelitarum Johann Kaspar Kerll 1627–1693 George Frideric Handel 1685–1759 1 Praeambulum ad organi 0.46 Dixit Dominus, HWV 232 (Psalmus 110) from Modulatio Organica (1686) (Rome 1707) Piece for solo organ, introducing the Vesper 9 Dixit Dominus 5.25 Gregorian chant Gregorian chant 2 Invocatio: Deus in adjutorium 10 Virgam virtutis 0.29 meum intende 0.09 11 Tecum principium 1.43 Giovanni Paolo Colonna 1637–1695 George Frideric Handel Domine ad adjuvandum Dixit Dominus from Psalmi ad Vesperas, Op. 12 (Rome 1694) 12 Juravit Dominus 2.19 3 Allegro 2.05 13 Tu es Sacerdos 1.35 4 Largo 1.18 14 Dominus a dextris Tuis 2.42 5 Allegro 1.17 15 Judicabit 2.11 16 Conquassabit 0.51 Bernardo Pasquini 1637–1710 17 De Torrente 3.24 6 Praeambulum ad organi 0.45 18 Gloria 6.12 from Sessanta versetti e una pastorale Bernardo Pasquini 1637–1710 Gregorian chant 19 Praeambulum ad organi 0.21 7 Antiphona – Pulchra es 0.25 Gregorian chant Anonymous (Bologna) 20 Antiphona – Pulchra es 0.26 8 Praeambulum ad organi 0.25 21 Antiphona – Sicut myrrah 0.26 2 Antonio Maria Bononcini 1677–1726 Giovanni Paolo Colonna 22 Laudate pueri (Psalmus 112) 4.09 34 Lauda Jerusalem (Psalmus 147) 1.37 a canto solo col violoncello obligato (Rome 1693) from Psalmi ad Vesperas, Op. 12 (Rome 1694) Gregorian chant Gregorian chant 23 Laudate pueri (Psalmus 112) 2.06 35 Lauda Jerusalem (Psalmus 147) 1.34 24 Antiphona – Sicut myrrah 0.19 36 Antiphona – Speciosa facta es 0.23 Anonymous George Frideric Handel 25 Praembulum ad organi 0.47 37 Antiphona – Te decus Virgineum, HWV 243 (Rome 1707) 3.44 Gregorian chant 26 Antiphona – In odorem 0.18 Gregorian chant 27 Laetatus sum (Psalmus 121) 1.48 38 Ave maris stella 2.30 28 Antiphona – In odorem 0.19 Hymno Romano Antiquo 29 Antiphona – Benedicta es 0.25 Gerolamo Frescobaldi 1583–1643 Alessandro Scarlatti 1660–1725 39 Magnificat secundi toni 30 Nisi Dominus (Psalmus 126) 3.03 per l’organo 3.13 from Vespro di Santa Cecilia (Rome 1717) from Il Secondo Libro di Toccate (Rome 1627) Bernardo Pasquini 1637–1710 Gregorian chant 31 Praeambulum ad organi 0.20 40 Alma redemptoris mater 0.55 Hymno Romano Antiquo (tonus simplex) George Frideric Handel 32 Antiphona – Haec est Regina Arcangelo Corelli 1653–1713 Virginum, HWV 235 (Rome 1707) 3.57 Sinfonia da chiesa from Concerto grosso, Op. 6 No. 6 (Rome 1713) Gregorian chant 41 Adagio 1.44 33 Antiphona – Speciosa facta es 0.19 42 Allegro 2.49 GIORDANO ANTONELLI MUSICAL DIRECTION CORO DA CAMERA ITALIANO MUSICA ANTIQUA LATINA 3 SOLOISTS / SOLISTEN MUSICA ANTIQUA LATINA Sonia Tedla soprano / Sopran I · Paolo Lopez soprano / Sopran II violin / Violine I: Olivia Centurioni, Sara Meloni, Antonello Dorigo alto / Alt · Riccardo Pisani tenor / Tenor Katarzyna Solecka, Elisa Atteo Riccardo Celentani tenor / Tenor · Matteo Bellotto bass / Bass violin / Violine II: Gabriele Politi, Alberto Caponi, Giacomo del Papa viola: Gianfranco Russo, Emanuele Marcante CORO DA CAMERA ITALIANO violoncello: Adriano Ancarani soprano / Sopran I: Andrea Manchée, Giovanna Gallelli, viola da gamba: Silvia de Maria Martina Coers violone: Matteo Cicchitti soprano / Sopran II: Lucilla Rodinó, Nora Capozio, organ / Orgel: Salvatore Carchiolo Annalisa Guizzi theorbo / Theorbe Francesco Tomasi alto / Alt: Sabina Gagliardi, Valeria Cesarale www.musicaantiqualatina.it tenor / Tenor: Fabrizio Giovannetti, Antonio Deriu bass / Bass: Andrea Robino Rizzet, Simone Atzori, Paolo Peroni www.soniatedla.com · www.riccardopisani.it Gregorianist Master: Christian Alejandro Almada 4 Sources Gregorian Chant / Quellen gregorianischer Gesang: Recording: 8–12 December 2016, Church Santa Maria in Montesanto, Rome, Italy Performed at Roma Festival Barocco 2016 Graduale Triplex (2, 10, 11) Recording engineer, editing & mastering: Giacomo Papini Antiphonale Missarum, Rome 1700 (7, 20, 21) Artistic advice & executive producer: Maurizio Paciariello Antiphonale Missarum Carmelitanum, Head of Production: Paolo Peroni Rome 1700 (23–24, 26–29, 33) Total time: 71.55 Liber Usualis (38, 40) Photos: Tobias Flaemig · Artwork: Christine Schweitzer, Cologne Supported by the Carla Fendi Foundation This recording presents the music for the solemn celebration of the ‘Grand’ Vesper, Special thanks to Mons. Walter Insero and to the staff of the Church Santa Maria according to the Proprium Sanctorum carmelite liturgical book for July 16th 1700, the in Montesanto feast of the Madonna del Carmelo, with the 5 canonical Psalms alternated with the Hymns and the Magnificat. P & g 2020 Sony Music Entertainment Switzerland GmbH It is the first time that many of the works on this album were performed again since 17th century in their birthplace. 5 THE MUSIC FOR THE CARMELITE LITURGY IN 17th CENTURY ROME The feast of the Madonna del Carmelo, the 16th July, is known mainly for [16 July 1694] “Friday the 16th, the Feast of the Holy Madonna of Carmine was its connection to the name of George Frideric Handel. This particular celebrated in the Church of Monte Santo with selected music conducted by Mr. feast however, had already been known for its important musical tradition Giovanni Paolo Colonna, well-known Chapel Master of St. Petronio of Bologna for at several decades before Handel’s involvement. In the Records of the and all the feast, and the music, was done at the expense of the Lord Abbot, Don Holy Year for 1675 we read: Carlo Colonna.” “In the Babuino quarter the Feast of the Most Holy Madonna of Monte Santo was [16 July 1695] “At the Feast of the Madonna of Montesanto, both at the first and celebrated, for which, in addition to the Church, the entire street was decorated, the second vespers as well as at the solemn sung mass there was a great crowd of in the evening also with torches, both on the the evening before the Vigil and on people, not so much for the devotions, as to hear the renowned contralto Giovanni the day of the the Feast itself, which followed with much calm, and good cheer, Francesco Grossi of Pescia (alias Siface), come to Rome to set foot upon the stage although with less expense and pomp than in other years.” of the handsome renovated theatre of Pompeo Capranica, and news spread that he had asked for 1500 scudos, and that he had been offered one thousand.” My own researches in the Fondo Bolognetti of the Vatican Secret Archives have shown that in the last decade of the 17th century, the Church of Santa [16 July 1697] “On Tuesday there followed the usual Feast of the Carmine in the Maria in Montesanto hosted some of the most renowned instrumentalists church called Monte Santo with great music conducted by the two brothers and singers of the time for this festival, including Arcangelo Corelli, Bononcini, and complemented by the famous orchestral concerts of the matchless Giovanni Paolo Colonna and the two Bononcini brothers, the great Arcangelo the Bolognese [Corelli], and 200 scudos were paid by the excellent Don Siface, Domenico Cecchi (alias Cortona), and Matteo Sassano: Carlo Colonna.” [16 July 1692] “For the Feast of the Holy Madonna of Carmine solemnly celebrated Alessandro Scarlatti took part in this celebration in 1703 and very probably in the Church called Monte Santo with the most distinguished musicians in Rome, also in 1720 with the motet Benedicta et venerabilis, whose text contains 50 doppias were paid by the abbot Don Carlo Colonna; for both the vespers on Tues- specific reference to the Carmelite liturgy. day and Wednesday three foreign musicians sang to universal applause, and there One of the assets of this recording is that it expands our musical and were Valentino the Mantuan, a Dancer of Mantua, and Giovanni di Savoia, as well histo rical awareness regar ding this feast, known by connoisseurs of Baroque as the orchestra of the Bolognese [Corelli].” 6 music principally in relation to the works of Handel; and that it has recon­ of George Frideric Handel (Halle, 1685 – London, 1759) and Alessandro structed the musical aspect of the Vespers in its entirety. This involved Scarlatti (Palermo, 1660 – Naples, 1725). The programme includes the great interspersing quiet vocal pieces and concertato works of great virtuosity, sacred masterwork in Latin by the former, Dixit Dominus, as well as an anti­ and therefore works by other eminent composers have been introduced. phon, Haec est Regina virginum. The first is an impressive fresco where we Giovanni Paolo Colonna (Bologna 1637–1695) came from a family of find not only vocal virtuosity and masterful counterpoint but also an inner musicians and organ builders. He was educated first in his home city, and sensitivity; the second is a deeply expressive piece. Scarlatti composed then in Rome, where he had some of the most famous music teachers: the short motet Nisi Dominus for the vespers of the Feast of St. Cecilia. Antonio Maria Abbatini, Orazio Benevoli, Antimo Liberati and Giacomo Concluding the album are works by two of the principle exponents of Carissimi. On his death, the composer was honoured even in Rome. Roman instrumental music of the time, Girolamo Frescobaldi (Ferrara, In the Avviso of 7 April 1696 we read: 1583 – Rome, 1643), with his Magnificat secundi toni ad organum, and Arcangelo Corelli (Fusignano, 1653 – Rome, 1713) with the Sinfonia da Chiesa. “The same morning in the church of S. Carlo de Catinari the funeral rites for the deceased Chapel Master of S. Petronio di Bologna, Giovanni Paolo Colonna, were Prof. Luca Della Libera Translation: texthouse celebrated by highborn musicians (excepting those of the Pontifical Chapel); and music was conducted by Giovanni Bononcino, student of the late Giovani Paolo, at the sung Mass.
Load more

Recommended publications
  • Vocal & Instrumental Music
    Legrenzi Canto & Basso Vocal & Instrumental Music Ensemble Zenit Canto & Basso Vocal & Instrumental Music Giovanni Legrenzi 1626-1690 Giovanni Legrenzi Carlo Francesco Pollarolo 1653-1723 Giovanni Legrenzi 1. Sonata ‘La Foscari’ à 2 3’06 6. Sonata ‘La Colloreta’ à 2 2’56 11. Sonata No.2 del Pollaroli 12. Albescite flores à 4 6’14 from Sonate a due, e tre Op.2, from Sonate a due, e tre Op.2, di Venezia 2’54 from Harmonia d’affetti devoti, Venice 1655 Venice 1655 from Sonate da organo di varii Venice 1655 autori, Bologna 1697 Tarquinio Merula 1595-1665 7. Ave Regina coelorum à 2 4’39 2. Canzon di Tarquinio Merula 5’01 from Sentimenti devoti, Venice 1660 from Libro di Fra’ Gioseffo da Ravenna, Ravenna Classense Giovanni Paolo Colonna 1637-1695 Ensemble Zenit MS.545 8. Sonata No.7 del Colonna di Pietro Modesti cornetto · Fabio De Cataldo baroque trombone Bologna 4’31 Gilberto Scordari organ Giovanni Legrenzi from Sonate da organo di varii 3. Plaudite vocibus 5’55 autori, Bologna 1697 Isabella Di Pietro alto · Roberto Rilievi tenor from Acclamationi divote a voce sola, Bologna 1670 Giovanni Legrenzi 9. Suspiro Domine 7’46 4. Hodie collentatur Coeli à 2 6’09 from Acclamationi divote a voce from Harmonia d’affetti devoti, sola, Bologna 1670 Venice 1655 10 Sonata ‘La Donata’ à 2 4’05 Luigi Battiferri 1600-1682 from Sonate a due, e tre Op.2, 5. Ricercare Sesto. Venice 1655 Con due sogetti. 3’58 from Ricercari a quattro, a cinque, e a sei Op.3, Bologna 1699 This recording was made possible with the support of Recording: September 2018, Monastero
    [Show full text]
  • Giovanni Paolo Colonna "Psalmi Ad Vesperas" Op. 12: Introduction
    GIOVANNI PAOLO COLONNA Psalmi ad Vesperas OPUS DUODECIMUM, 1694 Edited by Pyrros Bamichas May 2010 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 18 Contents INTRODUCTION ......................................................................................................................... iii The Composer ........................................................................................................................ iii The Music .............................................................................................................................. vi Liturgical Practice .................................................................................................................. xi Acknowledgments................................................................................................................. xii CRITICAL COMMENTARY ..................................................................................................... xiv The Sources .......................................................................................................................... xiv Other Sources for the Pieces of Op. 12 .............................................................................. xviii Editorial Method ................................................................................................................... xx Critical Notes ....................................................................................................................... xxi [1] Domine ad adjuvandum
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
    Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte
    [Show full text]
  • Acoustical Reconstruction of San Petronio Basilica in Bologna During the Baroque Period: the Effect of Festive Decorations F
    Acoustics 08 Paris Acoustical reconstruction of San Petronio Basilica in Bologna during the Baroque period: the effect of festive decorations F. Martellottaa, E. Cirilloa, M. D’Albaa, E. Gasparinib and D. Preziusoc aDAU - Politecnico di Bari, via Orabona 4, 70125 Bari, Italy bvia Centurare 33, 37062 Dossobuono, Italy cDAMS - Alma Mater Studiorum Univ. di Bologna, via Barberia, 4, 40123 Bologna, Italy [email protected] 4993 Acoustics 08 Paris The Basilica of San Petronio in Bologna (Italy) is a large Gothic church characterized by three naves divided by cluster piers made of brick and flanked by square chapels. It is 130 m long, 60 m wide and 44 m high, developing a volume of 170000 m3. The widespread use of smooth plaster and the substantial lack of decoration give rise to a reverberation time (in unoccupied conditions) which varies from about 13 s at 125 Hz to 5 s at 4 kHz, with an average of 10.7 s at mid frequencies. In occupied conditions the expected mid-frequency reverberation time should lower to about 6.5 s. Nonetheless, these acoustic conditions appear scarcely compatible with the characteristics of the Baroque music which was composed for the “Cappella musicale” during the 17th century. However, historical research pointed out how, in that period, rich draping and curtains were often used during the major religious and civil celebrations. The analysis of the acoustic consequences of such temporary installations was performed by means of acoustic simulation based on historical records calibrated on the current configuration of the church. The paper presents the results of such reconstruction.
    [Show full text]
  • Giacomo Carissimi
    GIACOMO CARISSIMI www.giacomocarissimi.net MAESTRO DELL’EUROPA MUSICALE concerti, incontri di studio, edizioni, funzioni liturgiche nei luoghi del grande musicista del barocco romano Ensemble Seicentonovecento Flavio Colusso 18 / 20 aprile 2015 www.musicaimmagine.it Giacomo Carissimi e “giornate carissimiane”, istituite da Musicaimmagine nel Maestro dell’Europa Musicale L 2013 per festeggiare i trent’anni di attività dell’Ensemble concerti, incontri di studio, edizioni, funzioni Seicentonovecento intorno alla figura e all’opera di Giacomo liturgiche nei luoghi del grande musicista Carissimi (18 aprile 1605 - 12 gennaio 1674), sono un appun- del barocco romano tamento annuale nella ricorrenza della nascita del composi- tore e si tengono nei luoghi dove visse, operò e dove venne MUSICAIMMAGINE sepolto: costituiscono un momento di incontro e confronto in collaborazione con per approfondire la conoscenza di uno dei più grandi musi- PIMS Pontificio Istituto di Musica Sacra cisti della storia della musica, la cui altissima figura sfuma in Basilica di Sant’Apollinare un’aura mitica. Pontificio Collegio Germanico-Ungarico Anche se corteggiato dai regnanti d’Europa, Carissimi tra- Pontificio Istituto di Santa Maria dell’Anima scorse tutta la vita all’Apollinare come maestro del Collegio Chiesa di Santa Maria dell’Anima Accademia Nazionale di Santa Cecilia Germanico-Ungarico di Roma; i suoi allievi ed ammiratori co- DHI Istituto Storico Germanico di Roma piarono centinaia di sue composizioni che si trovano oggi nel- IISM Istituto Italiano per la Storia della Musica le biblioteche di mezzo mondo ma nessun autografo è giunto Fondazione G. Pierluigi da Palestrina fino a noi; dotato di un carisma e di un fascino incomparabil- IBIMUS Istituto di Bibliografia Musicale mente superiori a quello di tanti suoi contemporanei - Kircher Associazione G.
    [Show full text]
  • Society for Seventeenthcentury Music
    Society for Seventeenth­Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF SEVENTEENTH-CENTURY MUSIC TENTH ANNUAL CONFERENCE Princeton University Princeton New Jersey April 4-7, 2002 *Index of Abstracts *Abstracts of Presentations *Program Committee Index of Abstracts *Gregory Barnett, “In Search of a Stile accademico: The Earliest Esperimenti d’esame of the Bolognese Accademia Filarmonica” *Jennifer Williams Brown, “Out of the Dark Ages: Editing Cavalli’s Operas in the Post-Modern World” *Michael Burden, “‘Sharpers, beaus, the very Cits’: The Wits’ Expectations of the Players in Purcell’s Fairy Queen” *Mauro Calcagno, “Word and Image in Seventeenth-Century Venetian Librettos: The Frontispiece as Operatic Emblem” *Stewart Carter, “An Italianate Oratorio latino for the Electoral Court of Mainz: Daniel Bollius’s Repraesentatio on the Nativity of John the Baptist” *Tim Carter, “Constructing a Stemma of Monteverdi’s Combattimento di Tancredi e Clorinda” *Lisa Chensvold, “From Ercole amante to L’Hercule amoureux: Translating Cavalli” *Roger Freitas, “A Virtuoso Performance: A Castrato in the French Court” *Rebecca Harris-Warrick, “Staging Venice” *Wendy Heller, panel moderator: A Feast for Eye and Ear: Sound, Space, and Image in Seventeenth-Century Europe *Jeffrey Kurtzman, “Civic Identity and Civic Glue: Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries” *Carol G. Marsh, “Dancing Venice: The Forlana in France” *Giulio Ongaro, “'E pur io torno qui’: Sixteenth-Century Literary Debates, the Audience’s View, and the Interpretation of Poppea” *Susan Shrimp, Andromache, Dido, and the Mother of Euryalis: Seneca’s Legacy in Domenico Mazzocchi’s Virgilian Laments *Barbara Sparti, “Hercules Dancing in Thebes, in Pictures and Music” *Arne Spohr, “The Hamburg Ratsmusik and its Repertoire: Johann Schop’s Erster Theil Newer Paduanen (1633/1640)” *Louise K.
    [Show full text]
  • The Art Behind the Baroque Violin
    Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-2016 The Art Behind the Baroque Violin Carolyn Goldstein Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the History of Art, Architecture, and Archaeology Commons, and the Theatre and Performance Studies Commons Recommended Citation Goldstein, Carolyn, "The Art Behind the Baroque Violin" (2016). Syracuse University Honors Program Capstone Projects. 986. https://surface.syr.edu/honors_capstone/986 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. © Carolyn Elizabeth Goldstein !ii Abstract Since the age of three, I have been playing the violin; however, I was uninformed about the history of the violin or how the instrument works in a mechanical sense. Inspired by my love of the music of the 1700s, I chose to study how violins were made, how their physical properties affected performance practice, and how to play Baroque violin—a project that allowed me to combine elements of my two majors, Music History and Cultures and Violin Performance. I narrowed my area of focus to the late Baroque (1700-1730) because renowned violin-maker Antonio Stradivari was considered to be in his prime during those years. During the late Baroque period, the design of the violin significantly changed, and one of the questions I investigated in this paper is who initiated the changes in violin design, the performer or the luthier (violin- maker), a topic I researched during a research trip to Italy in the summer of 2015.
    [Show full text]
  • 886445774948.Pdf
    Bologna 1666 Perti · Torelli · Colonna Kammerorchester Basel · Julia Schröder Giovanni Paolo Colonna Giacomo Antonio Perti Girolamo Nicolò Laurenti 1637-1695 1661-1756 1678-1751 La caduta di Gierusalemme sotto attr. Giuseppe Torelli Concerto per violino Lau6 Special thanks to l’imperio di Sedecia ultimo re d’Israelle San Galgano Guidotti 18. Largo, e spicco 1:27 Sinfonia Sinfonia 19. Vivace 3:16 & 1. Adagio – Prestissimo-Allegro – Adagio 2:41 10. Allegro – Largo – Presto, e spicco 2:10 20. Largo andante 2:42 for the generous support of the production. 21. Allegro 3:00 Giuseppe Torelli Lorenzo Gaetano Zavateri Concept, musicological research, edition of scores: Giovanni Andrea Sechi© 2016 1658-1709 1690-1764 Giacomo Antonio Perti Critical edition of scores (track 4, 9, 14, 15): Concerto per violino A.2.3.10 Concerti da chiesa, e da camera op. I attr. Giuseppe Torelli Francesco Lora© 2016 2. Allegro 2:29 Concerto XII (A tempesta di mare) La lingua profetica del taumaturgo Recorded: 10.-12.02.2016, 3. Largo 1:26 11. Allegro e con spirito-Adagio 5:13 di Paola Martinskirche Müllheim 4. Allegro – Largo 1:20 12. Adagio, e piano 3:00 Sinfonia avanti l’Oratorio Recording producer, balance engineer, 5. Allegro – Adagio 2:47 13. Allegro ma aperto 4:53 22. Allegro – Adagio – Allegro 2:36 editing & mastering: Jakob Händel Photos: Dominik Ostertag Giovanni Paolo Colonna Giacomo Antonio Perti Anonymous Artwork: [ec:ko] communications Messa a 5 Gesù al sepolcro Concerto con violini In honorem P 2017 Radio SRF 2 Kultur / Sinfonia avanti la Messa Sinfonia Divi Petronii Sony Music Entertainment Germany GmbH 6.
    [Show full text]
  • The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CHALUMEAU IN EIGHTEENTH - CENTURY VIENNA: WORKS FOR SOPRANO AND SOPRANO CHALUMEAU By ELIZABETH CRAWFORD A Treatise submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2008 The members of the Committee approve the treatise of Elizabeth Crawford defended on March 17, 2008. ________________________________ Frank Kowalsky Professor Directing Treatise ________________________________ James Mathes Outside Committee Member ________________________________ Jeff Keesecker Committee Member ________________________________ John Parks Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to my mother and to the memory of my father. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee – Dr. Frank Kowalsky, Professor Jeff Keesecker, Dr. Jim Mathes, and Dr. John Parks – for their time and guidance. Thanks also to the staff of the Österreichische Nationalbibliothek for their assistance and to Eric Hoeprich for his insight and patience. iv TABLE OF CONTENTS List of Musical Examples . vi Preface . vii Chapter 1 – The Chalumeau . 1 Chapter 2 – Italian Influence in Vienna . 8 Chapter 3 – Musical Life at Court . 13 Chapter 4 – Giovanni Bononcini (1670-1747) . 17 Chapter 5 – Joseph I, Habsburg (1678-1711) . 23 Chapter 6 – Johann Joseph Fux (1660-1741) .
    [Show full text]
  • Francesco Giusti
    Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 e-mail: [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Francesco Giusti Countertenor Francesco Giusti was born in Bologna, Italy, in 1983, where he studied piano at the Conservatorio Giovanni Battista Martini from 1992 until 1999. In 2000 he began studying singing as a countertenor as well as further broadening his studies to include organ playing and composition. Two years later, he became Maestro Francesco Tasini’s student at the Ferrara Conservatoire, and furthered his studies in musicology at the University of Bologna (the oldest university in the world). Francesco Giusti has become a sought-after soloist throughout Italy as well as in Portugal, Switzerland, Germany, the UK, the Netherlands, Belgium, Denmark, Sweden, Norway, Slovenia and Japan. He regularly collaborates with important early music ensembles such as Roberto Gini’s Ensemble Concerto and Gianluca Capuano’s Il Canto di Orfeo. His 2004 recording of Claudio Monteverdi’s “Ego Flos Campi” was released under the Dynamic label as part of Ensemble Concerto’s “Monteverdi´s Sacred Music” and is available on CD as well as all major digital platforms. He is also one of four soloists to be featured in the Ensemble DSG’s forthcoming CD of motets from Giovanni Paolo Colonna’s “Opera Seconda”. A former member of the vocal group “Ensemble DSG” founded by the Maestro di Cappella of the Basilica di San Petronio, Michele Vannelli, Francesco has sung in numerous concerts and recordings throughout Italy and France between 2000 and 2008.
    [Show full text]
  • Carissimi, Progenitor of the Oratorio by Joseph T
    Carissimi, Progenitor Of The Oratorio By Joseph T. Rawlins Music Department This article will focus on Carissimi's Rinuccini wrote the first music drama, University of West Florida contribution to the development of the Dafne. Pensacola, Florida oratorio, and will reference works and Through the efforts and activities of genres which paved the way for the the members of the Camerata, there Introduction establishment of the oratorio as we emerged a new concept of music drama. know it today. The most influential artists in the The oratorio was a sacred, but non­ Camerata were Peri, Rinuccini, Galilei, liturgical dramatic composition in which a Forerunners to the Oratorio Caccini, Cavalieri, and Bardi (the Count biblical subject was presented in the form of at whose home the group convened). recitative, arioso, aria, ensemble, and chorus, The term "oratorio" was recognized Significant works by these musicians usually with the aid of a narrator or TESTO ••• In the presentation of the action and the as a musical genre about the year 1660. and poets were the already-mentioned general dramatic spirit akin to the opera, the The name oratorio was derived from the Dafne, and the subsequent works oratorio appealed to the imagination of the oratories, or prayer chapels, where Euridice by Peri and Rinuccini, and audience and dispensed in principle, though narrative-dramatic works were perform­ Euridice by Caccini. Even though these not always in practice, with the stage.1 ed. The earliest known documented works were secular, they had a profound evidence of the use of the term oratorio effect upon the evolution of sacred Some historians suggest that in to designate a musical composition is music drama.
    [Show full text]