DOCSLIB.ORG

(14Th Century-19Th Century) (Add MS 31384-31823) Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(14Th Century-19Th Century) (Add MS 31384-31823) Table of Contents British Library: Western Manuscripts The following collection of MS. Music, Nos. 31,384-31,823, was formed by Mr. Julian Marshall. (14th century-19th century) (Add MS 31384-31823) Table of Contents The following collection of MS. Music, Nos. 31,384–31,823, was formed by Mr. Julian Marshall. (14th century–19th century) Key Details........................................................................................................................................ 1 Provenance........................................................................................................................................ 1 Add MS 31396–31397 MOTETS and madrigals for five voices, in score; by Palestrina. Two volumes; the first an Italian transcript................................................................................................. 9 Add MS 31444–31445 SERVICES and anthems, principally in organ–score, by M. Wise, Pelham Humfrey, Dr. H. Aldrich, Dr. Blow, Dr.................................................................................................. 40 Add MS 31487–31489 CANTATAS, and a few duets and terzets, with occasional instrumental accompaniment, chiefly by Giovanni.................................................................................................... 65 Add MS 31493–31494 DUETS, by Agostino Steffani; a printed life of whom, attributed to Sir John Hawkins, is prefixed to the first................................................................................................... 69 Add MS 31507–31508 CANTATAS by A. Scarlatti. Two volumes. At the end of vol. ii. is an autograph motet. Paper; ff. 129, 81.................................................................................................... 78 Add MS 31510–31511 CANTATAS by A. Scarlatti. Two volumes containing F and P of a collection of his cantatas arranged..................................................................................................................... 80 Add MS 31531–31532 SONATAS for violin, with basso continuo, by John Christopher Pepusch. Two volumes. Paper; ff. 66, 33. Early......................................................................................................... 91 Add MS 31535–31537 MADRIGALS in two and three parts by the same. In three volumes. In vol. i., f. 59, is a cantata. Paper; ff............................................................................................................ 93 Add MS 31545–31547 CANTATAS by G. B. Buononcini. Three volumes. Paper; ff. 103, 95, 44. xviiith cent. Oblong Folio. (18th century)............................................................................................. 99 Add MS 31555–31578 WORKS Of George Frederic Handel. In twenty–four volumes. (18th century–19th century)........................................................................................................................ 106 Add MS 31579–31585 WORKS Of Benedetto Marcello, in seven volumes. (18th century–19th century).... 125 Add MS 31594–31600 MISCELLANEOUS Italian songs, ducts, and cantatas, in score; many with full instrumental accompaniment. Seven.............................................................................................. 136 Add MS 31601–31602 SONGS and cantatas, in score, with accompaniments, by L. Vinci, L. Leo, Giovanni Maria Orlandini, J. A. Hasse,.................................................................................................. 143 Add MS 31614–31615 CHURCH compositions, for four voices, in full score, by G. B. Fenoglio. Autograph. Two volumes. The contents............................................................................................... 151 Add MS 31619–31624 ARIAS, cantatas, and duets, in score, with full instrumental accompaniments. Six volumes. The contents of the.............................................................................. 155 Add MS 31627–31631 WORKS of Johann Adolf Hasse, called Il Sassone; in five volunies. They are :– (18th century).......................................................................................................................... 164 Add MS 31632–31634 ARIAS, ducts, and cantatas, with accompaniments, in score. Three volumes. The following composers are named:–................................................................................................. 167 Add MS 31643–31647 COMPOSITIONS by Baldassare Galuppi, called Buranello. Five volumes. They are:– (18th century)........................................................................................................................... 175 Add MS 31648–31650 ITALIAN songs for one and more voices, by various composers, in score. Three volumes. An index is prefixed to................................................................................................ 179 Add MS 31651–31653 ITALIAN songs and cantatas, in score, 'by D. Perez, N. Jommelli, Rinaldo di Capua, Traetta, Conforti, P.............................................................................................................. 182 Add MS 31659–31664 COMPOSITIONS of Giovanni Battista Jesi, called Pergolesi. Six volumes. (18th century)................................................................................................................................... 188 Add MS 31672–31673 " ORFEO": an opera in three acts, in score, by Christoph, Ritter von Gluck. Two copies. Paper; ff. 148, 85.................................................................................................. 197 Add MS 31676–31677 FRENCH airs, with a figured bass. Two volumes. In vol. ii., ff. 1–15 are in the handwriting of J. J. Rousseau;................................................................................................... 199 Add MS 31681–31692 COMPOSITIONS by Niccolò Jommelli. Twelve volumes. (18th century).................. 203 Add MS 31695–31696 DUETS for violin and viola, in parts, by Felice Giardini; with autograph dedication to the Duke of Dorset......................................................................................................... 210 Add MS 31708–31710 SYMPHONIES and overtures, in full score, by J. Haydn. Three volumes. The contents are:–Symphony in C, known as.............................................................................................. 217 Add MS 31712–31713 CANTATAS, and songs for one and more voices, in score, by J. Haydyn, Pasquale Anfossi, Giovanni Paisiello, W................................................................................................ 220 Add MS 31715–31716 GLEES for three, four, and five voices, in score, by William Linley. Two volumes. Autograph . Paper; ff. 96,..................................................................................................... 222 Add MS 31718–31719 "Lucio Vero": an opera in two acts, in score, by Antonio Sacchini. Two volumes. Paper; ff. 142, 123. xviiith.................................................................................................... 225 Add MS 31725–31731 COMPOSITIONS by Giovanni Paisiello. Seven volumes. (18th century–19th century)............................................................................................................................................ 229 Add MS 31736–31747 Compositions of Domenico Cimarosa. Twelve volumes. (c 1800)........................... 236 Add MS 31756–31757 VENETIAN canzonets, with pianoforte accompaniment, by M. Bevilacqua, A. Zifra, G. B. Scharmann, G. B............................................................................................................... 250 Add MS 31773–31774 "DER FREYSCHÜTZ": an opera in three acts, in score, by Weber. Two volumes. Paper; ff. 116, 208. xixth cent............................................................................................... 261 Add MS 31775–31776 "LA CONTESSA di Colle Erboso an opera in two acts, in score, by Pietro Generali. Two volumes. Autograph...................................................................................................... 263 Add MS 31777–31778 "I BACCANALI di Roma: dramma serio," in two acts, in score, by P. Generali. Two volumes. Paper; ff. 203, 135.......................................................................................... 265 Add MS 31780–31781 " ZEMIRE E AZOR an opera in two acts, in score, by Ludwig Spohr. Two volumes. Paper; ff. 287, 187. xixth cent............................................................................................... 267 Add MS 31792–31793 " ELISABETTA Regina d'Inghilterra": opera in two acts, in score, by Gioacchino Rossini. Paper; ff. 309, 184................................................................................................ 274 Add MS 31794–31795 " OTELLO" an opera in three acts, in score, by G. Rossini ; with German as well as Italian words. Paper; ff........................................................................................................ 275 Add MS 31796–31797 " Il Mose in Egitto ": an opera, in score, by G. Rossini. Paper; ff 229, 251. xixth cent. From the Library of..................................................................................................... 277 Add MS 31804–31808 COLLECTION of glees, catches, and part–songs, by S. Webbe, Callcott, Stevens, Elliott, W. Hawes, and others of............................................................................................. 282 Add MS 31809–31822 A MISCELLANEOUS collection of music, chiefly in the handwriting of the Rev. Richard James Samuel Stevens,..................................................................................................
Load more

Recommended publications
  • Press Caffarelli
    Caffarelli pt3 VOIX-DES-ARTS.COM, 21_09_2013 http://www.voix-des-arts.com/2013/09/cd-review-arias-for-caffarelli-franco.html 21 September 2013 CD REVIEW: ARIAS FOR CAFFARELLI (Franco Fagioli, countertenor; Naïve V 5333) PASQUALE CAFARO (circa 1716 – 1787) JOHANN ADOLF HASSE (1699 – 1783), LEONARDO LEO (1694 – 1744), GENNARO MANNA (1715 – 1779), GIOVANNI BATTISTA PERGOLESI (1710 – 1736), NICOLA ANTONIO PORPORA (1686 – 1768), DOMENICO SARRO (1679 – 1744), and LEONARDO VINCI (1690 – 1730): Arias for Caffarelli—Franco Fagioli, countertenor; Il Pomo d’Oro; Riccardo Minasi [Recorded at the Villa San Fermo, Convento dei Pavoniani, Lonigo, Vicenza, Italy, 25 August – 3 September 2012; Naïve V 5333; 1CD, 78:31; Available from Amazon, fnac, JPC, and all major music retailers] If contemporary accounts of his demeanor can be trusted, Gaetano Majorano—born in 1710 in Bitonto in the Puglia region of Italy and better known to history as Caffarelli—could have given the most arrogant among the opera singers of the 21st Century pointers on enhancing their self-appreciation. Unlike many of his 18th-Century rivals, Caffarelli enjoyed a certain level of privilege, his boyhood musical studies financed by the profits of two vineyards devoted to his tuition by his grandmother. Perhaps most remarkable, especially in comparison with other celebrated castrati who invented elaborate tales of childhood illnesses and unfortunate encounters with unfriendly animals to account for their ‘altered’ states, is the fact that, having been sufficiently impressed by the quality of his puerile voice or convinced thereof by the praise of his tutors, Caffarelli volunteered himself for castration. It is suggested that his most influential teacher, Porpora, with whom Farinelli also studied, was put off by Caffarelli’s arrogance but regarded him as the most talented of his pupils, reputedly having pronounced the castrato the greatest singer in Europe—a sentiment legitimately expressive of Porpora’s esteem for Caffarelli, perhaps, and surely a fine advertisement for his own services as composer and teacher.
    [Show full text]
  • Student Recital
    Student Recital Room 106 Schaefer Fine Arts Center Gustavus Adolphus College Saturday, July 21st, 2007 9:00:AM Program » Quintet Op. 77 in G Major Antonin Dvorak (1841-1904) Angela Xie, violin Julia Johnson, violin Elizabeth Johnson, violin Bjorn Hovland, cello Matt Minteer, bass Bourrie 1 from Suite 43 inC Major Johann Sebastian Bach (1685-1750) John Sholund, bass guitar . Preguntale a Las Estrellas Latin American Folk Song Arr, Edward Kilenyi Christine Hoffman, mezzo-soprano Galina Zisk, piano Intorno all’idol mio Marco Antonio Cesti z (1623-1669) Christine Mennicke, soprano Galina Zisk, piano a a i a We ask that all members of the audience refrain from photographing or recording the performance. Please be sure that a all cell phones, beepers, alarms, and similar devices are turned off. cm A high-fidelity recording of this performance may be ordered. A @ brochure will be available following the performance. = You are invited to attend the next events of a The 2007 Lutheran Summer Music Festival: = Student Recitals a Christ Chapel & Room 214, and Room 106 Schaefer Fine Arts Center = Gustavus Adolphus College = Saturday, July 21st, 2007 10:30 AM, 12:00 PM, and 2:30 PM | al Jazz Ensemble Concert Bjérling Recital Hall «a Schaefer Fine Arts Center e Gustavus Adolphus College Saturday, July 21st, 2007 ea 1:00 PM e Festival Orchestra Concert e Christ Chapel a Gustavus Adolphus College Saturday, July 21st, 2007 e 7:00 PM = e This concert is the thirty-eighth event of = Lutheran Summer Music Festival 2007 = = «a «= ee se «= LUTHERAN. UMIME Ro ~~__ACADEMY & FESTIVAL Collegium Musicum S.
    [Show full text]
  • 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]
  • Music for Henry Benedict Stuart in Rome, 1740–91
    MUSIC FOR HENRY BENEDICT STUART IN ROME, 1740–91 SEBASTIANO BOLIS (c. 1750–1804) Cinque Assoluzzione: Nos. 1, 2 and 5 8:43 1 Assoluzzione Prima: ‘Subvenite sancti’ (c. 1780) 2:34 2 Assoluzzione Seconda: ‘Qui Lazzarum resuscitasti’ (c. 1780) 2:17 3 Assoluzzione Quinta: ‘Libera me Domine’ (c. 1780) 3:52 4 Jesu quaeritis Nazarenum (1789) 2:04 GIOVANNI ZAMBONI (fl. c. 1740–60) 5 Splende fredda luna (c. 1755)* 2:22 6 O memorie funeste (c. 1755)* 2:23 GIOVANNI BATTISTA COSTANZI (1704–78) 7 Ave Maria (c. 1750) 2:14 ZAMBONI 8 O come se’ gentile (c. 1755)* 3:12 BOLIS 9 Laudate pueri Dominum (1791) 5:44 10 Miserere (1790) 13:23 2 CARLO TESSARINI (1690–1766) Allettamento Terzo (1740) 10:07 11 I Adagio 2:08 12 II Allegro 4:31 13 III Allegro 3:28 NICCOLÒ JOMMELLI (1714–74) 14 Oculi omnium (c. 1750) 2:50 TESSARINI 15 Allettamento Secondo: II Andante (1740)* 4:34 ZAMBONI 16 Feritevi, ferite (c. 1755)* 3:12 BOLIS 17 Letanie della Madonna Santissima (1785) 12:19 TT 73:20 Cappella Fede Harmonia Sacra 10 17 All ExcEpt * First rEcordings Peter Leech, director 3 THE CARDINAL KING: MUSIC FOR HENRY BENEDICT STUART IN ROME, 1740–91 by Peter Leech On 3 July 1747, at the altar of the Sistine Chapel, the raising to the sacred purple (by Pope Benedict XIV) of the then Prince Henry Benedict, de jure Duke of York (a grandson of King James II of England and VII of Scotland, the brother of ‘Bonnie Prince Charlie’), marked a dramatic turning point in his life.
    [Show full text]
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck
    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
    [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]
  • Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
    Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation.
    [Show full text]
  • Conference Abstracts
    Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17TH­CENTURY MUSIC Abstracts of Presentations at the Fifth Annual Conference 10­13 April 1997, Florida State University, Tallahassee Index of Presentations Program and Abstracts Program Committee Index of Presentations: Candace Bailey, A Reassessment of Matthew Locke's Keyboard Suites Gregory Barnett, Corrente da piedi, Corrente da orecchie: Two Faces of the Sonata da camera Jennifer Williams Brown, "Innsbruck, ich muss dich lassen": Tracing Orontea's Footprints Joanna Carter, Selle as Music Tutor: A Model for Music Education at Lateinschulen in Northern Germany Stewart Carter, Instructions for the Violin from an Overlooked Source: Bartolomeo Bismantova's Compendio musicale (1677) Tim Carter, Re­Reading Poppea: Some Thoughts on Music and Meaning in Early Seventeenth­ Century Italian Opera Georgia Cowart, Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King Michael Robert Dodds, Transposition in Organ­Choir Antiphony in the Mid and Late Seicento Frederick K. Gable, Eine so viel als die Andere: Rhythm and Tempo in Seventeenth­Century German Chant Beth L. Glixon, Vettor Grimani Calergi as Consumer and Patron of Opera Akira Ishii, Re­Evaluation of Minoriten 725 as a Source for the Works of Johann Jacob Froberger YouYoung Kang, Revisiting Seventeenth­Century Counterpoint Kathryn Lowerre, The Sweets of Peace: Reconstructing and Interpreting Europe's Revels (London, 1697) Stephen R. Miller, On the Significance of 'Stile antico' Catherine Moore, Thundering Vortex: The 1631 Eruption of Vesuvius Commemorated in Madrigal Poetry Christopher Mossey, Characteristics of Roles and the Role of Character in Librettos by Giovanni Faustini Janet Pollack, Parthenia: The "Maydenhead of Musicke" as an Epithalamion Kerala J.
    [Show full text]
  • Fedel E Costante
    CORO The Sixteen Edition CORO live The Sixteen Edition Other Sixteen Edition recordings available on CORO Heroes and Heroines cor16025 Delirio Amoroso cor16030 Sarah Connolly - Handel arias Ann Murray - Handel Italian secular cantatas Harry Christophers Harry Christophers The Symphony of The Symphony of Harmony & Invention Harmony & Invention "Connolly seals her "...a dazzling revelation... reputation as our best Ann Murray sings Handel mezzo in many superlatively." years." bbc music magazine financial times Vivaldi: Gloria in D Allegri - Miserere cor16014 Fedel e Costante Bach: Magnificat in D cor16042 & Palestrina: Missa Papae Marcelli, Stabat Mater Russell, Fisher, Lotti: Crucifixus Browner, Partridge, "Christophers draws HANDEL ITALIAN CANTATAS George brilliant performances from "Singing and playing his singers, both technically on the highest level." assured and vividly Elin Manahan Thomas bbc music magazine impassioned." the guardian Principals from The Symphony To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16045 of Harmony and Invention There are many things about The Sixteen her unique amongst her peers. This live elcome to the world of four that make me very proud, above all the recital of Handel Italian Cantatas was part of women, all of whom have nurturing of future talent. Over the years, the 2006 Handel in Oxford Festival. Those Wbeen betrayed by love and its we have produced some outstanding who were actually present at that concert deceitful charms, to varying degrees and performers; among them are Carolyn were witness to a performance of captivating for numerous reasons. Sampson, Sarah Connolly, Mark Padmore, communication and sparkling intelligence. Agrippina condotta a morire pretends Christopher Purves and Jeremy White.
    [Show full text]
  • Opera Olimpiade
    OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello.
    [Show full text]
  • A Largely Unknown Chapter in Maltese History
    Eighteenth-Century Music and its Political Configurations: a largely unknown Chapter in Maltese History Simon MERCIECA University of Malta The period of the rule of the Knights of Saint John (1530-1798) is currently remembered and celebrated as Malta's golden age. The Knights are typically perceived as benign Christian and Catholic rulers, and the Grand Masters considered among Malta's most famous historical characters. The Order is rightly credited with having brought a cultural Renaissance to the Island. During its rule, a number of far-reaching historical events took place. Conveniently, only the victory of the Knights of Saint John at the Great Siege of 1565, when a large Ottoman force was repelled following fierce fighting, is commemorated on a national scale. The arrival of Napoleon's forces in 1798, by contrast, does not receive the same acknowledgement or coverage in popular history. Yet the Order's rule was not necessarily as golden as it is sometimes made out to be, and the Knights' administration is tarnished by various miscarriages of justice. They were despotic rulers following ancien regime principles. The artistic and architectural grandeur of the time and the cultural renaissance fostered by the Order interested the few. It has been suggested that only two per cent of a country's population was really concerned with cultural issues during the early modern period.1 The arrival in Malta of Michelangelo Merisi di Caravaggio (the year 2007 marked the 400th anniversary of that event) and the engagement of other important artists, such as Mattia Preti together with the employment of important military engineers, provide proof of the Order's contribution to Malta's cultural history.
    [Show full text]
  • Raffaele Pe, Countertenor La Lira Di Orfeo
    p h o t o © N i c o l a D a l M Raffaele Pe, countertenor a s o ( R Raffaella Lupinacci, mezzo-soprano [track 6] i b a l t a L u c e La Lira di Orfeo S t u d i o Luca Giardini, concertmaster ) ba Recorded in Lodi (Teatro alle Vigne), Italy, in November 2017 Engineered by Paolo Guerini Produced by Diego Cantalupi Music editor: Valentina Anzani Executive producer & editorial director: Carlos Céster Editorial assistance: Mark Wiggins, María Díaz Cover photos of Raffaele Pe: © Nicola Dal Maso (RibaltaLuce Studio) Design: Rosa Tendero © 2018 note 1 music gmbh Warm thanks to Paolo Monacchi (Allegorica) for his invaluable contribution to this project. giulio cesare, a baroque hero giulio cesare, a baroque hero giulio cesare, a baroque hero 5 Carlo Francesco Pollarolo (c165 3- 1723) Sdegnoso turbine 3:02 Opera arias (from Giulio Cesare in Egitto , Rome, 1713, I.2; libretto by Antonio Ottoboni) role: Giulio Cesare ba 6 George Frideric Handel Son nata a lagrimar 7:59 (from Giulio Cesare in Egitto , London, 1724, I.12; libretto by Nicola Francesco Haym) roles: Sesto and Cornelia 1 George Frideric Handel (168 5- 1759) Va tacito e nascosto 6:34 7 Niccolò Piccinni (from Giulio Cesare in Egitto , London, 1724, I.9; libretto by Nicola Francesco Haym) Tergi le belle lagrime 6:36 role: Giulio Cesare (sung in London by Francesco Bernardi, also known as Senesino ) (from Cesare in Egitto , Milan, 1770, I.1; libretto after Giacomo Francesco Bussani) role: Giulio Cesare (sung in Milan by Giuseppe Aprile, also known as Sciroletto ) 2 Francesco Bianchi (175 2-
    [Show full text]