Alcune Intonazioni Della Clemenza Di Tito

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Alcune Intonazioni Della Clemenza Di Tito

46 intonazioni della Clemenza di Tito di (o da) Pietro Metastasio, opera seria in 3 atti data luogo Titolo, librettista compositore 1734 Wien La clemenza di Tito Antonio Caldara Pesaro, 24.IX Tito Vespasiano ovvero La clemenza di Johann Adolf Hasse 1735 Tito Venezia 29.I, Napoli? La clemenza di Tito Leonardo Leo Genova Pietro Vincenzo Ciochetti 1736 München Francesco Peli London The Clemency of Titus di Angelo M. Cori Francesco Maria Veracini 1737 Milano La clemenza di Tito Giovanni Francesco Marchi 1738 Verona Hasse 1739 Torino Giuseppe Arena 1744 Hamburg Die Gütigkeit [bontà] des Titus Hasse 1746 Wien La clemenza di Tito Georg Christoph Wagenseil 1747 München Die Gütigkeit des Titus Joseph Camerloher Venezia, T. Tron La clemenza di Tito Antonio Pampani Mannheim Carlo Pietro Grua 1748 Napoli David Perez Hamburg Die Gnade [grazia] des Titus Hasse 1751 Stuttgart Die Mildigkeit [mitezza] des Titus Niccolò Jommelli 1752 Napoli, 4.XI La clemenza di Tito Cristoph Willibald Gluck Bologna, T. La clemenza di Tito, di Antonio Palomba Michelangelo Valentini Formagliari, 3.I 1753 Stuttgart La clemenza di Tito Niccolò Jommelli Wien Andrea Adolfati 1755 Lisbona Antonio Mazzoni Camerino Cristiani 1757 Mannheim La clemenza di Tito di Mattia Verazi Ignaz Holzbauer Venezia, T. San Moisè La clemenza di Tito Vincenzo Ciampi Torino, T. Regio Baldassarre Galuppi 1760 Bologna, T. Marsigli- Gioacchino Cocchi Rossi 1765 Ludwigsburg Jommelli 1767 I. Platania Bernardini 1768 München Die Gütigkeit des Titus Andrea Bernasconi Roma, T. Argentina La clemenza di Tito Pasquale Anfossi 1769 Dresden Naumann Tommaso Traetta 1771 Padova Giuseppe Sarti 1772 Napoli, T. S. Carlo Pasquale Anfossi 1774 Venezia Joseph Myslivecek 1776 Eichstät Anton Bachschnidt 1779 Verona Luigi Beltrami 1785 Torino Alessandro Guglielmi 1787 Kassel David August von Apell 1791 Prag, Nationaltheater La clemenza di Tito, opera seria in due atti Wolfgang Amadeus 6.IX Caterino Mazzolà (da METASTASIO) Mozart 1797 Livorno La clemenza di Tito, opera seria in tre atti Giuseppe Nicolini 1798 Torino Bernardo Ottani 1802 A. Del Fante .

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La Furba E Lo Sciocco
Domenico Sarri LA FURBA E LO SCIOCCO Due intermezzi di Tommaso Mariani per Artemisia Napoli, Teatro di San Bartolomeo, 1731 edizione critica a cura di Eric Boaro vai alla scheda del libro su www.edizioniets.com Edizioni ETS Musica teatrale del Settecento italiano Serie I: Drammi veneziani su testi di Goldoni Serie II: Drammi per musica di Niccolò Jommelli Serie III: Intermezzi napoletani del Settecento Questo volume è stato realizzato grazie a un contributo dell’Università degli Studi di Milano – Dipartimento di Beni Culturali e Ambientali, erogato nell’ambito del Piano di Sostegno alla Ricerca 2015/2017 per pubbli- cazioni di collane tematiche e creazione di supporti multimediali per la comunicazione dei risultati della ricerca In copertina: Antonio Joli (1700-1777), Veduta di Napoli con il Vesuvio, olio su tela (collezione privata) Realizzazione grafica della partitura: Eric Boaro Impaginazione dei testi: Edizioni ETS Copyright © 2017 Edizioni ETS s.r.l. Piazza Carrara, 16-19 - 56126 Pisa Tel. 050/29544-503868 - Fax 050/20158 e-mail [email protected] www.edizioniets.com ISMN 979-0-705015-35-5 ISBN 978-884674945-1 SOMMARIO Introduzione VII Fonti dell’edizione XV Criteri dell’edizione XIX Libretto XXI Organico e personaggi XXXI La furba e lo sciocco Intermezzo primo Aria di Barlacco «Se mi vien la bizzarria» 3 Recitativo «Infin sarà bisogno ch’io m’ammazzi» 6 Aria di Sofia «Dolce pensier d’amore» 6 Recitativo «Il merlotto è venuto» 8 Aria di Barlacco «Mi rimbomba dentro il core» 11 Recitativo «Signor, con sua licenza» 19 Aria di Sofia
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II. The foundations of musical comedy Goldoni began his activity as a librettist at an early age in 1730, first adapting existing texts for new musical settings, as for example Griselda, from a text by Apostolo Zeno (1668–1750), for Antonio Vivaldi (1678– 1741). Goldoni then authored texts for short comic intermezzi, while his firstdramma giocoso (La scuola moderna) was written in 1748, ten years after Momolo cortesan, the comedy that, according to the author himself, marked the first steps of his theatrical reform. It is significant to note that before Goldoni, the presence and popularity of the dramma giocoso in Venice are difficult to trace. Surviving documents give word of very few titles, the earliest of these being from 1744: La Libertà Nociva and L’ambizione delusa, neither of which have survived. Both were by Rinaldo di Capua with libretti written or readapted by Giovanni Barlocci, and both premiered at the S. Cassiano theatre, which, taking example from the already established S. Samuele and S. Moisè, began favoring comic opera in its programming given the growing popularity of this art. These remain, however, sporadic titles among a myriad of other, more prominent, musical genres: drammi seri, drammi berneschi, drammi eroi-comici, farces, divertimenti, and commedie per musica are just some of the many forms authors were experimenting with. Goldoni too, before La scuola moderna of 1748, essayed all of them without ascribing preference to any one genre over the others. After La scuola moderna, however, he would turn his attention almost exclusively to this newest form, the dramma giocoso per musica, and following his abun- dant production of these texts, examples surface throughout Europe in the work of subsequent generations, all the way to the Viennese school.
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THE VOICE of the POOR in the WRITINGS of S. ALFONSO The
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Venetian playwright and pioneer of modern theatre Carlo Goldoni (1707-1793) led a ‘double life’ as a librettist, authoring nearly as 24 many libretti as comedies- libretti which, born from the same mind Pervinca Rista and the same hand that brought forth his famous, and famously controversial, overhaul of the practices of comic theatre, could not but push the limits of the standing tradition to open a new chapter in opera history. Goldoni became one of the first to give shape to the dramma giocoso per musica, an innovative, realistic, and enduring new genre with intimate connections to prose comedy that met with overwhelming international success, becoming the foundation for the works of future generations, including W. A. Mozart and his Italian librettist Lorenzo da Ponte. Perhaps because of his stature and At the origins of influence as a comic playwright, Goldoni has rarely been considered Rista Pervinca as an innovator in the musical sphere. This study aims to shed new Classical opera light on his primary role in the evolution of Classical opera, and on the legacy of his innovations in the European musical tradition. Carlo Goldoni and the dramma giocoso per musica aria Musicologica Pervinca Rista (b. Italy) holds a PhD in Comparative Literature (Johns 24 Hopkins University, Baltimore, MD, USA), along with numerous advan- ced degrees in Violin Performance earned in both the US and Italy. She has won numerous academic and musical awards, and performs con- certs regularly worldwide. She has authored texts for music, has transla- At the origins of Classical opera ted numerous works from Italian to English, and has published research in class-A international journals.
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Durham E-Theses Tradition and advance in Pergolesi's music Stratford, Michael David How to cite: Stratford, Michael David (1973) Tradition and advance in Pergolesi's music, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9984/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk TRADITION AND ADVANCE IN PERGOLESI'S MUSIC MICHAEL DAVID STRATFORD Submitted for the Degree of MASTER OF ARTS The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. ABSTRACT OF THESIS GIOVANNI BATTISTA PERGOLESI (1710-1736) Pergolesi's reputation has undoubtedly benefitted from the brevity of his life. Dying at twenty-six, and therefore not having attained full maturity as a composer, he was at times purely conven• tional in his work, but then at others progressive and wonderfully inventive.
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