DOCSLIB.ORG

Italian Baroque Favourites

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Italian Baroque Favourites ITALIAN BAROQUE FAVOURITES >* ..% ..% d Capella Istropolitana Italian Baroque Favourites Giovanni ~attisiaSammartini (1700101 - 1775) Sinfonia in A major Francesco Geminiani (1687 - 1762) Concerto grosso in E minor, Op. 3, No. 3 Pietro Antonio Locatelli (1695 - 1764) Concerto grosso in D major, Op. 1, No. 5 Giuseppe Torelli (1658 - 1709) Concerto grosso in G Minor, Op. 8, No. 6 Arcangelo Corelli (1653 - 1713) Concerto grosso in B flat major, Op. 6 No. 11 Francesco Geminiani Concerto grosso in D minor, Op. 2, No. 5 Francesco Onofrio Manfredini (1684 - 1762) Sinfonia No. 10 in C major Tomaso Giovanni Albinoni (1671 - 1751) Sonata a cinque in G minor, Op. 2, No. 6 Pietro Antonio Locatelli Concerto grosso in D major, Op. 1, No. 9 The present collection of Italian Baroque favourites contains orchestral works that span some three quarters of a century, from the heyday of Corelli in Rome and Torelli in Bologna in the late seventeenth century, to the later activities of Sammartini in Milan. Giovanni Battista Sammartini was born at the beginning of the new century, probably in Milan, and it was there that he made his career. His importance lies in the fact that he belonged to the first generation of composers writing in thenewly developingform of the symphony, a form that was to dominate European music as the century went on. 68 of his symphonies survive, often in collectionsoutside Italy, confirming his international rather than local popularity in this respect. In style he represents a period of transition between the Baroque and the classical, exhibited in symphonies that in general are in the usual Italian three-movement form. The earlier generation is heard in the Concertogrosso in Bflat major, Op. 6, No. I1 by the violinist and composer Arcangelo Corelli. Trained, it seems, in Bologna, Corelli made his career, one of considerable distinction, in Rome, at one time in the service of Queen Christina of Sweden, who had installed herself as one of Rome's leading patrons of the arts, and then serving in the musical establishment of Cardinal Pamphili and then of Cardinal Ottoboni, the young nephew of Pope Alexander VIII. His sonatas and concerti grossiserved as amodelfor later generations. The set of twelve concerti grossi,published posthumously, but seemingly heard in Rome in the 1680s, include compositions for church use or in 'church' form, Concerti da chiesa and chamber works, dn camera, the latter lacking the formal contrapuntal content of the former, and generally consisting of a series of dance movements. The present concerto grosso, after aPreludio goes on to include the basic movements of a dance suite, Allemanda, Sarabanda and final Giga. The form of the concerto grosso, derived from the popular trio sonata, involved the contrast of a small group of players, the concertino, here two violins, cello and harpsichord, with the whole body of the string orchestra, the ripieno. Five years younger than Corelli, Giuseppe Torelli was born in Verona in 1658 and in 1684 moved to Bologna, where he soon was able to join the musical establishment of the Basilica of San Petronio as a string player. After 1696, when the cappella of San Petronio was disbanded, he worked in Germany and in Vienna. By 1701 he was again in Bologna, serving in the revived San Petronio cappella. ToreUi's concerti grossi, like those of Corelli, were published posthumously, in his case in 1709, but represent earlier work. The next generation of composers here included may start with Tomaso Giovanni Albinoni, the son of a well-to-do paper merchant in Venice, where he was born in 1671. The comfortable circumstances into which he was born made it possible for him to avoid engaging in any immediate profession, although he came eventually to devote himself exclusively to music, avoidingparticipation in the family business after his father's death. His compositions include more than fifty operas, church music, secular cantatas and orchestral compositions. Ambiguity in titles, with the wordsonata used in a more general sense than today, allows the inclusion of the Sonata a cinque among the Sei Sinfonie e sei concerti a cinque that form his Opus 2, published in Venice in 1700, at a time when Vivaldi, seven years his junior, was at the beginning of his career. Francesco Onofrio Manfredini, born in Pistoia in 1684, was a violin pupil of Torelli in Bologna and a compositionpupil of Perti, whose work Torelli did so much to promulgate. He was in Ferrara for some years, but returned in 1704 to rejoin the San Petronio musical establishment, where he had served until 1696. His employment in his native town of Pistoia is recorded in 1727, when he served as maestro di cappella at the Cathedral. His Sinfonie, in fact church sonatas in which there are sections for concertino soloists, were published in Bologna in 1709 and reflect the influence of his teacher Torelli. A number of Italian musicians chose to make their careers in other countries. Pietro Antonio Locatelli, who later enjoyed a reputation to equal that of the demon violinist Paganini, was born in Bergamo in 1695, but studied in Rome, perhaps with Corelli but more probably with Valentini. He travelled as a virtuoso performer but in 1729 settled in Amsterdam, remaining there more or less continuously until his death in 1764. Here he associated with the publisher Le C&neand occupied himself largely with the work of gentlemen amateurs. Something of his virtuosity is evident in the 24 Caprices that form part of his Opus 3. He published his XI1 concertigrossi, Opus 1, in Amsterdamin 1721, but revised the set when he had moved there in 1729. His concerti grossi, although relying on the standard model of Corelli, differ by the inclusion of one or two violas in the concertino. Born in Lucca in 1687, Francesco Geminiani was a pupil of Corelli in Rome and won a reputation as virtuoso violinist. It was in this capacity that he moved, in 1714, to London, where he enjoyed the patronage of a number of the nobility, performing at court with Handel. Much of his later career centred on London, although he eventually settled in Dublin, where he died in 1762. His influenceboth on violin-playing and compositionwas considerable and he taught pupils who later achieved some fame, while his theoretical work, notably The Art of Playing on the Violin, has proved a useful source for present knowledge of mid-eighteenth century performance practice. Geminiani's Concerti grossi, Opus 2, were published in 1732, a set of six, followed in the same year by the Concerti grossi, Opus 3. Both sets use a concertino of two violins and basso continuo (bass instrument and keyboard) against the full string orchestra, while later concerti grossi by Geminiani respond to a presumed public demand by including the viola in the concertino. Capella Istropolitana The CapellaIstropolitana was founded in 1983by members of the Slovak Philharmonic Orchestra, at first as a chamber orchestra and then as an orchestra large enough to tackle the standard classical rewertoire. Based in Bratislava. its name drawn from the ancient name still preserved in &e Academia Istropolitana, &e orchestra works in the recording studio and undertakes frequent tours throughout Europe. Recordings by the orchestra on the Naxos label include The Best of B~roqueMusic,Bach's Brandenburg Concertos, fifteen each of Mozart's and Haydn's ~yr;~hoiesas well as works by ~&del,Vivaldi and Telemann. Capella Istropolitana Italienische Barock-Konzerte Sammartini: Sinfonia in A-Dur Geminiani: Concerto grosso in E-moll op. 3 Nr. 3 Locatelli: Concerto grosso in D op. 1 Nr. 5 Torelli: Concerto grosso in G-moll op. 8 Nr. 6 Corelli: Concerto grosso in B-Dur op. 6 Nr. 11 Geminiani: Concerto grosso in D-moll op. 2 Nr. 5 Manfredini: Sinfonia Nr. 10 in C-Dur Albinioni: Sonata a cinque in G-moll op. 2 Nr. 6 Locatelli: Concerto grosso in D op. 1 Nr. 9 Im 18. Jahrhundert zNte das Concerto grosso zu den beliebtesten und wandelbarsten Formen der Instrumentalmusik. Beriihmt geworden sind Hhdels Beitrage zu dieser Gattung und natiirlich J.S. Bachs Brandenburgische Konzerte. Doch das Concerto grosso verdankt sich nicht zuletzt den Leistungen der beriihmten Cremoneser Geigenbauer gegen Ende des 17. Jahrhunderts: Die Technik des Geigenbaus (in Form und Material sowie dessen Bearbeitung) wurde allm&lich perfektioniert, und damit verbesserte sich natiirlich auch der Klang der Instrumente. Der vollere, reichere Klang beftihigte die Streicher wiederum, auch exponierte solistische Aufgaben zu iibernehmen. - Ein Soloinstrument zeichnet sich bekanntlich nicht nur dadurch aus, daB es gerade solo spielt, sondem es mug sich gegeniiber einem gewaltigen Orchester behaupten - zu Beginn des 18. Jahrhunderts oft ein reines Streichorchester.Dies geschieht durch seinen charaktervollen Vortrag und damit verbunden durch die unterschiedlichen Klangfarben. Aber eine Rolle spielen auch der Tonurnfang eines Instrumentes und der Wandel der Klangfarben im gesamten Register. Viele der grogen italienischen Barockkomponisten wxen zugleich Geigenvirtuosen oder doch zumindest ansehnliche Solisten. (Die Karriere der meisten Musiker begann als Instrumentalist in einem Orchester.) DaB es meist Streichinstrumente waren, mit denen sich diese Musiker profilierten, lag einfach daran, daB die bestehenden Holz- oder Blechblasinstrumente (Oboe, mte, Hom, Fagott) in ihrer technischen Entwicklung erst noch nachziehen mugten. Das geschah im Laufe des 18. Jahrhunderts und fiihrte in den Concerti grossi zu den unterschiedlichsten Besetzungen. Aus dem Concerto grosso sollten spater das klassische Cembalo-, Geigen-, Cello-, Trompeten- oder Homkonzert he~orgehen,doch bis dahin war es no& ein miihsamer Weg des Ausdifferenzierens. Die ersten Concerti grossi in den 70er Jahren des 17. Jahrhunderts stamen von Giovanni Maria Bononcini und Alessandro Shadella: Dem Streichorchester stand die Besetzung einer Triosonate gegenuber, also zwei Violiien und GeneralbaB. Einen ersten glanzvollen Hohepunkt dieser Gattung bildeten die zwolf Concerti grossi op.
Load more

Recommended publications
  • Evirati Cantori E Mondo Nobiliare: Un Contributo Allo Studio Delle Dinamiche Sociali Dell'italia Barocca
    Alessandro Cont EVIRATI CANTORI E MONDO NOBILIARE: UN CONTRIBUTO ALLO STUDIO DELLE DINAMICHE SOCIALI DELL’ITALIA BAROCCA Abstract - In the late 17th century, the Castrati are a familiar presence for the aristocrats of the Italian Peninsula, who usually enjoy their singing and in various circumstances exercise the functions of playwrights and organizers of musical events. However, the ability as singers and the ‘self-promotional’ talent can raise the status of some «musici» and introduce then into the same noble class, although the social ascent is not entirely undisputed and free of any risk for a Castrato of the Baroque period. Key words - Castrati; Nobility; Italy; Baroque Age. Riassunto - Nel tardo XVII secolo, i castrati sono una presenza familiare per gli aristo- cratici della Penisola italiana, che abitualmente fruiscono il loro canto e in varie circostanze esercitano le funzioni di drammaturghi e di organizzatori di eventi musicali. Tuttavia, l’abilità canora e il talento ‘autopromozionale’ possono elevare lo status di alcuni «musici» e introdurli nello stesso ceto nobiliare, sebbene l’ascesa sociale non sia del tutto incontrastata ed esente da rischi per un castrato del periodo barocco. Parole chiave - Castrati; Nobiltà; Italia; Età barocca. Ringrazio sentitamente Paologiovanni Maione, Anna Manfron, Isabel M. Rodríguez- Marco, Diana Tura e Vera Laura Verona per la generosa assistenza prestata alla mia ricerca. Abbreviazioni: AP = Archivio Pepoli; ASB = Archivio di Stato di Bologna; ASE = Archivio Segreto Estense; ASF = Archivio di Stato di Firenze; AG = Archivio Gonzaga; AMP = Archivio Mediceo del Principato; I-Bc = Museo internazionale e biblioteca della musica di Bologna; ASMn = Archivio di Stato di Mantova; ASMo = Archivio di Stato di Modena; ASP = Archivio di Stato di Parma; CFBE = Carteggio farnesiano e borbonico estero; DBI = Dizionario Biografi co degli Italiani.
    [Show full text]
  • Musicaperlasalute2014 Musica Musicasalute Musica Musica Musica
    Concerti da chiesa ni fasti del barocco romano, e si scioglie infi ne in rosa seconda aria, mentre per certo di Perti è il Ritorno a Roma. Pochi mottetti per voce sola una struggente Pastorale; per maggior stupore, lì festoso Alleluia. Una storia amichevole e avvin- raggiungono la complessità strutturale, la pretesa Bologna 17 dicembre 2014 e mottetti virtuosistici si uniscono la grandiosa concezione musicale e il cente per uno tra i più spumeggianti mottetti di virtuosistica e la levatura artistica di Sæviat tellus Convegno Concerto canto dei pastori al presepe. scuola bolognese. inter rigores: il giovane GEORG FRIEDRICH HÄN- lo compose nel 1707 per la festa della Madon- Oratorio Santa Maria della Vita Cappella Farnese, Palazzo d’Accursio Due raffi nati generi musicali sacri del Sei-Set- Ugualmente cullante è l’avvio del mottetto Allievo di Perti e maestro di Zavateri, anche DEL na del Carmine. La prima aria esorta alla fortezza tecento formano il programma qui presentato, at- Nulla in mundo pax sincera di ANTONIO VIVALDI, GIUSEPPE TORELLI ricevette la pubblicazione po- d’animo l’ordine religioso carmelitano, protetto traverso sei (anzi: sette) compositori tra i massimi partitura all’incirca coeva (e tornata di recente stuma, nel 1709, dei suoi dodici Concerti grossi: la dalla Beata Vergine come lo era stata Roma tutta dell’epoca. Qualche parola sui due generi musi- alla ribalta per la sua inclusione nella colonna loro struttura è, per la verità, più prossima a quel- nel terremoto del 1703: il soprano balza al Re so- cali. Il concerto da chiesa differisce da quello da sonora del fi lm Shine).
    [Show full text]
  • Breathtaking-Program-Notes
    PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice.
    [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]
  • Sinfonie Da Chiesa Bologna 1709 Francesco Manfredini (1684-1762) Sinfonie Da Chiesa Opus 2, Bologna 1709
    Francesco Manfredini Sinfonie da chiesa Bologna 1709 Francesco Manfredini (1684-1762) Sinfonie da chiesa opus 2, Bologna 1709 Capricornus Consort Basel Peter Barczi, Eva Borhi Barockvioline / Baroque violin Matthias Jäggi Barockviola / Baroque viol Daniel Rosin Barockcello / Baroque cello Michael Bürgin Violone David Blunden Orgel / organ Julian Behr Theorbe / theorbo Peter Barczi Leitung / direction www.capricornus.ch Francesco Manfredini Sinfonie da chiesa opus 2 von Joachim Steinheuer Francesco Manfredini (1684-1762) Francesco Manfredini (*22. Juni 1684, + 6. Ok- ansässig, als Domenico Manfredini an der Kathe- tober 1762) stammte aus einer Familie, die über drale eine Anstellung als Posaunist fand, die er 42 XII Sinfonie da chiesa mehrere Generationen hinweg einen wichtigen Jahre lang bis 1726 ausüben sollte. Neben dem a due violini, col basso per l‘organo & una viola a beneplacito, Anteil am Musikleben der toskanischen Stadt Pis- Organisten war er der einzige regulär angestellte con una pastorale per il santissimo Natale... opera seconda. [1709]. toia hatte. Die Stadt hatte ihre große Blütezeit im Instrumentalist der Kapelle, und seine Aufgabe 12. und 13. Jahrhundert, wovon heute noch zahl- scheint vor allem in der Ausführung der Conti- reiche bedeutende Kirchen dieser Zeit zeugen, nuostimme bei mehrstimmiger Musik bestanden darunter die Kathedrale San Zeno. Am Ende des zu haben. Noch im Jahr seiner Anstellung wurde 1 Sinfonia IX C major Grave · Andante · Largo · Presto 6:44 14. Jahrhunderts begab sich Pistoia aus Furcht als erstes von insgesamt acht nachweisbaren 2 Sinfonia VIII G major Largo · Allegro · Affettuoso · Presto 7:01 vor der Expansionspolitik der Mailänder Visconti Kindern der älteste Sohn Francesco geboren, 3 Sinfonia III Bb major Adagio · Vivace · Largo · Presto 7:06 unter den Schutz des nahegelegenen Florenz dessen vollständiger Taufname Francesco Nofri und verlor dann endgültig seine Unabhängigkeit Giovanni Romulo lautete.
    [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]
  • Rassegna Storica Crevalcorese È Stata Realizzata Con Il Contributo Di: 2 3
    3 2 1 Rassegna storica crevalcorese è stata realizzata con il contributo di: 2 3 Comune di Crevalcore Rassegna storica crevalcorese 4 dicembre 2006 Giacomo Antonio Perti numero monografico k Istituzione dei Servizi Culturali Paolo Borsellino 4 Rassegna storica crevalcorese Rivista dell’Istituzione dei Servizi Culturali Paolo Borsellino di Crevalcore COMITATO DI REDAZIONE Magda Abbati, Massimo Balboni, Gabriele Boiani, Paolo Cassoli, Nicoletta Ferriani, Barbara Mattioli, Yuri Pozzetti, Carla Righi, Roberto Tommasini. Direttore resp. Paolo Cassoli Progetto Grafico Paolo Cassoli Informazioni e comunicazioni Istituzione dei Servizi Culturali Paolo Borsellino Via Persicetana 226 - 40014 Crevalcore (Bo); tel. 051.981594, fax 051.6803580 e mail: [email protected] Quarto numero, distribuzione gratuita 5 SOMMARIO In questo numero (a cura della redazione) 7 STUDI E RICERCHE Marc Vanscheeuwijck Giacomo Antonio Perti (Bologna, 1661-1756) “oriundo di Crevalcore” 11 Francesco Lora Mottetti grossi di Perti per le chiese di Bologna 27 Michele Vannelli La Messa à 12 (1687) di Giacomo Antonio Perti: alcune considerazioni all’indomani della prima ripresa moderna 59 Piero Mioli PERMARMO. Perti, Martini e Mozart celebrati nel 2006 dall’Accademia Filarmonica di Bologna. 79 Rodolfo Zitellini Le opere a stampa di Giacomo Antonio Perti: l’opera seconda 87 Elisabetta Pasquini Un Esemplare di contrappunto per due autori 95 6 7 In questo numero Per concludere degnamente le celebrazioni pertiane la redazione ha deciso di dedicare per intero il quarto numero della rivista al musicista “oriundo di Crevalcore”, come scriveva Padre Martini nella biografia del proprio maestro. Ne è risultato un numero monografico di alto profilo che, crediamo, sarà consi- derato, nel campo degli studi su Giacomo Antonio Perti, come una delle opere di riferimento, anche perché i saggi qui contenuti sono tutti opera di valenti studiosi, specialisti della musica barocca.
    [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]
  • Un Soprannome Per La Celebrità* Numerosissimi Tra I Divi Dell'opera
    VALENTINA ANZANI PSEUDONIMI ALL’oPERA: UN SOPRANNOME PER LA CELEBRITÀ* Abstract: Most opera singers of the 17th and 18th centuries had sobriquets or nick- names that were often much more significant that their real names, espercially for primedonne and castratos. Nicknames such as Farinelli, Cusanino or Senesino car- ried private meanings symbolic of the singers’ emotional detachment from their families, responsible for their menomations; at the same time the nickname pro- vided a protective mask in the face of the public. Nonethless, the nickname had a public value too that enabled those singers to begin their careers under the protec- tion of the name of a well known teacher or patron. Keywords: castratos, singers, opera, patron, teacher E pure vorrei che li sentiste [Carestini e il divino Farinello], perché da poi esclamereste [...]: «Angeli eterni, siete voi tutti, o pur non tutti in cielo?»1 Numerosissimi tra i divi dell’opera sei-settecentesca ebbero un sopranno- me o un nomignolo, che spesso aveva un valore molto più importante del nome stesso; si è creduto quindi necessario uno studio che ne evidenziasse le origini e le funzioni caratterizzanti. Il presente intervento è il risultato di un’indagine condotta su un campione di nomi selezionati sui principali repertori (enciclopedie e dizionari biografici, cataloghi di libretti, indici di nomi),2 che ha fatto emergere un’ampia gamma di casistiche per storpiatu- re, attributi e nomi d’arte aggiunti o sostituiti ai nomi propri, di cui erano provvisti cantanti di ogni genere e categoria e che è emerso avessero assunto un valore particolare per primedonne e castrati.
    [Show full text]
  • Acoustical Reconstruction of San Petronio Basilica in Bologna During
    Acoustics 08 Paris Acoustical reconstruction of San Petronio Basilica in Bologna during the Baroque period: the effect of festive decorations Francesco Martellottaa, Ettore Cirilloa, Michele D'Albaa, Emanuele Gasparinib and Daniela 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] 7777 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]
  • La Musica in Chiesa. Le Raccolte Musicali Negli Archivi Ecclesiastici Dell'emilia-Romagna
    Soprintendenza Archivistica Sezione ANAI per l’Emilia Romagna Emilia Romagna Comune di Fiorano Modenese società di studi Assessorato alle Politiche Culturali ravennati CENTRO STUDI NAZIONALE SUGLI ARCHIVI EccLESIASTICI DI FIORANO E RAVENNA LA MUSICA IN CHIESA: LE RACCOLTE MUSICALI NEGLI ARCHIVI ECCLESIASTICI DELL’EMILIA-ROMAGNA ATTI DEL CONVEGNO DI RAVENNA (16 ottobre 2014) a cura di Gilberto Zacchè Mucchi Editore Centro studi nazionale sugli archivi ecclesiastici di Fiorano e Ravenna Comitato scientifico: Enrico Angiolini, Gianna Dotti Messori, Euride Fregni, Nina Maria Liverani, Manuela Mantani, Marco Mazzotti, Barbara Menghi Sartorio, Lorenzo Pongiluppi, Giuseppe Rabotti, Carmelo Elio Tavilla, Stefano Vitali, Gilberto Zacchè Organizzazione del Convegno: Nina Maria Liverani, Manuela Mantani, Marco Mazzotti, Giuseppe Rabotti Segreteria: Susanna Dieci Per informazioni: Assessorato alle Politiche Culturali del Comune di Fiorano Modenese tel: 0536.83.34.18 e-mail: [email protected] Pubblicazione realizzata con la collaborazione di: ARCIDIOCESI DI ARCIDIOCESI DI RAVENNA-CERVIA MODENA-NONANTOLA ISBN 978-88-7000-682-7 La legge 22 aprile 1941 sulla protezione del diritto d’Autore, modificata dalla legge 18 agosto 2000, tutela la pro- prietà intellettuale e i diritti connessi al suo esercizio. Senza autorizzazione sono vietate la riproduzione e l’archivia- zione, anche parziali, e per uso didattico, con qualsiasi mezzo, del contenuto di quest’opera nella forma editoriale con la quale essa è pubblicata. Fotocopie per uso personale del lettore possono essere effettuate nel limite del 15% di ciascun volume o fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Le riproduzioni per uso differente da quello personale potranno avvenire solo a seguito di specifica autorizzazione rilasciata dall’editore o dagli aventi diritto.
    [Show full text]