DOCSLIB.ORG

Depliant Corretto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Depliant Corretto I PARTECIPANTI Come arrivare alla Fondazione Giorgio Cini: ISTITUTO ITALIANO ANTONIO VIVALDI I CONCERTI Da Ferrovia, da Piazzale Roma, dal Tronchetto, dalle Zattere, CONVEGNO INTERNAZIONALE DI STUDI da San Zaccaria: vaporetto linea 82, ogni 10 minuti Fabrizio Ammetto Jean-Charles Léon MERCOLEDÌ 13 GIUGNO, ORE 21 Gregory Barnett Nicholas Lockey FONDAZIONE GIORGIO CINI, SALA DEGLI ARAZZI Alberto Basso Niccolò Maccavino Da Brescia a Venezia. La nascita del concerto veneziano Marco Beghelli Ondrˇej Macˇek ANTONIO Musiche di Albinoni, Marini, Marcello, Taglietti e Vivaldi Anna Laura Bellina Jürgen Maehder Sonatori de la Gioiosa Marca Maria Ida Biggi Francesca Menchelli-Buttini Marco Bizzarini Maria Giovanna Miggiani Alessandro Borin Giovanni Morelli GIOVEDÌ 14 GIUGNO, ORE 21 Bella Brover-Lubovsky Susan Orlando VIVALDI. BASILICA DEI FRARI Melania Bucciarelli Berthold Over Antonio Vivaldi Jasmin Cameron Donatella Paiano I Dixit Dominus a un coro, RV 595 e RV 807 Enrico Careri Pierluigi Petrobelli Monique Zanetti, Francesca Lombardi, Susanna Moncayo Luigi Cataldi Pablo Queipo de Llano PASSATO Ian Honeyman, Mario Cecchetti Paola Cirani Rudolf Rasch Ensemble vocale «Il canto d’Orfeo» Marie Cornaz Peter Ryom Ensemble «Pian & Forte» Edward Corp Federico Maria Sardelli Francesco Fanna Frédéric Delaméa Herbert Seifert 37a STAGIONE CONCERTISTICA Jean-Pierre Demoulin Eleanor Selfridge-Field E FUTURO In collaborazione con DELLA BASILICA DEI FRARI Paul Everett Reinhard Strohm Antonio Fanna Michael Talbot 13 – 16 GIUGNO 2007 Francesco Fanna Gianluca Tarquinio FONDAZIONE GIORGIO CINI Onlus VENERDÌ 15 GIUGNO, ORE 21 François Farges Gilles Thomé ISOLA DI SAN GIORGIO MAGGIORE –VENEZIA CA’ REZZONICO, SALONE DA BALLO Cesare Fertonani Roger-Claude Travers Antonio Vivaldi Philippe Foulon Richard Vendome Informazioni: Arie dall’opera Atenaide, RV 702-B Olivier Fourés Kees Vlaardingerbroek Istituto Italiano Antonio Vivaldi Romina Basso, Guillemette Laurens Teresa Gialdroni Tomislav Volek Modo Antiquo Pier Giuseppe Gillio Micky White Fondazione Giorgio Cini onlus Federico Maria Sardelli Karl Heller Sebastian Zips Isola di San Giorgio Maggiore – 30124 Venezia Jehoash Hirshberg Steven Zohn Tel. +39 041 2710220 - 250 In collaborazione con Bettina Hoffmann E-mail [email protected] Václav Kapsa www.cini.it Milada Jonasová SABATO 16 GIUGNO, ORE 19 CHIESA DELLA PIETÀ Le composizioni per il coro femminile della Pietà Musiche di Donato, Merulo, Perisonne e Vivaldi Schola Pietatis Antonio Vivaldi Richard Vendome In collaborazione con MERCOLEDÌ 13 GIUGNO, SALA BARBANTINI GIOVEDÌ 14 GIUGNO, SALA BARBANTINI – SALA DEL CONSIGLIO VENERDÌ 15 GIUGNO, SALA BARBANTINI SABATO 16 GIUGNO, SALA BARBANTINI ORE 11.30 ORE 9.30, SALA BARBANTINI ORE 9.00 ore 9.30 Apertura dei lavori Presiede Michael Talbot Presiede Reinhard Strohm Coordinatore Reinhard Strohm I concerti per violino La musica vocale teatrale Pasquale Gagliardi (segretario generale della Fondazione Giorgio Cini) Tavola rotonda: La musica vocale teatrale Fabrizio Ammetto, I concerti di Vivaldi «con» (o «per»?) due violini «obligati» (o «principali»?) Milada Jonasová, Antonio Denzio. Impresario, librettista e accomodatore di opere liriche Francesco Fanna in Praga Eleanor Selfridge-Field, Dating Venetian Operas: Implications and Quandaries for Karl Heller, Phrasenbildung und Motivarbeit in den Soloteilen später Violinkonzerte Vivaldi Studies Peter Ryom, La situation actuelle de la musicologie vivaldienne Vivaldis Ondrˇej Macˇek, Nuove scoperte sull’Argippo praghese Reinhard Strohm, From She-Devil to Recalcitrant Mother: the Female Voice in Vivaldi’s Operas ORE 14.30 Olivier Fourés, Il violino vivaldiano, punto di vista sulla «cultura del piacere» Maria Giovanna Miggiani, Due fratelli veneziani, Angelo e Pietro Mingotti, impresari Presiede Pierluigi Petrobelli Anna Laura Bellina, Generi del Teatro musicale ai tempi di Vivaldi Aspetti biografici e documentari ORE 11.30, SALA BARBANTINI Frédéric Delaméa, La diffusion des airs d’opéra de Vivaldi au XVIII ème siècle: Intérêt Maria Ida Biggi, Soggetti, immagini e scenografie Le opere per violoncello et limites de l’apport des livrets Bella Brover-Lubovsky, Vivaldi and the Venetian Enlightenment Alessandro Borin, Dibattiti culturali a Venezia nel primo Settecento e la formazione del Bettina Hoffmann, Il violoncello solista nei concerti e nei drammi per musica di ORE 11.00 giovane Vivaldi Roger-Claude Travers, La maladie de Vivaldi: critiques de la thèse de 1981 de Roger- Antonio Vivaldi Niccolò Maccavino, L’ Imeneo in Atene di Nicola Porpora: Venezia 1726 Melania Bucciarelli, Soggetti, storie e immagini nell’opera veneziana al tempo di Vivaldi Claude Travers Sebastian Zips, Die Ritornellform in den jeweils zweiten Sätzen der Cellosonaten RV Pier Giuseppe Gillio, Relazioni metriche tra testo poetico e testo musicale nel melodramma Francesca Menchelli-Buttini, Vivaldi e Hasse Michael Talbot – Micky White, Pietro Mauro, detto “Il Vivaldi”: Failed Tenor, Failed 40 und RV 43 di Vivaldi Impresario, Failed Husband, Acclaimed Copyist ORE 14.00 Donatella Paiano, Antonio Martinelli (c. 1702-1782): un successore di Vivaldi alla Jürgen Maedher, Il libretto del Motezuma di Vivaldi e la conquista del Messico nel Coordinatore Peter Ryom ORE 16.30 Pietà melodramma del Settecento Tomislav Volek, Vivaldi e conti boemi Sporck, Morzin, Klenau, Wrtby, Collalto ed altri Tavola rotonda: Problemi di catalogazione e cronologia ORE 14.30, SALA BARBANTINI Marco Bizzarini, I segreti di Griselda: nuove riflessioni sulla collaborazione tra Vivaldi Alessandro Borin, Vivaldi, Marcello e le nozze mancate di Filippo D’Assia Darmstadt Presiede Michael Talbot e Goldoni Peter Ryom, Les problèmes du catalogage et de la chronologie des œuvres L’influenza vivaldiana fuori Venezia Paul Everett, Serving and Growing the Chronology Project: an interactive Online Paola Cirani, Vivaldi e la musica a Mantova. Documenti inediti e nuovi spunti di ORE 14.00 Database riflessione Steven Zohn, Telemann the Vivaldian Coordinatore Roger-Claude Travers Federico Maria Sardelli, Il Catalogo tematico delle ricorrenze musicali vivaldiane: uno Marie Cornaz, Vivaldi et la diffusion de sa musique dans les Pays-Bas autrichiens Jehoash Hirshberg, Vivaldi, Vivaldianism, and Zani: Influence and Individuality Tavola rotonda: Dal manoscritto all’edizione del testo strumento per i problemi di cronologia, attribuzione, analisi del metodo compositivo Olivier Fourés, La chronologie vivaldienne, évaluation des outils de recherche Václav Kapsa, Vivaldians in Bohemia: Instrumental Music by Composers connected Enrico Careri, Sull’uso vivaldiano dei segni dinamici with Count Morzin Marco Beghelli, Che cosa ci dicono le «travature» vivaldiane? Pablo Queipo De Llano, Nuevas hipótesis cronológicas para RV 51, RV 53, RV 355 y RV 594 ORE 16.30, SALA BARBANTINI Tavola rotonda: La ricostruzione delle opere incomplete Aspetti stilistici della musica di Antonio Vivaldi ISTITUTO PROVINCIALE PER L’INFANZIA «SANTA MARIA DELLA PIETÀ» Fabrizio Ammetto, Vivaldi «ricostruisce» Vivaldi: ipotesi di testo ‘originale’ dei Concerti ORE 18.00 Gregory Barnett, Reconstructing Vivaldi’s Tonal Perspective RV 528, RV 774 e RV 775 Anna Maria Giannuzzi Miraglia, La Pietà: cultura secolare dell’accoglienza a Venezia Jean-Pierre Demoulin, Suggestions pour compléter quatre œuvres dont on ne possède pas tra tradizione e rinnovamento Nicholas Lockey, Vivaldi and the Siciliana: Towards a Critical Appraisal l’intégralité des sources Chiara Pancino, Le musiche per le Putte della Pietà: riordino dei manoscritti musicali Rudolf Rasch, The Captions of “The Four Seasons” by Antonio Vivaldi Frédéric Delaméa, La reconstruction des partitions lyriques incomplètes de Vivaldi: del «Fondo Correr» le cas Motezuma ORE 14.30, SALA DEL CONSIGLIO Visita al Piccolo Museo Antonio Vivaldi Presiede Alessandro Borin Tavola rotonda: L’instrumentarium e i registri vocali Vivaldi e la nobiltà Conclusione dei lavori Jean-Charles Léon – Philippe Foulon, La problématique des reconstructions du violoncello Berthold Over, La Cunegonda - Electress Therese Kunigunde of Bavaria and Cunegonda «all’inglese» et du «Violino in tromba marina»: de la recherche à l’interprétation operas in Venice Gilles Thomé, Les «Claren», «Clarini» et «Clarinet» dans les œuvres de Vivaldi Luigi Cataldi, L’incontro di Vivaldi con l’Imperatore Carlo VI a Trieste nel 1728 Richard Vendome, Vivaldi’s liturgical music for La Pietà. Did women sing tenor and bass at pitch? Herbert Seifert, Vivaldi in the ‘Este’ Music Collection of the Oesterreichische National- bibliothek, Vienna Tavola rotonda: Alla Vivaldi Cesare Fertonani, Il gusto del paradosso: a proposito di «Vivaldiana» di Gian Francesco ORE 16.30, SALA DEL CONSIGLIO La musica vocale di Antonio Vivaldi Malipiero Teresa Gialdroni, Vivaldi, la cantata e gli altri: ancora sul manoscritto di Meiningen Tavola rotonda: La produzione musicale Ed. 82b Roger-Claude Travers – François Farges, La database des enregistrements vivaldiens. Enfin! Jasmin Cameron, An Acknowledgement of Sacred Music Conventions: Vivaldi’s Et incarnatus and Crucifixus (RV 591) Gianluca Tarquinio, La diffusione dell’opera di Antonio Vivaldi attraverso le fonti sonore: la discografia a 78 giri Edward Corp, “La Senna festeggiante” reconsidered: some possible implications of its Alberto Basso – Susan Orlando, The Vivaldi Edition literary text.
Load more

Recommended publications
  • Natura Artificiale Di Vivaldi
    TORINO Martedì 5 settembre Conservatorio Giuseppe Verdi ore 17 LA NATURA ARTIFICIALE DI VIVALDI natura www.mitosettembremusica.it LA NATURA ARTIFICIALE DI VIVALDI Nei primissimi anni del Settecento, intrisi di razionalismo, si parla in continuazione di «Natura» come modello, e la naturalezza è il fine d’ogni arte. Quello che crea Vivaldi, molto baroccamente, è una finta natura: l’estremo artificio formale mascherato da gesto normale, spontaneo. E tutti ci crederanno. Il concerto è preceduto da una breve introduzione di Stefano Catucci Antonio Vivaldi (1678-1741) Concerto in la minore per due violini e archi da L’Estro Armonico op. 3 n. 8 RV 522a Allegro – [Adagio] – [Allegro] Sonata in sol maggiore per violino, violoncello e basso continuo RV 820 Allegro – Adagio – Allegro Concerto in re minore per violino, archi e basso continuo RV 813 (ms. Wien, E.M.) Allegro – [Adagio] – Allegro – Adagio – Andante – Largo – Allegro Concerto in sol maggiore per flauto traversiere, archi e basso continuo RV 438 Allegro – Larghetto – Allegro Sonata in re minore per due violini e basso continuo “La follia” op. 1 n. 12 RV 63 Tema (Adagio). Variazioni Giovanni Stefano Carbonelli (1694-1772) Sonata op. 1 n. 2 in re minore Adagio – Allegro Allegro Andante Aria Antonio Vivaldi Concerto in mi minore per violino, archi e basso continuo da La Stravaganza op. 4 n. 2 RV 279 Allegro – Largo – Allegro Modo Antiquo Federico Guglielmo violino principale Raffaele Tiseo, Paolo Cantamessa, Stefano Bruni violini Pasquale Lepore viola Bettina Hoffmann violoncello Federico Bagnasco contrabbasso Andrea Coen clavicembalo Federico Maria Sardelli direttore e flauto traversiere /1 Vivaldi natura renovatur.
    [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]
  • Dossier Do Festival De Música Cidade De Lugo Cos
    Festival de Música Cidade de Lugo XXXVIII Semana do Corpus abril-xuño 2010 sábado 17 de abril de 2010 mércores 19 de maio de 2010 Aniversario Pergolesi Aniversario Chopin: a influencia do bel canto en Chopin ROMINA BASSO mezzosoprano MARÍA ESPADA soprano ORPUS LA RISONANZA KENNEDY MORETTI piano C FABIO BONIZZONI director Bellini, Donizetti, Rossini e Chopin Caldara, Bononcini, Durante, Domenico Scarlatti e Pergolesi Círculo das Artes, 20:30 Círculo das Arte, 20:30 venres 21 de maio de 2010 ANA DO luns 19 de abril de 2010 Sonatas de Bach M A música de cámara: o óboe e o trío de cordas CARLOS MÉNDEZ contrabaixo E S IRINA GRUIA violín FERNANDO LÓPEZ PAN clave ANNE SCHLOSSMACHER viola Fundación Caixa Galicia, 20:30 THOMAS PIEL violoncello VIII sábado 22 de maio de 2010 ESTHER VIÚDEZ óboe Istampitta, a danza na Idade Media Mozart, Britten, Webern e Dohnanyi EVO Fundación Caixa Galicia, 20:30 Círculo das Artes, 21:00 xoves 22 de abril de 2010 luns 24 de maio de 2010 Carnaval, Schumann e o piano romántico Membra Jesu Nostri de Buxtehude ANDREA LUCCHESINI piano CORO DA UNIVERSIDADE DE SANTIAGO Schumann, Schubert, Scarlatti... CAPELA COMPOSTELANA UGO 2010 - XXX Conservatorio Prof. de Música, 20:30 L MIRO MOREIRA director martes 27 de abril de 2010 Igrexa de San Pedro, 20:30 Os ciclos de cancións de Britten (3) mércores 26 de maio de 2010 RONAN COLLETT barítono Himno para violas ROGER VIGNOLES piano ENSEMBLE PLUS IDADE IDADE DE Britten, Poulenc e Ives Runchak, Pereiro, Buide e Rosinskij C Conservatorio Prof. de Música, 20:30 Conservatorio Prof.
    [Show full text]
  • Federico Maria Sardelli
    F EDERICO M ARIA S A R D E L L I – Conductor In 1984 Federico Maria Sardelli, originally a flutist, founded the Baroque orchestra Modo Antiquo, with which he appears, as both soloist and conductor, at major festivals throughout Europe and in such concert halls as Concertgebouw Amsterdam, Théâtre des Champs-Elysées Paris, Tchaikovsky Concert Hall Moscow and Auditorium Parco della Musica in Rome. He is regularly invited as a guest conductor by many prestigious symphony orchestras, including Orchestra Barocca dell’Accademia di Santa Cecilia di Roma, Gewandhaus Lipzig, Maggio Musicale Fiorentino, Filarmonica Arturo Toscanini, Orchestra Filarmonica di Torino, Staatskapelle Halle, Kammerakademie Potsdam, Real Filarmonia de Galicia, Orchestra dei Pomeriggi Musicali di Milano. Federico Maria Sardelli has been a notable protagonist in the Vivaldi renaissance of the past few years: he conducted the world premiere recording and performance of many Vivaldi’s operas. In 2005, at Rotterdam Concertgebouw, he conducted the world premiere of Motezuma , rediscovered after 270 years. In 2006 he conducted the world premiere of Vivaldi’s L’Atenaide at Teatro della Pergola in Florence. In 2012 he recorded the last eight Vivaldi works reappeared ( New Discoveries II , Naïve) and conducted the world premiere of the new version of Orlando Furioso , rediscovered and reconstituted by him (Festival de Beaune, Naïve recording). In 2007 he has been Principal Conductor of Händel Festspiele in Halle, where he conducted Ariodante. Among the most important production he has conducted, Giasone by Francesco Cavalli at Vlaamse Opera Antwerp, Olivo e Pasquale at Festival Donizetti Bergamo, Dido and Aeneas at Teatro Regio Turin, La Dafne and Alceste at Maggio Musicale Fiorentino, Händel’s Teseo at Tchaikovsky Concert Hall in Moscow.
    [Show full text]
  • Classical New Release
    harmonia mundi UK JUNE 30 2014 Classical new release Maria Joao Pires joins Onyx available 30th June & July 14, call-off 20th June BBC MUSIC MAGAZINE, CHOICES July Naïve V5344 Mister Paganini: Laurent Korcia Glossa GCD922803 Gesualdo Responsoria: La Compagnia del Madrigale GRAMOPHONE, EDITOR’S CHOICE, July Orfeo C878141A Strauss Also sprach, Don Juan, Till Eulenspiegel: CBSO, Andris Nelsons IRR OUTSTANDING, June BBC MUSIC MAGAZINE CHOICE June Opera Magazine, DISC OF THE MONTH Signum SIGCD372 Bartok Bluebeard’s Castle: Sir John Tomlinson, Philharmonia, Esa-Pekka Salonen IRR OUTSTANDING, June Pan Classics PC10305 C.P.E. Bach Works for Keyboard & Violin: Leila Schayegh ALBUM OF THE WEEK, Sunday Times, 11th May GLOSSA GCD921119 Mozart The Last Three Symphonies: Orchestra of the 18th Century, Frans Brüggen BBC RADIO 3, CD OF THE WEEK, CD REVIEW Naive V5373 Handel Tamerlano / Sabata, Cencic, Minasi DISTRIBUTED LABELS: ACCENT RECORDS, ACTES SUD, AGOGIQUE, ALIA VOX, AMBRONAY, APARTE, ARTE VERUM, AUDITE, BEL AIR, THE CHOIR OF KINGS COLLEGE CAMBRIDGE, CONVIVIUM, CHRISTOPHORUS, CSO RESOUND, DELPHIAN, DUCALE, EDITION CLASSICS, FLORA, FRA MUSICA, GLOSSA, harmonia mundi, HAT[NOW]ART, LA DOLCE VOLTA, LES ARTS FLORISSANTS EDITIONS, LSO LIVE, MARIINSKY, MIRARE, MODE, MUSO, MYRIOS, NAÏVE, ONYX, OPELLA NOVA, ORFEO, PAN CLASSICS, PRADIZO, PARATY, PEARL, PHILHARMONIA BAROQUE, PHIL.HARMONIE, PRAGA DIGITALS, RADIO FRANCE, RAM, REAL COMPAÑIA ÓPERA DE CÁMARA, RCO LIVE, SFZ MUSIC, SIGNUM, STRADIVARIUS, UNITED ARCHIVES, WAHOO, WALHALL ETERNITY, WERGO, WIGMORE HALL LIVE, WINTER & WINTER, YSAYE RELEASE DATE 14TH JULY 2014 LISZT: Sonata in B minor, Late pieces Paul Lewis Editor’s Choice, Gramophone *****, The Guardian Radio 3 Disc of the Week Gramophone Critics’ Choice Pianist Recommended "The poetry and grandeur of his playing put Paul Lewis's Liszt among the Greats…even in a crowded market place (where Horowitz, Gilels, Richter, Argerich, Brendel and Pollini, etc, jostle for attention) Paul Lewis's recording stands out for its breadth, mastery and shining musicianship.
    [Show full text]
  • 5) Musikstunde
    __________________________________________________________________________ 2 SWR 2 Musikstunde Freitag, den 13. Januar 2012 Mit Susanne Herzog Il prete rosso Vivaldi – unsterblich? Turin: was hat Vivaldis Musik – vielmehr seine Manuskripte – was haben die in Turin zu suchen? In dicke Bände gebunden, mit den Vignetten zweier Kleinkinder versehen? Zurück an den Anfang der Geschichte: 1926 saß der Musikhistoriker Alberto Gentili vor fünfundneunzig dicken Bänden mit Musik. Mönche des Salesianerkloster S. Carlo hatten ihn gebeten, den Wert dieser Manuskripte zu schätzen. Denn ihr Kloster, das musste dringend in Stand gesetzt werden. So dringend, dass man sich entschloss, Teile der Bibliothek zu verkaufen. Gentili also blätterte in den Bänden der Klosterbrüder und stellte bereits nach kurzer Zeit fest: das war eine echte Sensation, die er da in den Händen hielt: vierzehn dieser fünfundneunzig Bände enthielten Musik von Antonio Vivaldi. Ein Zufallsfund, der Vivaldi zu der Unsterblichkeit verholfen hat, die er heute in unserem Musikleben genießt. Und damit herzlich willkommen zur heutigen SWR 2 Musikstunde. 0’56 Musik 1 Antonio Vivaldi Zweiter Satz aus Konzert C-Dur RV 556 <18> Largo 3’00 Ensemble Matheus Jean-Christophe Spinosi, Ltg. Titel CD: Vivaldi. Concerti con Molti Strumenti Disques Pierre Verany, PV 796023, kein LC WDR 5021 145 2 3 Klingt so gar nicht nach Vivaldi: war aber Vivaldi: ein langsamer Satz, der ganz im Zeichen des dunklen Timbres der Klarinette steht. Jean- Christophe Spinosi musizierte mit seinem Ensemble Matheus. 140 Instrumentalwerke, 29 Kantaten, zwölf Opern, ein Oratorium und einige Fragmente, meist autograph von Vivaldi: Gentili war sofort klar: was er da gefunden hatte, das sollte die Turiner Nationalbibliothek erwerben: Aber eine Frage blieb doch noch: wie waren diese Autographe überhaupt in das Kloster gelangt? Und damit noch einen Schritt zurück in der Geschichte: als Vivaldi 1741 in Wien starb, hatte er auf seiner Reise nicht seine umfangreiche Bibliothek mitgeführt.
    [Show full text]
  • Replacement of the Recorder by the Transverse Flute During the Baroque and Classical Periods Victoria Boerner Western University, [email protected]
    Western University Scholarship@Western 2018 Undergraduate Awards The ndeU rgraduate Awards 2018 Replacement of the Recorder by the Transverse Flute During the Baroque and Classical Periods Victoria Boerner Western University, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/undergradawards_2018 Part of the Film and Media Studies Commons, Music Commons, and the Theatre and Performance Studies Commons Recommended Citation Boerner, Victoria, "Replacement of the Recorder by the Transverse Flute During the Baroque and Classical Periods" (2018). 2018 Undergraduate Awards. 10. https://ir.lib.uwo.ca/undergradawards_2018/10 REPLACEMENT OF THE RECORDER BY THE TRANSVERSE FLUTE DURING THE BAROQUE AND CLASSICAL PERIODS Victoria Boerner Music 2710 F Submitted to Dr. K. Helsen December 2, 2014 Boerner 1 Abstract: While the recorder today is primarily an instrument performed by school children, this family of instruments has a long history, and was once more popular than the flute. This paper examines when, why, and how the Western transverse flute surpassed the recorder in popularity. After an explanation of the origins, history, and overlapping names for these various aerophones, this paper examines the social and cultural, technical, and musical reasons that contributed to the recorder’s decline. While all of these factors undoubtedly contributed to this transition, ultimately it appears that cultural, economic, and technical reasons were more important than musical ones, and eventually culminated in the greatly developed popular contemporary flute, and the unfortunately under respected recorder. Boerner 2 The flute family is one of the oldest instrumental families, originating in the late Neolithic period. There are several forms of flutes classified by their method of sound production; for Western music from 1600 to 1800, the most important are the end-blown recorder and cross blown flute.
    [Show full text]
  • Venice Baroque Orchestra: Vivaldi's Juditha Triumphans
    PHOTO BY MATTEODA FINA VENICE BAROQUE ORCHESTRA: VIVALDI’S JUDITHA TRIUMPHANS Saturday, February 4, 2017, at 7:30pm Foellinger Great Hall PROGRAM VENICE BAROQUE ORCHESTRA 300TH ANNIVERSARY TOUR OF VIVALDI’S ORATORIO JUDITHA TRIUMPHANS Andrea Marcon, music director and conductor Delphine Galou, Juditha Mary-Ellen Nesi, Holofernes Ann Hallenberg, Vagaus Francesca Ascioti, Ozias Silke Gäng, Abra Women of the University of Illinois Chamber Singers Andrew Megill, director Antonio Vivaldi Juditha triumphans, RV 644 (1716) (1678-1741) Devicta Holofernis barbarie Sacrum militare oratorium Oratorio in two parts, presented with one 20-minute intermission. Juditha triumphans, commissioned by the Republic of Venice to celebrate the naval victory over the Ottoman Empire at Corfu in 1716, portrays the dramatic story of the Hebrew woman Judith overcoming the invading Assyrian general Holofernes and his army. The Venice Baroque Orchestra is suported by the Fondazione Cassamarca in Treviso, Italy. The Venice Baroque Orchestra appears by arrangement with: Alliance Artist Management 5030 Broadway, Suite 812 New York, NY 10034 www.allianceartistmanagement.com 2 THE ACT OF GIVING OF ACT THE THANK YOU TO THE SPONSORS OF THIS PERFORMANCE Krannert Center honors the spirited generosity of these committed sponsors whose support of this performance continues to strengthen the impact of the arts in our community. * JOAN & PETER HOOD Sixteen Previous Sponsorships Two Current Sponsorships * PAT & ALLAN TUCHMAN Five Previous Sponsorships Two Current Sponsorships *PHOTO CREDIT: ILLINI STUDIO 3 * * JAMES ECONOMY ALICE & JOHN PFEFFER Special Support of Classical Music Nineteen Previous Sponsorships One Season Sponsorship * * THE ACT OF GIVING OF ACT THE MARLYN RINEHART JUDITH & RICHARD SHERRY & NELSON BECK Nine Previous Sponsorships KAPLAN First-Time Sponsors First-Time Sponsors * * CAROLYN G.
    [Show full text]
  • Antonio Vivaldi «The Four Seasons» Nature and the Culture of Sound
    Antonio Vivaldi «The Four Seasons» The Contest Between Harmony and Invention First violins: Federico Cardilli*, Azusa Onishi, Eleonora Minerva, Sabina Morelli Second violins: Leonardo Spinedi*, Francesco Peverini, Alessandro Marini, Vanessa Di Cintio Violas: Gianluca Saggini*, Riccardo Savinelli, Luana De Rubeis Cellos: Giulio Ferretti*, Chiara Burattini Double bass: Alessandro Schillaci Harpsichord: Ettore Maria del Romano Nature and the culture of sound The concerts that we’ve become accustomed to call The Four Seasons, are contained in a series of twelve and were published in Amsterdam in 1725 as Opera 8. Vivaldi himself entitled the work, Il cimento dell’armonia e dell’invenzione (The Pursuit of Harmony and Invention). The collection is dedicated to the Bohemian Count Wenzel von Morzin, who requested the composer as his “maestro of music in Italy”, that is, as a non-resident Kappellmeister: Vivaldi’s fame was widespread in all of Europe. There is no need to add a single word of comment to the title: cimento (pursuit, or test) / armonia (harmony) / invenzione (invention), the sense of composition, between rules and freedom, science and art, is perfectly contained there in. The Seasons – the first four concert of the collection, in the sequence of Spring, Summer, Autumn and Winter – are each accompanied by a sonnet by an anonymous poet. There is reason to believe that the author is Vivaldi himself. The sonnets were neglected on the basis of their literary quality (in a critical review of the work from 1950, Gian Francesco Malipiero misjudges them, “captions of an extremely Baroque nature that define the character of the work as almost that of program music”).
    [Show full text]
  • 22 Modo Antiquo SPIRITO DI CORELLI.Pdf
    spiriti Sabato Conservatorio Giuseppe Verdi ore 20 - ore 22.30 TORINO 12 LO SPIRITO settembre DI CORELLI Torino Milano Festival Internazionale della Musica Un progetto di Con il contributo di Realizzato da LO SPIRITO DI CORELLI Corelli fu il modello di perfezione riconosciuto sino alla fine del Settecento. I suoi pochi lavori furono pubblicati e ripubblicati, copiati e diffusi in tutta Europa. Così il suo spirito animò Händel e Geminiani, suoi allievi, e il giovane Vivaldi, e ancora forse aleggia, in un brano scritto apposta per questo concerto. Il concerto è preceduto da una breve introduzione di Stefano Catucci. Arcangelo Corelli (1653-1713) Concerto grosso n. 4 in re maggiore op. 6 Adagio. Allegro – Adagio – Vivace – Allegro Francesco Geminiani (1687-1762) Concerto grosso n. 2 in sol minore op. 3 Largo e staccato – Allegro – Adagio – Allegro Georg Friedrich Händel (1685-1759) Concerto grosso n. 4 in fa maggiore op. 3 HWV 315 Andante. Allegro. Lentement – Andante – Allegro – Minuetto alternativo Federico Maria Sardelli (1963) Concerto grosso nello spirito di Corelli PRIMA ESECUZIONE ASSOLUTA Georg Friedrich Händel Concerto grosso n. 6 in sol minore op. 6 HWV 324 Largo e affettuoso – A tempo giusto – Musette. Larghetto – Allegro Antonio Vivaldi (1678-1741) Concerto n. 11 in re minore RV 565 da L’Estro Armonico op. 3 Allegro – Adagio e spiccato – Allegro – Largo e spiccato – Allegro Modo Antiquo Federico Maria Sardelli direttore La direzione artistica del festival invita a non utilizzare in alcun modo gli smartphone durante il concerto, nemmeno se posti in modalità aerea o silenziosa. L’accensione del display può infatti disturbare gli altri ascoltatori.
    [Show full text]
  • Vivaldi Complete MP3 DVD-Details
    Antonio Vivaldi (1678 – 1741) Sämtliche Werke / Complete works MP3 – Format Details Antonio Vivaldi (1678-1741) Sämtliche Werke / Complete works MP3 - Die ID3-Tags enthalten alle Interpreten / The ID3-Tags contains the performers - Bezeichnugen der Tonarten / Descriptions of Keys: 1. Dur-Tonarten sind dargestellt in Großbuchstaben, Moll-Tonarten in Kleinbuchstaben Major-keys are described with capital letters, minor-keys with lower case letters 2. Die Bezeichnungen sind in englisch mit folgenden Ausnahmen / The Descriptions are in english with exceptions : B/b=deutsch H-Dur/moll , Bb/bb=deutsch B-Dur/moll, Ab/Eb,…=deutsch As/Es,... Ab,Eb,Bb,… = A,E,B flat Major/minor, Fis,Gis,… = F,G sharp Major/minor - b.c. = basso continuo (Generalbass / General basso) Gesamtzeit / Time sum 199:05:21 = 8 Tage 4 Stunden / 8 days 4 hours Titel / Title Zeit/Time Titel / Title Zeit/Time 1. Concertos 90:17:38 1.1. Concertos for Violin solo 38:59:40 op. 3 Orchestra da camera "I Filarmonici",Violin-Alberto Martini,Ettore Pellegrino,Stefano Pagliani 1.RV549 Conc.f.4 Violins,Cello,Strings & b.c. in D 0:08:14 7. RV567 Concerto for 4 Violins,Cello & b.c. in F 0:08:20 2.RV578 Concerto 2 for 2 Violins,Cello & b.c. in g 0:09:23 8. RV522 Concerto for 2 Violins & b.c. in a 0:10:32 3.RV310 Concerto for Violin,Strings & b.c. in G 0:06:34 9. RV230 Concerto for Violin & b.c. in D 0:07:43 4.RV550 Concerto for 4 Violins,Strings & b.c. in e 0:06:43 10.RV580 Concerto for 4 Violins,Cello & b.c.
    [Show full text]
  • Original Instruments
    7778.02 cover.qxp_CDS 7764 cover.qxd 31/10/2018 13:54 Page 1 CDS7778.02 Dynamic Srl Via Mura Chiappe 39, 16136 Genova - Italy tel.+39 010.27.22.884 fax +39 010.21.39.37 [email protected] visit us at www.dynamic.it DynamicOperaClassic Dynamic opera and classical music ORIGINAL INSTRUMENTS 7778.02 booklet.qxp_550 booklet.qxd 31/10/2018 15:41 Page 1 CDS7778.02 (DDD) ANTONIO VIVALDI (Venice, 1678 - Vienna, 1741) La Stravaganza - 12 Violin Concertos Op. IV Tot. Running Time 51:41 Concerto No. 1 in B flat major RV 383a 07:54 1 Allegro 02:55 2 Largo 02:35 3 Allegro 02:24 Concerto No. 2 in E minor RV 279 09:23 4 Allegro 03:58 5 Largo 02:24 6 Allegro 03:01 Concerto No. 3 in G major RV 301 08:22 7 Allegro 02:45 8 Largo 02:44 9 Allegro assai 02:53 Concerto No. 4 in A minor RV 357 07:58 10 Allegro 02:42 11 Grave 02:52 12 Allegro 02:24 7778.02 booklet.qxp_550 booklet.qxd 31/10/2018 15:41 Page 2 Concerto No. 5 in A major RV 347 08:56 13 Allegro 03:32 14 Largo 02:15 15 Allegro 03:09 Concerto No. 6 in G minor RV 316a 08:59 16 Allegro 02:32 17 Largo 02:57 18 Allegro 03:30 Tot. Running Time 45:27 Concerto No. 7 in C major RV 185 07:19 01 Largo 01:54 02 Allegro 02:06 03 Largo 01:22 04 Allegro 01:57 Concerto No.
    [Show full text]