Francesco durante magnificat pdf Continue From ChoralWiki (Redirected from Magnificat (Francesco Durante)) Go to Navigation Go to Search (Posted 2008-08-26) CPDL #17974: Editor: Claude Talle (represented 2008-08-26). Rating information: A4, 8 pages, 218 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-02-21) CPDL #16215: Editor: Gus Sobel (represented 2008-02-21). Rating information: A4, 34 pages, 602 KB Copyright: CPDL Edition notes: Attributed to Giovanni Battista Pergolesi. The keyboard is short of the original accompaniment. Possible error (s) is defined. See the full description on the discussion page. (Published 2008-08-26) CPDL #17975: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 3 pages, 127 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08-26) CPDL #17976: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 4 pages, 114 KB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08-26) CPDL #17977: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 2 pages, 82 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08-26) CPDL #17978: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 3 pages, 91 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. (Published 2008-08- 26) CPDL #17979: Editor: Claude Tallier (represented 2008-08-26). Rating information: A4, 6 pages, 195 kB Copyright: CPDL Edition notes: Keyboard abbreviation of original accompaniment. Title: Magnificat Composer: Francesco Durante, often attrib. His Apprentice Giovanni Battista Pergolesi Number of Voices: 4vv Voicing: SATB genre: Sacred, Motet Language: Latin Instruments: String Ensemble: 2 Violins, Viola and Continuo First Published: Description: This is a better known four-room version of Durante's Magnificat. Here you can find a five-day version with significant differences. External Websites: About the attribution of this work. Original text and translations Original text and translations can be found on Magnificat. For Italian surgeon and politician, see Francesco Durante (surgeon). Francesco Durante Francesco Durante (March 31, 1684-September 30, 1755) was a Neapolitan composer. He was born in Frattamazor, in the Kingdom of Naples, and at an early age enrolled in the Conservatoire dei poveri di Gese Cristo in Naples, where he received lessons from Gaetano Greco. He later became a pupil of Alessandro Scarlatti at the Sant'Onofrio Conservatory. It was also to be studied under the direction of Bernardo Paschini and Giuseppe Ottavio Pitoni in Rome, but there is no documentary evidence. They say he's changed. 1725 in Sant Onofrio, and remained there until 1742, when he succeeded Porpora as head of the conservatory of Santa Maria di Loreto, also in Naples. He held this position for thirteen years, until his death in Naples. He was married three times. His fame as a teacher was considerable, and Niccolo Giommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolo Piccinni and Leonardo Vinci were among his disciples. As a teacher, he insisted on the unreasonable observance of the rules, thus different from Scarlatti, who treated all his students as individuals. The complete collection of Durante's works, consisting almost exclusively of sacred music, was presented by Gaspar Selvaggy, a Neapolitan collector and music theorist, at the National Library of Paris. The catalogue can be found in the universe of Fetis's biography. The Imperial Library of Vienna also houses a valuable collection of Durante manuscripts. Two requiems, several masses (one of which, the most original work, pastoral mass for four voices) and the Cry of the Prophet Jeremiah are among his most important parameters. His Magnificat has achieved popularity partly because of its mis-spread on Pergolesi. Durante finds a place at The Ore Garnier, Paris, perhaps because of his disciples The fact that Durante never composed for the stage has earned him an exaggerated reputation as a composer of sacred music. Considered one of the best church composers of his style and period, he seems to have founded a sentimental school of Italian church music. However, Hasse protested that Durante was described as Italy's greatest harmonist, a name he attributed to Alessandro Scarlatti. Discography Solf'ges d'Italie, No 137: Danza, danza, fanciulla gentile, with Frederica von Stud (mezzo-soprano) and Martin Katz (piano), CBS, 1982 Media Vergine tutto amore (help) Links - Selvaggi, Trattato di armonia, 1823. Sadie's Sources, S. (ed.) (1980) New Grove Dictionary of Music and Musicians, #5. Peter van Tur: Counterpoint and Partimento: Methods of Teaching Composition in the late eighteenth century of Naples. 2015. 318p. (Studia musicologica Upsaliensia, 0081-6744 ; 25) ISBN 978-91-554-9197-0. This article includes a text from a publication currently in the public domain: Chisholm, Hugh, ed. Durante, Francesco. Encyclopedia Britannica. 8 (11th - note. Cambridge University Press. p. 694-695. External media references associated with Francesco Durante in the Commons Free Assessments by Francesco Durante at the International Music Library Evaluation Project (IMSLP) Free evaluations of Francesco Durante in the Choral Library of the Public Domain (ChoralWiki) Istituto Internazionale for lo studio del '700 musicale napolet SATB and Chamber Ensemble Orchestration: 2 Violins, Cello, Bass, Chamber Body Accompaniment for Durante ('Pergolesi') Magnificat from the anthology of John Rutter's Sacred Choirs. Gorgeous curtain-raiser For Gloria Vivaldi. For SATB and chamber ensemble Magnificent Curtain-Raiser For Gloria Vivaldi, the wily Magnificat Francesco Durante has long misunderstood his pupil Pergolesi in the version for four voices rather than five. The vocally rich five-game version of Durante was chosen for the volume of Sacred Choirs that accompanies this orchestration, and deserves to be performed as an alternative to the familiar four-voice version, which may or may not be Durante's own work. Show more Francesco Durante, John Rutter Wolfgang Amadeus Mozart, Richard Maunder Gabriel Faure, John Rutter Javascript required to submit files. The name of Magnificat's work in B-flat is the main alternative. The name Magnificat in Si bemolle maggiore for because of soprani, viola, tenor, basso, archi electronic bass-continuo Composer Durante, Francesco I-Catalogue NumberI-Cat. No. IFD 17 Key B-flat main movements/sectionsMov'ts/Sec 7 movements: I. Magnificat, anima mea dominum. Allegro II. Et jubilant spiritus meus. Staccato, e fort III. ferit potenties. (No tempo) IV. Deposed potentes. (No tempo) in: Suscepit Israel. Largo VI. Sikut Lokutus. Allegro VII. Gloria Patri. The grave language of the Latin composer Period of TimeComp. Period Baroque Piece Baroque Style Instruments 2 soprano, viola, tenor, bass, strings, continuo Primary sources Mss parts, n.d. (1768-71) By Joseph Mahsner and Joseph Kammle. PL-Wu, RM 4339 Additional information Originally for 5 votes, revised to 4 RISM votes shows other Magnificats in this Durante key. Most of them have 4 votes and a basso or organ. It is not known whether these are different Magnificats or whether it is the location of one of them. Francesco Durante (composer) Born: 31 March 1684 - Frattamagiore, Avers, Italy Died: September 30, 1755 - Naples, Italy Francesco Durante was an Italian composer. He was a leading composer of church music and an outstanding teacher of international reputation. Francesco Durante was seventh out of 11 of Gaetano Durante and Orsola Capasso. His father, a woollen, served as a sexton and singer in S Maria degli Angeli e Sossio, Frattamaggiore, where he and his wife married on October 31, 1674 and where all their children were baptized. His uncle, Don Angelo Durante (c1650 - after 1704), was a priest and musician who in 1690 succeeded Cristoforo Carsana as the prima maestro of the Neapolitan Conservatoire di S Onofrio Capuana, of which he was rector until 1699. Don Angelo composed several Dremmi sakri (Gara amorosa tra Cileo, la Terra e'l Mare, Monteforte, 1697; S Giuliano Martire in Sora, Naples, 1700; L'Anacoreta reale S Onofrio di Persia, Naples, 1705), as well as church music, about which (two voices and continuo, D-BNu). Nothing is known about Francesco's education until his father died on March 18, 1699, when his uncle took over his musical education. Don Angelo left Naples to help his widowed daughter- in-law and her children, and Nicola Sabini took up her duties at the conservatory; but in 1702 he returned to his post at S Onofrio and Francesco enrolled as a convittore to study with his uncle and violinist Gaetano Francone. Three years later Francesco left the conservatory, and on June 13, 1705, his first known creative effort, scherzo drammatico called Prodigii della divina misericordia misericordia verso i devoti del glorioso S Antonio di Padova, was performed in Naples. Little is known about the life of Francesco Durante between then and 1728, when he was appointed the maestro of the Neapolitan Conservatoire dei Overdi di Gese Cristo. Choron and Fayol (1810) stated that he had studied with Pascini and Pitoni in Rome for five years, and although this was later disavowed (Villaroza and Florimo), circumstantial evidence seems to support them. Girolamo Chichi, in a letter to Padre Martini dated September 10, 1746, defined Durante as Scolaro di Pitoni; Chichi himself was a pupil of Pitoni around 1713, so his statement has some powers. Durante could have been in Rome either between 1705 and 1710, which would have allowed research with Pascini (who died in 1710), or between 1711 and 1719. Durante's only dated composition from the first period, his Missa S Ildefonsi of 1709, could have been written for the Spanish church in Rome or Naples. By July 1710 he was in Naples, where he began teaching at the conservatory s Onofrio. He stayed there for only six months, leaving the institution on January 12, 1711, perhaps to return to Rome or study there with Pitoni for the first time.