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2024-04-28
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George Frideric Handel Lea Desandre Emmanuelle Haïm Margherita Durastanti Shepherd Devieilhe Griffiths Arcadian Academy 1685 1708 1759
Fiamma bella ch’al ciel s’invia from the cantata Aminta e Fillide, HWV 83 by George Frideric Handel +••.••(...)) Lea Desandre, mezzo-soprano Le Concert d'Astrée Emmanuelle Haïm, conductor Fiamma bella ch’al ciel s’invia, s’Euro infido gli nega affetto, cangia a forza l’usato sentier. Così ancora, se cruda, se ria te discaccio da questo mio petto, volgi altrove l’amante pensier. The lovely flame which rises to heaven should the wayward east wind deny it achievement must change its usual path. So also, if harshly and cruelly I drive you from my heart, your loving thoughts should turn elsewhere. Aminta e Fillide is one of only seven cantatas that Handel composed for more than one singer. It was almost certainly written for the first meeting of the Arcadian Academy in 1708, the performance taking place in a suitably pastoral setting, the gardens of Italian arts patron Francesco Maria Ruspoli. One of the roles was likely sung by Margherita Durastanti, a favorite singer of Handel's. It sits squarely in the pastoral tradition with a shepherd, Aminta, who woos and eventually wins (something unusual in these cantatas that are more often about unrequited love) the shepherdess Fillide. Handel often reused music from these cantatas, since they were for private performances and not published. This aria, for example, was repurposed as Agrippina's Ogni vento (also for Durastanti) a year later. CD available from Erato: (http•••) Art by Carne Griffiths (Artist working in Ink, Tea and Alcohol): (http•••)
Giovanni Battista Martini Guidetti Benedetto Marcello 1673 1707 1746 1784
Autor: Giovanni Battista Martini +••.••(...)) Obra: Concerto in Re Maggiore Intèrprets: Massimo MerceIIi (flute); Orchestra da Camera Benedetto MarceIIo Pintura: Nikolaas Verkolje +••.••(...)) - De roof van Europa Comprar/Purchase: (http•••) / [Padre] Giovanni Battista Martini (Bologna, 24 April 1706 - Bologna, 3 August 1784) Italian writer on music, teacher and composer. Referred to at his death as ‘Dio della musica de’ nostri tempi’, he is one of the most famous figures in 18th-century music. He had his first music lessons from his father Antonio Maria, a violinist and cellist; subsequent teachers were Angelo Predieri, Giovanni Antonio Ricieri, Francesco Antonio Pistocchi and Giacomo Antonio Perti. In 1721, after indicating his wish to become a monk, he was sent to the Franciscan Conventual monastery in Lugo di Romagna. He returned to Bologna towards the end of 1722 and played the organ at S Francesco. In 1725 he succeeded Padre Ferdinando Gridi as maestro di cappella of S Francesco. He occupied that post until the last years of his life, and lived in the convent attached to the church. Martini received minor orders in 1725, and four years later was ordained a priest. His first extant works date from 1724 and the first publication of his music appeared in 1734, Litaniae atque antiphonae finales Beatae Virginis Mariae; only three other collections of his music, all secular, were published during his lifetime. In 1758, he was made a member of the Accademia dell’Istituto delle Scienze di Bologna. In the same year he was also admitted to the Accademia Filarmonica – belated recognition in this case, because the rules prohibiting the admission of monks had to be waived. Martini’s relationship with the Accademia is a matter of controversy. He was certainly not the author of the Catalogo degli aggregati della Accademia filarmonica di Bologna, an important manuscript long attributed to him but actually by O. Penna (c.1736), though he was involved in the reworking of part of the Catalogo which resulted in the anonymous publication ‘Serie cronologica de’ principi dell’Accademia de’ filarmonici’ (1776). In any case, Martini seems to have remained somewhat independent of the Accademia and its members. In 1776 he was elected a member of the Arcadian Academy in Rome, with the name Aristosseno Anfioneo. Martini devoted himself assiduously to composing, writing and teaching, and he seldom left Bologna. He visited Florence, Siena and Pisa in 1759, and Rome. He was offered positions in the Vatican, but he chose to remain in the city of his birth. Although he lived to the age of 78, he apparently suffered from poor health, which may account for the fact that he travelled so little. According to contemporary accounts, Martini’s pupil and successor at S Francesco, Padre Stanislao Mattei, was alone with him when he died; Martini’s last words to Mattei were reported to have been: ‘Muoio contento; so in che mani lascio il mio posto ed i miei scritti’ Although the extent of his teaching activities with individual students is not always clear, at least 69 composers learnt substantially from him and 35 others received some less clearly defined instruction. Among the former were J.C. Bach, Bertoni, Grétry, Jommelli, Mozart and Naumann; Martini taught them primarily counterpoint, often preparing advanced students for admission to the Accademia Filarmonica. He also devoted some time to singing instruction, as witness a number of surviving solfeggi. Martini’s network of students was important for his activity as a collector of music and music-related documents; he probably used income from teaching to increase his music library, which was estimated by Burney at about 17,000 volumes in 1770. Some items, including the important library of Ercole Bottrigari, came into Martini’s possession by bequest (1751); others were either purchased or exchanged for copies of his own greatly valued printed works. One of Martini’s most important legacies is his extensive correspondence (about 6000 letters), only a small part of which has been published. He was also famed for his collections of music and portraits of composers, over than 300 portraits, many of whom were commissioned at his behest. As a theoretician, his most famous work was the unfinished Storia della musica, which purported to begin with Adam and end with an overview of modern 18th-century composers and styles. Martini was considered the model by Charles Burney, who consulted the theorist on his own endeavors. As a composer, Martini was less well known with circa 1500 extant works; 32 Masses, five operas, two oratorios, a Requiem, a litany, over 100 smaller sacred works, 24 symphonies, 94 keyboard sonatas, a variety of smaller chamber works and hundreds of organ canons.
Telemann Németh Nicholas McGegan Székely László Christopher Hogwood Mozart Handel Lorraine Hunt Lieberson Capella Savaria Philharmonia Baroque Orchestra Milwaukee Symphony Orchestra Saint Paul Chamber Orchestra Irish Chamber Orchestra Magyar Állami Operaház Göttingen International Handel Festival Handel Festival 1950 1985 1987 1991 2002 2005 2010 2011 2012
Der Geduldige Sokrates - balettmusic von G. Ph. Telemann operasól. Részlet hangzott (és látszott) el G. Ph. Telemann A türelmes Sokrates c. operájából. A HUNGAROTON felvételén a Capella Savaria kamarazenekart, melynek művészeti vezetője Németh Pál volt, NICHOLAS McGEGAN vezényelte Barkóczy Sándor koreográfiáját a Magyar Állami Operaház táncosai adták elő zenei rendező Székely András, szerkesztő dr. Nádori Péter, operatőr - Kaplony Miklós, rendező Sólyom László - 1987. A rövidke jelenettel a pályája kezdetén álló, fiatalon elhunyt Kaplony Miklósra emlékezzünk. (Beckmesser S. -2012.) Nicholas McGegan OBE (born 14 January 1950 in Sawbridgeworth, Hertfordshire, England) is a British harpsichordist, flautist, conductor and early music expert. McGegan received his early education at Nottingham High School. He subsequently studied music at Corpus Christi College, Cambridge and at Magdalen College, Oxford. McGegan has participated in some of the earliest authentic-performance recordings during the 1970s as a baroque flautist,[1] including Christopher Hogwood's seminal recordings of Mozart symphonies. He has taught music at such UK institutions as King's College, Cambridge, Oriel College, Oxford, and the Royal College of Music. In the USA, McGegan has served as artist-in-residence at Washington University in St. Louis. In 1985, McGegan became music director of the Philharmonia Baroque Orchestra (PBO) in San Francisco, USA. From 1991 to 2011, McGegan was artistic director of the Göttingen International Handel Festival.[2] He has also held long-term appointments with the Drottningholm Theatre, the Milwaukee Symphony Orchestra and the Saint Paul Chamber Orchestra. McGegan founded the chamber music group, The Arcadian Academy. He was music director of the Irish Chamber Orchestra from 2002 to 2005. McGegan has made more than 100 recordings, including many with the PBO and singers such as Lorraine Hunt Lieberson and Lisa Saffer, for such labels as harmonia mundi. He has collected a number of honors, including an honorary degree from the Royal College of Music in London, the Handel Music Prize from the Handel Festival in Halle, Germany, and the honorary medal of the Friends of the Drottningholm Theatre. McGegan resides in San Francisco and Glasgow.[1] He was appointed Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours
Bernardo Pasquini Antonio Cesti Loreto Vittori Borghese Corelli Alessandro Scarlatti Domenico Scarlatti Francesco Gasparini Georg Muffat 1637 1650 1663 1664 1670 1706 1710
Steven Speciale learning and recording music for the chamber organ. (http•••) Composer and keyboard player. He was in Rome by 1650, studied with Antonio Cesti and Loreto Vittori, and became organist of S. Maria Maggiore (around 1663), S. Maria in Aracoeli (1664 until his death), and the Oratory of SS. Crocifisso +••.••(...)). At some point around 1670 he entered the employ of Prince Giambattista Borghese as harpsichordist and music director. Famous in his time as an outstanding keyboard virtuoso, Pasquini frequently performed with Corelli; the two became members, along with Alessandro Scarlatti, of the Arcadian Academy in 1706. He was renowned as a teacher; his students included Francesco Gasparini,Georg Muffat, and possibly Domenico Scarlatti. He composed a considerable amount of vocal music (much of it lost), including about seventeen oratorios, fourteen operas, and over fifty cantatas, but his present reputation rests on his keyboard works, especially his suites and variations, most unpublished during his lifetime.