Vivaldi - Concerto for Two Violins in A Minor RV522HARMONICO1012008-03-03 | ANTONIO VIVALDI (1678-1741)
Concerto for two violins, strings, and basso continuo in A minor RV522 Op. 3 No. 8 "L'estro Armonico"
1. Allegro
2. Larghetto e spiritoso
3. Allegro
Performed by Tafelmusik
Featuring Jeanne Lamon and Genevieve Gilardeau, violins
Conducted by Jeanne LamonLotti - Crucifixus for 8 voicesHARMONICO1012012-08-19 | ANTONIO LOTTI (c. 1667-1740)
"Crucifixus" for 8 voices
Performed by The Cambridge Singers Directed by John Rutter
Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. (Latin)
Crucified also for us under Pontius Pilate, suffered and was buried
*Antonio Lotti was an Italian composer of classical music. Lotti was born in Venice, although his father Matteo was Kapellmeister at Hanover at the time. In 1682, Lotti began studying with Lodovico Fuga and Giovanni Legrenzi, both of whom were employed at St Mark's Basilica, Venice's principal church. Lotti made his career at St Mark's, first as an alto singer (from 1689), then as assistant to the second organist, then as second organist (from 1692), then (from 1704) as first organist, and finally (from 1736) as maestro di cappella, a position he held until his death. He also wrote music for, and taught at, the Ospedale degli Incurabili. In 1717 he was given leave to go to Dresden, where a number of his operas were produced, including Giove in Argo, Teofane and Li quattro elementi (all with librettos by Antonio Maria Luchini). Other works written in Venice include Giustino; Trionfo dell'Innocenza; the first act of Tirsi, Achille Placato, Teuzzone, Ama più che non si crede, Il comando inteso e tradito, Sidonio, Isaccio tiranno, La forze de sangue, Il Tradimento traditore di sè stesso, L'Infedeltà punita, Poresenna, Irene Augusta, Polidoro, Foca superbo, Alessandro Severo, Il Vincitore Generossi. In Dresden, he wrote Odii del Sangue delusi. He returned to Venice in 1719 and remained there until his death in 1740. Lotti wrote in a variety of forms, producing masses, cantatas, madrigals, around thirty operas, and instrumental music. His sacred choral works are often unaccompanied (a cappella). His work is considered a bridge between the established Baroque and emerging Classical styles. Lotti is thought to have influenced Johann Sebastian Bach, George Frideric Handel, and Johann Dismas Zelenka, all of whom had copies of Lotti's mass, the Missa Sapientiae. Lotti was a notable teacher, with Domenico Alberti, Benedetto Marcello, Baldassare Galuppi, Giuseppe Saratelli and Johann Dismas Zelenka among his pupils. He was married to the noted soprano Santa Stella.Mozart - Symphony #34 in C Major K 338HARMONICO1012012-08-16 | WOLFGANG AMADEUS MOZART (1756-1791)
Symphony for 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings in C major K 338
1. Allegro vivace
2. Andante di molto (più tosto Allegretto) 6:56
3. Finale: Allegro vivace 14:05
Performed by The English Concert Directed by Trevor Pinnock
*The third movement is my personal favourite from this symphony. Always manages to put me in a good mood and get me energized for the day. :) **This symphony was written in 1780, and completed on 29 August. Although most symphonies have four movements, this symphony has only three, which was still common in the early classical period. It features the fanfares and flourishes typical of the "festive symphony" or "trumpet symphony", which is characteristic of Austrian symphonic writing in C major. This is the first of Mozart's C-major symphonies to exhibit this character, but the style would be revisited in his subsequent two works in this key, the 36th and 41st symphonies. The first movement is written in sonata form but also contains many styles and formal aspects of an Italian overture. There is no expositional repeat. The expositional coda contains an overture-like crescendo which is not included in the recapitulation. The development is based entirely on new material. The recapitulation on the exposition's first theme is abbreviated and interrupted by a brief development of that theme. Finally, the movement's coda contains nearly all of this first theme creating the appearance of a reverse-recapitulation common in Italian overtures. The second movement in F major is scored for strings sotto voce with divided violas and a single bassoon doubling the cellos and bass. Alfred Einstein advanced a theory in the third edition of the Köchel catalogue that the Minuet K. 409 was written at a later date by the composer for this work. However, there is no proof in the sources to support his thesis. Also, K. 409 calls for two flutes in its orchestration which does not match the rest of the symphony. The finale is in sonata form and features energetic tarantella or saltarello rhythms.Vivaldi - Semiramide RV 733 Con la face di megeraHARMONICO1012011-08-15 | ANTONIO VIVALDI (1678-1741)
Semiramide RV 733
Aria "Con la face di megera" for bass, strings, and continuo
Featuring Lorenzo Regazzo, bass Directed by Rinaldo Alessandrini Performed by Concerto ItalianoGlass - Satyagraha - Act I: Tolstoy FarmHARMONICO1012011-07-02 | PHILIP GLASS (b. 1937)
Satyagraha
Act I: Leo Tolstoy
Scene 2 - Tolstoy Farm (1910)
Performed by the New York City Opera Chorus & New York City Opera Orchestra Conducted by Christopher Keene
*Satyagraha (English pronunciation: /sʌtˈjɑːɡrəhə/, Sanskrit satyāgraha "insistence on truth") is an opera in three acts for orchestra, chorus and soloists, composed by Philip Glass, with a libretto by Glass and Constance de Jong. The opera is loosely based on the life of Mohandas K. Gandhi, and is the second part of Glass's "Portrait Trilogy" of operas about men who changed the world, which also includes Einstein on the Beach and Akhnaten. Philip Glass's style can broadly be described as minimalist, but the music in Satyagraha is somewhat more expansive than is implied by that label. The cast of the opera includes 2 sopranos, 2 mezzo-sopranos, 2 tenors, a baritone and 2 basses and a large SATB chorus. The orchestra is strings and woodwinds only, no brass or percussion.
The title of the opera refers to Gandhi's concept of non-violent resistance to injustice, Satyagraha, and the text, from the Bhagavad Gita, is sung in the original Sanskrit. In performance, translation is usually provided in supertitles. As the passages are generally repeated, the DVD provides the full text at the beginning of each scene.
Satyagraha was commissioned by the city of Rotterdam, Netherlands, and was first performed at the Stadsschouwburg (Municipal Theatre) there on September 5, 1980 by the Netherlands Opera and the Utrecht Symphony Orchestra, conducted by Bruce Ferden.
**Going through a rough patch in my life right now and I personally have found that this music has given me solace. Hence why I'm sharing it with you all today.Glass - Satyagraha - Act II: Tagore - Confrontation & Rescue (2/2)HARMONICO1012011-06-03 | PHILIP GLASS (b. 1937)
Satyagraha
Act II: Rabindranath Tagore
Scene 1 - Confrontation and Rescue (1896)
Performed by the New York City Opera Chorus & New York City Opera Orchestra Conducted by Christopher Keene
*Satyagraha (English pronunciation: /sʌtˈjɑːɡrəhə/, Sanskrit satyāgraha "insistence on truth") is an opera in three acts for orchestra, chorus and soloists, composed by Philip Glass, with a libretto by Glass and Constance de Jong. The opera is loosely based on the life of Mohandas K. Gandhi, and is the second part of Glass's "Portrait Trilogy" of operas about men who changed the world, which also includes Einstein on the Beach and Akhnaten. Philip Glass's style can broadly be described as minimalist, but the music in Satyagraha is somewhat more expansive than is implied by that label. The cast of the opera includes 2 sopranos, 2 mezzo-sopranos, 2 tenors, a baritone and 2 basses and a large SATB chorus. The orchestra is strings and woodwinds only, no brass or percussion.
The title of the opera refers to Gandhi's concept of non-violent resistance to injustice, Satyagraha, and the text, from the Bhagavad Gita, is sung in the original Sanskrit. In performance, translation is usually provided in supertitles. As the passages are generally repeated, the DVD provides the full text at the beginning of each scene.
Satyagraha was commissioned by the city of Rotterdam, Netherlands, and was first performed at the Stadsschouwburg (Municipal Theatre) there on September 5, 1980 by the Netherlands Opera and the Utrecht Symphony Orchestra, conducted by Bruce Ferden.Glass - Satyagraha - Act II: Tagore - Confrontation & Rescue (1/2)HARMONICO1012011-06-02 | PHILIP GLASS (b. 1937)
Satyagraha
Act II: Rabindranath Tagore
Scene 1 - Confrontation and Rescue (1896)
Performed by the New York City Opera Chorus & New York City Opera Orchestra Conducted by Christopher Keene
*Satyagraha (English pronunciation: /sʌtˈjɑːɡrəhə/, Sanskrit satyāgraha "insistence on truth") is an opera in three acts for orchestra, chorus and soloists, composed by Philip Glass, with a libretto by Glass and Constance de Jong. The opera is loosely based on the life of Mohandas K. Gandhi, and is the second part of Glass's "Portrait Trilogy" of operas about men who changed the world, which also includes Einstein on the Beach and Akhnaten. Philip Glass's style can broadly be described as minimalist, but the music in Satyagraha is somewhat more expansive than is implied by that label. The cast of the opera includes 2 sopranos, 2 mezzo-sopranos, 2 tenors, a baritone and 2 basses and a large SATB chorus. The orchestra is strings and woodwinds only, no brass or percussion.
The title of the opera refers to Gandhi's concept of non-violent resistance to injustice, Satyagraha, and the text, from the Bhagavad Gita, is sung in the original Sanskrit. In performance, translation is usually provided in supertitles. As the passages are generally repeated, the DVD provides the full text at the beginning of each scene.
Satyagraha was commissioned by the city of Rotterdam, Netherlands, and was first performed at the Stadsschouwburg (Municipal Theatre) there on September 5, 1980 by the Netherlands Opera and the Utrecht Symphony Orchestra, conducted by Bruce Ferden.Bach - Missa Breve in G Minor BWV 235 - Mov. 6/6HARMONICO1012011-05-27 | JOHANN SEBASTIAN BACH (1685-1750)
Missa Breve for SATB choir, soloists, two oboes, strings and basso continuo in G minor
6. Cum Sancto Spiritu
Performed by Cantus Cölln
Directed by Konrad Junghänel
Trio sonata for two violins and basso continuo in G minor Op. 2 #6 HWV 391
1. Andante
2. Allegro (2:12)
3. Arioso (4:15)
4. Allegro (7:00)
Performed by Pavlo Beznosiuk, violin Rodolfo Richter, violin Joseph Crouch, cello Richard Egarr, harpsichord
*Detail of "The Sacrifice of Isaac" by Christian Wilhelm Ernst Dietrich (1712-1744)Bach - Oboe dAmore Concerto in D BWV 1053 - 3/3HARMONICO1012010-10-22 | JOHANN SEBASTIAN BACH (1685-1750)
Concerto for oboe d'amore in D major BWV 1053 (Reconstruction)
3. Allegro
Performed by Cafe Zimmerman Directed by Pablo Valetti
"Italianate Landscape" by Christian Wilhelm Ernst Dietrich (1712-1744)
*Reconstruction based on the harpsichord concerto in E major BWV 1053Bach - Oboe dAmore Concerto in D BWV 1053 - 2/3HARMONICO1012010-10-22 | JOHANN SEBASTIAN BACH (1685-1750)
Concerto for oboe d'amore in D major BWV 1053 (Reconstruction)
2. Siciliano
Performed by Cafe Zimmerman Directed by Pablo Valetti
"Italianate Landscape" by Christian Wilhelm Ernst Dietrich (1712-1744)
*Reconstruction based on the harpsichord concerto in E major BWV 1053Bach - Oboe dAmore Concerto in D BWV 1053 - 1/3HARMONICO1012010-10-22 | JOHANN SEBASTIAN BACH (1685-1750)
Concerto for oboe d'amore in D major BWV 1053 (Reconstruction)
1. [...]
Performed by Cafe Zimmerman Directed by Pablo Valetti
"Italianate Landscape" by Christian Wilhelm Ernst Dietrich (1712-1744)
*Reconstruction based on the harpsichord concerto in E major BWV 1053Durante - Lamentationes Jeremiae Prophetae - Mov. 7-9/9HARMONICO1012010-07-05 | FRANCESCO DURANTE (1684 - 1755)
"Lamentations of the Prophet Jeremiah" for SATB choir, strings, two trombe da caccia and basso continuo (Lettione terza del Venerdi Santo. Con Istromenti e Trombe da Caccia a 4 voci)
7. Recordare (Chorus)
8. Mulieres in Sion (Soprano)
9. Jerusalem convertere (Chorus)
Performed by the Coro della Radio Svizzera, Lugano
Roberta Invernizzi, soprano
Dorothee Labusch, alto
Antonio Abete, bass
Sonatori de la Gioiosa Marca
Directed by Diego Fasolis
"Jeremiah" (1511) from the Sistine Chapel by Michelangelo Buonarroti (1475 - 1564)
*Francesco Durante (31 March 1684 -- 30 September 1755) was an Italian composer.
He was born at Frattamaggiore, in the Kingdom of Two Sicilies, and at an early age he entered the Conservatorio dei poveri di Gesù Cristo, in Naples, where he received lessons from Gaetano Greco. Later he became a pupil of Alessandro Scarlatti at the Conservatorio di Sant'Onofrio. He is also supposed to have studied under Bernardo Pasquini and Giuseppe Ottavio Pitoni in Rome, but there is no documentary evidence. He is said to have succeeded Scarlatti in 1725 at Sant' Onofrio, and to have remained there until 1742, when he succeeded Porpora as head of the Conservatorio di Santa Maria di Loreto, also in Naples. This post he held for thirteen years, till his death in Naples. He was married three times.
His fame as a teacher was considerable, and Niccolò Jommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolò Piccinni and Leonardo Vinci were amongst his pupils. As a teacher, he insisted on the unreasoning observance of rules, differing thus from Scarlatti, who treated all his pupils as individuals. A complete collection of Durante's works, consisting almost exclusively of sacred music, was presented by Selvaggi, a Neapolitan art collector, to the Paris library. A catalogue may be found in Fétis's Biographie universelle. The imperial library of Vienna also preserves a valuable collection of Durante's manuscripts. Two requiems, several masses (one of which, a most original work, is the Pastoral Mass for four voices) and the Lamentations of the prophet Jeremiah are amongst his most important settings.Durante - Lamentationes Jeremiae Prophetae - Mov. 3-6/9HARMONICO1012010-07-05 | FRANCESCO DURANTE (1684 - 1755)
"Lamentations of the Prophet Jeremiah" for SATB choir, strings, two trombe da caccia and basso continuo (Lettione terza del Venerdi Santo. Con Istromenti e Trombe da Caccia a 4 voci)
3. Recordare (Chorus)
4. Patres nostri (Chorus)
5. In animabus nostri (Soli and Chorus)
6. Pellis nostra (Alto)
Performed by the Coro della Radio Svizzera, Lugano
Roberta Invernizzi, soprano
Dorothee Labusch, alto
Antonio Abete, bass
Sonatori de la Gioiosa Marca
Directed by Diego Fasolis
"Jeremiah" (1511) from the Sistine Chapel by Michelangelo Buonarroti (1475 - 1564)
*Francesco Durante (31 March 1684 -- 30 September 1755) was an Italian composer.
He was born at Frattamaggiore, in the Kingdom of Two Sicilies, and at an early age he entered the Conservatorio dei poveri di Gesù Cristo, in Naples, where he received lessons from Gaetano Greco. Later he became a pupil of Alessandro Scarlatti at the Conservatorio di Sant'Onofrio. He is also supposed to have studied under Bernardo Pasquini and Giuseppe Ottavio Pitoni in Rome, but there is no documentary evidence. He is said to have succeeded Scarlatti in 1725 at Sant' Onofrio, and to have remained there until 1742, when he succeeded Porpora as head of the Conservatorio di Santa Maria di Loreto, also in Naples. This post he held for thirteen years, till his death in Naples. He was married three times.
His fame as a teacher was considerable, and Niccolò Jommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolò Piccinni and Leonardo Vinci were amongst his pupils. As a teacher, he insisted on the unreasoning observance of rules, differing thus from Scarlatti, who treated all his pupils as individuals. A complete collection of Durante's works, consisting almost exclusively of sacred music, was presented by Selvaggi, a Neapolitan art collector, to the Paris library. A catalogue may be found in Fétis's Biographie universelle. The imperial library of Vienna also preserves a valuable collection of Durante's manuscripts. Two requiems, several masses (one of which, a most original work, is the Pastoral Mass for four voices) and the Lamentations of the prophet Jeremiah are amongst his most important settings.Durante - Lamentationes Jeremiae Prophetae - Mov. 1&2/9HARMONICO1012010-06-27 | FRANCESCO DURANTE (1684 - 1755)
"Lamentations of the Prophet Jeremiah" for SATB choir, strings, two trombe da caccia and basso continuo (Lettione terza del Venerdi Santo. Con Istromenti e Trombe da Caccia a 4 voci)
1. Incipit (soli and chorus)
2. Pupilli facti sumus (soprano) (6:13)
Performed by the Coro della Radio Svizzera, Lugano
Roberta Invernizzi, soprano
Dorothee Labusch, alto
Antonio Abete, bass
Sonatori de la Gioiosa Marca
Directed by Diego Fasolis
"Jeremiah" (1511) from the Sistine Chapel by Michelangelo Buonarroti (1475 - 1564)
*Francesco Durante (31 March 1684 -- 30 September 1755) was an Italian composer.
He was born at Frattamaggiore, in the Kingdom of Two Sicilies, and at an early age he entered the Conservatorio dei poveri di Gesù Cristo, in Naples, where he received lessons from Gaetano Greco. Later he became a pupil of Alessandro Scarlatti at the Conservatorio di Sant'Onofrio. He is also supposed to have studied under Bernardo Pasquini and Giuseppe Ottavio Pitoni in Rome, but there is no documentary evidence. He is said to have succeeded Scarlatti in 1725 at Sant' Onofrio, and to have remained there until 1742, when he succeeded Porpora as head of the Conservatorio di Santa Maria di Loreto, also in Naples. This post he held for thirteen years, till his death in Naples. He was married three times.
His fame as a teacher was considerable, and Niccolò Jommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolò Piccinni and Leonardo Vinci were amongst his pupils. As a teacher, he insisted on the unreasoning observance of rules, differing thus from Scarlatti, who treated all his pupils as individuals. A complete collection of Durante's works, consisting almost exclusively of sacred music, was presented by Selvaggi, a Neapolitan art collector, to the Paris library. A catalogue may be found in Fétis's Biographie universelle. The imperial library of Vienna also preserves a valuable collection of Durante's manuscripts. Two requiems, several masses (one of which, a most original work, is the Pastoral Mass for four voices) and the Lamentations of the prophet Jeremiah are amongst his most important settings.Bach - Double Violin Concerto in D Minor BWV 1043 - Mov. 3/3HARMONICO1012010-06-25 | JOHANN SEBASTIAN BACH (1685-1750)
3. Allegro
Performed by Cafe Zimmerman
Directed by Pablo Valetti
"The Rape of Europa" (1747) by François Boucher (1703 - 1770)
*Jean-Joseph de Mondonville, also known as Jean-Joseph Cassanéa de Mondonville, was a French violinist and composer. He was a younger contemporary of Jean-Philippe Rameau and enjoyed great success in his day. Pierre-Louis Daquin (son of the composer Louis Claude Daquin) claimed: "If I couldn't be Rameau, there's no one I would rather be than Mondonville.
Mondonville was born in Narbonne in Southwest France to an aristocratic family which had fallen on hard times. In 1733 he moved to Paris where he gained the patronage of the king's mistress Madame de Pompadour and won several musical posts, including violinist for the Concert Spirituel.
His first opus was a volume of violin sonatas, published in 1733. He became a violinist of the royal chapel and chamber and performed in some 100 concerts; some of his grands motets were also performed that year receiving considerable acclaim. He was appointed sous-maître in 1740 and then, in 1744, intendant of the Royal Chapel. He produced operas and grands motets for the Opéra and Concert spirituel respectively, and was associated with the Théatre des Petits-Cabinets, all the while maintaining his career as a violinist throughout the 1740s. In 1755, he became director of the Concert Spirituel on the death of Royer. He died in Belleville near Paris at the age of sixty.
Due to the popularity of his unique "Piece de clavecin en sonates avec accompagnement de violon" Op. 3 (1734), Mondonville rearranged the works for orchestral forces in 1748-1749.Albinoni - Oboe Concerto #2 in D Minor Op. 9HARMONICO1012010-06-14 | TOMASO ALBINONI (1671 - 1751)
Concerto No. 2 for oboe and strings in D minor Op. 9
1. Allegro e no presto
2. Adagio (3:55)
3. Allegro (7:55)
Performed by Il Fondamento
Directed by Paul Dombrecht, oboe
"Piazza San Marco with Jugglers" by Luca Carlevaris (1663 - 1730)
*Tomaso Giovanni Albinoni was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, some of which is regularly recorded.
Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.
In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.
Unlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.
Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes.
He wrote some fifty operas of which twenty-eight were produced in Venice between 1723 and 1740, while there are a few modern sources attributing - probably inaccurately - 81 operas to the composer. Today he is most noted for his instrumental music, especially his oboe concertos. He is thought to have been the first Italian composer to employ the oboe as a solo instrument in concerti (c. 1715, in his masterful 12 concerti a cinque, op. 7) and the first composer globally to publish such works, while it is likely that the first existing concerti featuring a solo oboe came from German composers such as Telemann or Händel, although probably unpublished. In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni has also been fond of the instrument regarding chamber works.
His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes and constantly used his basses for harmony exercises for his pupils.
Part of Albinoni's work was lost in World War II with the destruction of the Dresden State Library, thus little is known of his life and music after the mid-1720s.
The Albinoni Adagio in G minor is a 1958 composition entirely composed by Remo Giazotto, which Giazotto claimed to have based on fragments from a slow movement of an Albinoni trio sonata he had been sent by the Dresden State Library.Vivaldi - Concerto for Multiple Instruments in D Major RV562a - Mov. 2&3/3HARMONICO1012010-03-01 | ANTONIO VIVALDI (1678-1741)
Concerto "a 10 strumenti" for violin, 2 corni da caccia, timpani, 3 oboes, strings and basso continuo in D Major RV 562a
II. Grave
III. Allegro
Performed by Europa Galante
Directed by Fabio Biondi
*This concerto is Vivaldi's revised version of RV 562 "fatto per la Solennita della S Lingua di S Antonio in Padua". It was intended for the celebrations marking the centenary of the Stadsschouwburg Theatre in Amsterdam. Compared to the original version, Vivaldi added a timpani, modified the oboe parts in the outer movements and replaced the slow violin cadenza movement with a simpler cantilena.Vivaldi - Concerto for Multiple Instruments in D Major RV562a - Mov. 1/3HARMONICO1012010-02-19 | ANTONIO VIVALDI (1678-1741)
Concerto "a 10 strumenti" for violin, 2 corni da caccia, timpani, 3 oboes, strings and basso continuo in D Major RV 562a
I. Andante - Allegro
Performed by Europa Galante
Directed by Fabio Biondi
*This concerto is Vivaldi's revised version of RV 562 "fatto per la Solennita della S Lingua di S Antonio in Padua". It was intended for the celebrations marking the centenary of the Stadsschouwburg Theatre in Amsterdam. Compared to the original version, Vivaldi added a timpani, modified the oboe parts in the outer movements and replaced the slow violin cadenza movement with a simpler cantilena.Avison/Scarlatti - Concerto Grosso No. 12 in D Major - Mov. 4-6/6HARMONICO1012010-01-16 | CHARLES AVISON (1709 - 1770)
*based upon keyboard sonatas by GIUSEPPE DOMENICO SCARLATTI (1685 - 1757)
Concerto grosso No. 12 for two violins, cello, strings and basso continuo in D major
4. Lentemente
5. Temporeggiato
6. Allegro
Performed by Cafe Zimmermann
Directed by Pablo Valetti
*The keyboard pieces transcribed by Avison for this concert are K.2 (used in third movement) and K. 33 (used in sixth movement)Avison/Scarlatti - Concerto Grosso No. 12 in D Major - Mov. 1-3/6HARMONICO1012010-01-16 | CHARLES AVISON (1709 - 1770)
*based upon keyboard sonatas by GIUSEPPE DOMENICO SCARLATTI (1685 - 1757)
Concerto grosso No. 12 for two violins, cello, strings and basso continuo in D major
1. Grave temporeggiato
2. Largo tempo giusto
3. Allegro spiritoso
Performed by Cafe Zimmermann
Directed by Pablo Valetti
*The keyboard pieces transcribed by Avison for this concert are K.2 (used in third movement) and K. 33 (used in sixth movement)Albinoni - Sonata a Cinque in G Minor Op. 2 No. 6HARMONICO1012010-01-07 | TOMASO GIOVANNI ALBINONI (1671-1751)
Sonata a cinque for two violins, two violas, and basso continuo in G Minor Op. 2 No. 6
1. Adagio
2. Allegro
3. Grave
4. Allegro
Performed by Ensemble 415
Directed by Chiara Banchini
*Tomaso Giovanni Albinoni was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, some of which is regularly recorded.
Born to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian Pietro, Cardinal Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.
In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.
Unlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.
Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in 1751, of diabetes.
He wrote some fifty operas, of which twenty-eight were produced in Venice between 1723 and 1740, but today is most noted for his instrumental music, especially his oboe concertos.
His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes and constantly used his basses for harmony exercises for his pupils.
Part of Albinoni's work was lost in World War II with the destruction of the Dresden State Library, thus little is known of his life and music after the mid-1720s.
The Albinoni Adagio in G minor is a 1958 composition entirely composed by Remo Giazotto, which Giazotto claimed to have based on fragments from a slow movement of an Albinoni trio sonata he had been sent by the Dresden State Library.Porpora - Cello Concerto in G Major - Mov. 3&4/4HARMONICO1012009-12-21 | NICOLA PORPORA (1686 - 1768)
Concerto for cello, strings, and basso continuo in G major
3. Adagio
4. Allegro
Performed by l'Ensemble 415
Featuring Gaetano Nasillo, cello
Directed by Chiara Banchini
*Nicola (Antonio) Porpora (or Niccolò Porpora) was an Italian composer of operas and teacher of singing, whose most famous singing student was the castrato Farinelli.
Porpora was born in Naples. He graduated from the music conservatory Poveri di Gesù Cristo of his native city, where the civic opera scene was dominated by Alessandro Scarlatti.
Porpora's first opera, Agrippina, was successfully performed at the Neapolitan court in 1708. His second, Berenice, was performed at Rome. In a long career, he followed these up by many further operas, supported as maestro di cappella in the households of aristocratic patrons, such as the commander of military forces at Naples, the prince of Hesse-Darmstadt, or of the Portuguese ambassador at Rome, for composing operas alone did not yet make a viable career. However, his enduring fame rests chiefly upon his unequalled power of teaching singing. At the Neapolitan Conservatorio di Sant'Onofrio and with the Poveri di Gesù Cristo he trained Farinelli, Caffarelli, Salimbeni, and other celebrated vocalists, during the period 1715-1721. In 1720 and 1721 he wrote two serenades to librettos by a gifted young poet, Metastasio, the beginning of a long, though interrupted, collaboration. In 1722 his operatic successes encouraged him to lay down his conservatory commitments.
After a rebuff from the court of Charles VI at Vienna in 1725, Porpora settled mostly in Venice, composing and teaching regularly in the schools of La Pietà and the Incurabili. In 1729 the anti-Handel clique invited him to London to set up an opera company as a rival to Handel's, without success, and in the 1733-1734 season, even the presence of his pupil, the great Farinelli, failed to save the dramatic company in Lincoln's Inn Fields (the "Opera of the Nobility") from bankruptcy.
An interval as Kapellmeister at the Dresden court of the Elector of Saxony from 1748 ended in strained relations with his rival in Venice and Rome, the hugely successful opera composer Johann Adolph Hasse and his wife, the prima donna Faustina, and resulted in Porpora's departure in 1752. From Dresden he went to Vienna, where he gave music lessons to the young Joseph Haydn, who lived with Porpora as accompanist and in the character of a valet, but allowed later that he had learned from the maestro "the true fundamentals of composition". Then Porpora returned in 1759 to Naples.
From this time Porpora's career was a series of misfortunes: his florid style was becoming old-fashioned, his last opera, Camilla, failed, his pension from Dresden stopped, and he became so poor that the expenses of his funeral were paid by a subscription concert. Yet at the moment of his death Farinelli and Caffarelli were living in splendid retirement on fortunes largely based on the excellence of the old maestro's teaching.
A good linguist, who was admired for the idiomatic fluency of his recitatives, and a man of considerable literary culture, Porpora was also celebrated for his conversational wit. He was well-read in Latin and Italian literature, wrote poetry and spoke French, German and English.
Besides some four dozen operas, there are oratorios, solo cantatas with keyboard accompaniment, motets and vocal serenades. Among his larger works, his 1720 opera Orlando, one mass, his Venetian Vespers, and the opera Arianna in Nasso (1733 according to HOASM) have been recorded .Porpora - Cello Concerto in G Major - Mov. 1&2/4HARMONICO1012009-12-21 | NICOLA PORPORA (1686 - 1768)
Concerto for cello, strings, and basso continuo in G major
1. Adagio
2. Allegro
Performed by l'Ensemble 415
Featuring Gaetano Nasillo, cello
Directed by Chiara Banchini
*Nicola (Antonio) Porpora (or Niccolò Porpora) was an Italian composer of operas and teacher of singing, whose most famous singing student was the castrato Farinelli.
Porpora was born in Naples. He graduated from the music conservatory Poveri di Gesù Cristo of his native city, where the civic opera scene was dominated by Alessandro Scarlatti.
Porpora's first opera, Agrippina, was successfully performed at the Neapolitan court in 1708. His second, Berenice, was performed at Rome. In a long career, he followed these up by many further operas, supported as maestro di cappella in the households of aristocratic patrons, such as the commander of military forces at Naples, the prince of Hesse-Darmstadt, or of the Portuguese ambassador at Rome, for composing operas alone did not yet make a viable career. However, his enduring fame rests chiefly upon his unequalled power of teaching singing. At the Neapolitan Conservatorio di Sant'Onofrio and with the Poveri di Gesù Cristo he trained Farinelli, Caffarelli, Salimbeni, and other celebrated vocalists, during the period 1715-1721. In 1720 and 1721 he wrote two serenades to librettos by a gifted young poet, Metastasio, the beginning of a long, though interrupted, collaboration. In 1722 his operatic successes encouraged him to lay down his conservatory commitments.
After a rebuff from the court of Charles VI at Vienna in 1725, Porpora settled mostly in Venice, composing and teaching regularly in the schools of La Pietà and the Incurabili. In 1729 the anti-Handel clique invited him to London to set up an opera company as a rival to Handel's, without success, and in the 1733-1734 season, even the presence of his pupil, the great Farinelli, failed to save the dramatic company in Lincoln's Inn Fields (the "Opera of the Nobility") from bankruptcy.
An interval as Kapellmeister at the Dresden court of the Elector of Saxony from 1748 ended in strained relations with his rival in Venice and Rome, the hugely successful opera composer Johann Adolph Hasse and his wife, the prima donna Faustina, and resulted in Porpora's departure in 1752. From Dresden he went to Vienna, where he gave music lessons to the young Joseph Haydn, who lived with Porpora as accompanist and in the character of a valet, but allowed later that he had learned from the maestro "the true fundamentals of composition". Then Porpora returned in 1759 to Naples.
From this time Porpora's career was a series of misfortunes: his florid style was becoming old-fashioned, his last opera, Camilla, failed, his pension from Dresden stopped, and he became so poor that the expenses of his funeral were paid by a subscription concert. Yet at the moment of his death Farinelli and Caffarelli were living in splendid retirement on fortunes largely based on the excellence of the old maestro's teaching.
A good linguist, who was admired for the idiomatic fluency of his recitatives, and a man of considerable literary culture, Porpora was also celebrated for his conversational wit. He was well-read in Latin and Italian literature, wrote poetry and spoke French, German and English.
Besides some four dozen operas, there are oratorios, solo cantatas with keyboard accompaniment, motets and vocal serenades. Among his larger works, his 1720 opera Orlando, one mass, his Venetian Vespers, and the opera Arianna in Nasso (1733 according to HOASM) have been recorded .Geminiani - Concerto Grosso in D Major Op. 2 No. 4HARMONICO1012009-12-07 | FRANCESCO SAVERIO GEMINIANI (1687 - 1762)
Concerto grosso for concertino violin I, violin II, viola, cello, ripieno strings and basso continuo in D major Op. 2 No.4
1. Andante
2. Allegro
3. Adagio
4. Allegro
Performed by Tafelmusik
Directed by Jeanne Lamon
*Francesco Saverio Geminiani was an Italian violinist, composer, and music theorist.
He received lessons in music from Alessandro Scarlatti, and studied the violin under Carlo Ambrogio Lonati in Milan and afterwards under Arcangelo Corelli. From 1711, he led the opera orchestra at Naples, as Leader of the Opera Orchestra and concertmaster, which gave him many opportunities for contact with Alessandro Scarlatti. In 1714, with the reputation of a virtuoso violinist, he arrived in London, where he was taken under the special protection of William Capel, 3rd Earl of Essex, who remained a consistent patron. In 1715 he played his violin concerti with Handel at the keyboard, for the court of George I.
Geminiani made a living by teaching and writing music, and tried to keep pace with his passion for collecting by dealing in art, not always successfully. Many of his students went on to have successful careers such as Charles Avison, Matthew Dubourg, Michael Christian Festing, Bernhard Joachim Hagen, and Cecilia Young.
After visiting Paris and residing there for some time, he returned to England in 1755. In 1761, on one of his sojourns in Dublin, a servant robbed him of a musical manuscript on which he had bestowed much time and labour. His vexation at this loss is said to have hastened his death.
He appears to have been a first-rate violinist. His Italian pupils reportedly called him Il Furibondo, the Madman, because of his expressive rhythms. He is best known for three sets of concerti grossi, his Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746), (there are 42 concerti in all) which introduce the viola as a member of the concertino group of soloists, making them essentially concerti for string quartet. These works are deeply contrapuntal to please a London audience still in love with Corelli, compared to the galant work that was fashionable on the Continent at the time of their composition. Geminiani also reworked a group of violin sonatas from his teacher Corelli into concerti grossi.
His "Art of Playing the Violin" published in London (1751) is the best-known summation of the 18th century Italian method of violin playing, and is an invaluable source for study of late Baroque performance practice, giving detailed information on vibrato, trills, and other violin techniques. His Guida harmonica (c.1752, with an addendum in 1756) is one of the most unusual harmony treatises of the late Baroque, serving as a sort of encyclopedia of basso continuo patterns and realizations. There are 2236 patterns in all, and at the end of each pattern is a page number reference for a potential next pattern; thus a student composer studying the book would have an idea of all the subsequent possibilities available after any given short bass line.
Geminiani published a number of solos for the violin, three sets of violin concerti, twelve violin trios, "The Art of Accompaniment on the Harpsichord, Organ, etc." (1754), "Lessons for the Harpsichord", "Art of Playing the Guitar" (1760) and some other works.Mozart - Missa Solemnis in C Dominicus K 66 - Mov. 16/16HARMONICO1012009-12-07 | WOLFGANG AMADEUS MOZART (1756-1791)
Missa solemnis in C major for SATB choir, orchestra and soloists in C major K 66
AGNUS DEI
16. Agnus Dei
Performed by the Arnold Schoenberg Chor and Concentus musicus Wien
Featuring Charlotte Margiano, soprano
Elisabeth von Magnus, alto
Uwe Heilmann, tenor
Gilles Cachemaille, bass
Directed by Nikolaus HarnoncourtMozart - Missa Solemnis in C Dominicus K 66 - Mov. 13-15/16HARMONICO1012009-12-07 | WOLFGANG AMADEUS MOZART (1756-1791)
Missa solemnis in C major for SATB choir, orchestra and soloists in C major K 66
13. Et unam sanctam
SANCTUS
14. Sanctus
BENEDICTUS
15. Benedictus
Performed by the Arnold Schoenberg Chor and Concentus musicus Wien
Featuring Charlotte Margiano, soprano
Elisabeth von Magnus, alto
Uwe Heilmann, tenor
Gilles Cachemaille, bass
Directed by Nikolaus HarnoncourtMozart - Missa Solemnis in C Dominicus K 66 - Mov. 10-12/16HARMONICO1012009-12-07 | WOLFGANG AMADEUS MOZART (1756-1791)
Missa solemnis in C major for SATB choir, orchestra and soloists in C major K 66
10. Et incarnatus est
11. Crucifixus
12. Et in spiritum
Performed by the Arnold Schoenberg Chor and Concentus musicus Wien
Featuring Charlotte Margiano, soprano
Elisabeth von Magnus, alto
Uwe Heilmann, tenor
Gilles Cachemaille, bass
Directed by Nikolaus HarnoncourtMozart - Missa Solemnis in C Dominicus K 66 - Mov. 6-9/16HARMONICO1012009-12-07 | WOLFGANG AMADEUS MOZART (1756-1791)
Missa solemnis in C major for SATB choir, orchestra and soloists in C major K 66
6. Qui tollis
7. Quoniam tu solus
8. Cum sancto spirito
CREDO
9. Credo
Performed by the Arnold Schoenberg Chor and Concentus musicus Wien
Featuring Charlotte Margiano, soprano
Elisabeth von Magnus, alto
Uwe Heilmann, tenor
Gilles Cachemaille, bass
Directed by Nikolaus HarnoncourtMozart - Missa Solemnis in C Dominicus K 66 - Mov. 1-5/16HARMONICO1012009-12-07 | WOLFGANG AMADEUS MOZART (1756-1791)
Missa solemnis in C major for SATB choir, orchestra and soloists in C major K 66
KYRIE
1. Kyrie
GLORIA
2. Gloria in excelsis
3. Laudamus te
4. Gratias
5. Domine deus
Performed by the Arnold Schoenberg Chor and Concentus musicus Wien
Featuring Charlotte Margiano, soprano
Elisabeth von Magnus, alto
Uwe Heilmann, tenor
Gilles Cachemaille, bass
Directed by Nikolaus HarnoncourtMonza - Sinfonia detta La tempesta di mareHARMONICO1012009-12-07 | CARLO MONZA (1735 - 1801)
Symphony for orchestra 'La tempesta di mare' (the storm at sea)
1. Allegro
2. Andante
3. Allegro assai
Performed by Europa Galante
Directed by Fabio Biondi
*Carlo Monza was one of the most prominent and popular composers in Milan in the second half of the eighteenth century. Although his birthdate is projected as having been circa 1735 and he is believed to have been native to Milan, little is known of his activities before his first opera, Olimpiade, was performed at the Regio Ducale in Milan in 1758. Monza probably studied with Giovanni Battista Sammartini, as Monza succeeded Sammartini to two posts; the first in 1768 when Monza took over Sammartini's position as organist in the court of the Duke of Milan, and the second as the ducal maestro di capella when Sammartini died in 1775. By this time, Monza was already established as a major force in Milanese opera, and Burney named him, in 1770, as one of the two best composers for the Milanese stage then active. In 1778, he obtained the post of maestro di capella at Milan Cathedral and, aside from three works staged in the mid-1780s, ended his operatic career in favor of the pursuit of sacred music; there, Burney found room to praise Monza's efforts as well. In the 1780s, Monza published three sets of instrumental music, including a significant volume of six string quartets published as his "Opus 2." Monza died in Milan near the end of 1801 at about the age of 66.
"Miserere" for soprano soloist, choir (SATB), oboes, strings, and basso continuo in C minor ZWV 57
3. Gloria Patri I
4. Gloria Patri II
5. Sicut erat
6. Miserere III
Performed by Fiori Musicali and members of His Majesty's Sagbutts & Cornetts
Featuring Grace Davidson, soprano
Conducted by Penelope Rapson
Painting: "Vanitas Still-life" by Simon Renard de Saint-AndreZelenka - Miserere in C Minor ZWV 57 - Mov. 1&2/6HARMONICO1012009-11-13 | JAN DISMAS ZELENKA (1679-1745)
*with a plagiarized ricercar by GIROLAMO FRESCOBALDI (1583 - 1643)
"Miserere" for soprano soloist, choir (SATB), oboes, strings, and basso continuo in C minor ZWV 57
1. Miserere I
2. Miserere II (after ricercar by Frescobaldi)
Performed by Fiori Musicali and members of His Majesty's Sagbutts & Cornetts
Featuring Grace Davidson, soprano
Conducted by Penelope Rapson
Painting: "Vanitas Still-life" by Simon Renard de Saint-AndreHasse - Sinfonia in F MajorHARMONICO1012009-11-13 | JOHANN ADOLF HASSE (1699-1783)
Sinfonia for flutes, horns, strings and basso continuo in F major Op. 3 No. 5
1. Allegro assai
2. Andante ma sempre piano
3. Allegro e con spirito
Performed by Musica Antiqua Koln
Conducted by Reinhard Goebel
Painting: "New Market Square in Dresden from the Jüdenhof" (1749-51) by Bernardo Bellotto
*Johann Adolph Hasse (baptised 25 March 1699 16 December 1783 in Venice) was an 18th-century German composer, singer and teacher of music. Immensely popular in his time, Hasse was best known for his prolific operatic output, though he also composed a considerable quantity of sacred music. Married to soprano Faustina Bordoni and a great friend of librettist Pietro Metastasio, whose libretti he frequently set, Hasse was a pivotal figure in the development of opera seria and 18th-century music.
Hasse was born in Bergedorf, near Hamburg.Schubert - 3 Klavierstücke: Impromptu No. 1 in E Flat Minor D.946HARMONICO1012009-11-13 | FRANZ SCHUBERT (1797-1828)
3 Klavierstücke D. 946 Impromptu No. 1 for piano in E flat minor
Allegro assai - Andante - Tempo I
Performed by Melvyn Tan, fortepiano
Painting: "Viennese Domestic Garden" (1828-30) by Erasmus Engert
*The three Klavierstücke D. 946 are solo pieces composed by Schubert in May 1828, just six months before his early death. They were conceived as a third set of four Impromptus, but only three were written. They were first published in 1868, edited by Johannes Brahms, although his name appears nowhere in the publication.[5] In comparison with the D. 899 and D. 935 sets, these works are largely neglected and are not often heard in the concert hall or recorded.Telemann - Concerto for 4 Violins in G Major TWV 40:201HARMONICO1012009-11-13 | GEORG PHILIPP TELEMANN (1681-1767)
Concerto for 4 solo violins in G major TWV 40:201
1. Largo
2. Allegro
3. Adagio
4. Vivace
Performed by Musica Antiqua Koln
Directed by Reinhard Goebel
Painting: "Charity" by Giuseppe Angeli (c. 1754)Vivaldi - Introduzione & Gloria in D (RV637 & RV588) - Mov. 11-13/13HARMONICO1012009-11-09 | ANTONIO VIVALDI (1678-1741)
Introduzione "Jubilate, o amoeni cori" (RV 637) and Gloria (RV 588) for vocal soloists (SAT), chorus (SATB) two oboes, trumpet, obbligato organ, strings and basso continuo in D major
11. "Qui sedes ad dexteram Patris - Largo (Alto)
12. "Quoniam tu solu sanctus" - Allegro (Soprano)
13. "Cum sancto spiritu" - Adagio - Allegro
Performed by Concerto Italiano
Directed by Rinaldo Alessandrini
Featuring Sara Mingardo, alto
*FYI, the introduzione motet and the gloria mix together in the third movement. There is no formal break in tempo. Essentially, the "gloria in excelsis Deo" includes the added text of the motet.Vivaldi - Introduzione & Gloria in D (RV637 & RV588) - Mov. 8-10/13HARMONICO1012009-11-09 | ANTONIO VIVALDI (1678-1741)
Introduzione "Jubilate, o amoeni cori" (RV 637) and Gloria (RV 588) for vocal soloists (SAT), chorus (SATB) two oboes, trumpet, obbligato organ, strings and basso continuo in D major
8. "Domine Fili unigenite" (Chorus)
9. "Domine Deus Agnus Dei" - Allegro (Soprano)
10. "Qui tollis peccata mundi" - Adagio
Performed by Concerto Italiano
Directed by Rinaldo Alessandrini
Featuring Sara Mingardo, alto
*FYI, the introduzione motet and the gloria mix together in the third movement. There is no formal break in tempo. Essentially, the "gloria in excelsis Deo" includes the added text of the motet.Vivaldi - Introduzione & Gloria in D (RV637 & RV588) - Mov. 4-7/13HARMONICO1012009-11-09 | ANTONIO VIVALDI (1678-1741)
Introduzione "Jubilate, o amoeni cori" (RV 637) and Gloria (RV 588) for vocal soloists (SAT), chorus (SATB) two oboes, trumpet, obbligato organ, strings and basso continuo in D major
4. "Et in terra pax hominibus" - Largo (Chorus)
5. "Laudamus te" - Allegro (Sopranos I & II)
6. "Gratias agimus tibi" - Adagio (Chorus)
7. "Domine Deus Rex caelestis - Largo (Tenor)
Performed by Concerto Italiano
Directed by Rinaldo Alessandrini
Featuring Sara Mingardo, alto
*FYI, the introduzione motet and the gloria mix together in the third movement. There is no formal break in tempo. Essentially, the "gloria in excelsis Deo" includes the added text of the motet.Vivaldi - Introduzione & Gloria in D (RV637 & RV588) - Mov. 1-3/13HARMONICO1012009-11-08 | ANTONIO VIVALDI (1678-1741)
Introduzione "Jubilate, o amoeni cori" (RV 637) and Gloria (RV 588) for vocal soloists (SAT), chorus (SATB) two oboes, trumpet, obbligato organ, strings and basso continuo in D major
Performed by Concerto Italiano
Directed by Rinaldo Alessandrini
Featuring Sara Mingardo, alto
*FYI, the introduzione motet and the gloria mix together in the third movement. There is no formal break in tempo. Essentially, the "gloria in excelsis Deo" includes the added text of the motet.Corelli - Concerto Grosso No. 2 in F MajorHARMONICO1012009-11-08 | ARCANGELO CORELLI (1653-1713)
Concerto grosso for two violins, cello, strings and basso continuo in F major Op. 6 No. 2
1. Vivace - Allegro
2. Largo - Andante
3. Allegro
4. Grave - Andante largo
5. Allegro
Performed by Musica Amphion
Conducted by Pieter-Jan BelderFiorenza - Cello Concerto in F Major - Mov. 3&4/4HARMONICO1012009-11-08 | NICOLA FIORENZA (c.1700 - 1764)
Concerto for solo cello, violins, and basso continuo in F major
3. Largo
4. Allegro
Performed by l'Ensemble 415
Featuring Gaetano Nasillo, cello
Directed by Chiara Banchini
*I have been unable to find any kind of short bio for this composer. The CD notes say next to nothing about this composer other than he was Neapolitan. If someone can provide some help, it would be much appreciated.Fiorenza - Cello Concerto in F Major - Mov. 1&2/4HARMONICO1012009-11-08 | NICOLA FIORENZA (c.1700 - 1764)
Concerto for solo cello, violins, and basso continuo in F major
1. Presto - Largo - Presto - Largo
2. Allegro
Performed by l'Ensemble 415
Featuring Gaetano Nasillo, cello
Directed by Chiara Banchini
*I have been unable to find any kind of short bio for this composer. The CD notes say next to nothing about this composer other than he was Neapolitan. If someone can provide some help, it would be much appreciated.Gasparini - Stabat Mater - Mov. 8&9/9HARMONICO1012009-10-22 | QUIRINO GASPARINI (1721-1778)
"Stabat Mater" for two sopranos, strings and basso continuo
8. Quando corpus
9. Amen
Performed by Stradivaria
Featuring Isabelle Desrochers, Isabelle Poulenard, sopranos
Directed by Daniel Poulenard
*Quirino Gasparini was an Italian composer, born in Gandino, near Bergamo and died in Turin, Italy. He studied for the priesthood, but largely devoted his life to music, becoming maestro de capello at Turin's cathedral. His compositions are mainly of church music, including a Stabat Mater which is still performed occasionally. He also wrote several operas, including a 1767 setting of Vittorio Amadeo Cigna-Santi's libretto Mitridate, which three years later was set by the 14-year-old Wolfgang Amadeus Mozart for the 1770 Milan carnival. One of Gasparini's arias, preferred by the tenor singer over Mozart's version of it, was sung at the Milan performance and is still included in modern publications of the opera's score. According to some accounts, Gasparini tried to subvert the Milan prima donna, Antonia Bernasconi, attempting to persuade her to sing his settings of her arias rather than Mozart's. His ruse was, however, unsuccessful.Gasparini - Stabat Mater - Mov. 6&7/9HARMONICO1012009-10-22 | QUIRINO GASPARINI (1721-1778)
"Stabat Mater" for two sopranos, strings and basso continuo
6. Fac ut
7. Inflammatus
Performed by Stradivaria
Featuring Isabelle Desrochers, Isabelle Poulenard, sopranos
Directed by Daniel Poulenard
*Quirino Gasparini was an Italian composer, born in Gandino, near Bergamo and died in Turin, Italy. He studied for the priesthood, but largely devoted his life to music, becoming maestro de capello at Turin's cathedral. His compositions are mainly of church music, including a Stabat Mater which is still performed occasionally. He also wrote several operas, including a 1767 setting of Vittorio Amadeo Cigna-Santi's libretto Mitridate, which three years later was set by the 14-year-old Wolfgang Amadeus Mozart for the 1770 Milan carnival. One of Gasparini's arias, preferred by the tenor singer over Mozart's version of it, was sung at the Milan performance and is still included in modern publications of the opera's score. According to some accounts, Gasparini tried to subvert the Milan prima donna, Antonia Bernasconi, attempting to persuade her to sing his settings of her arias rather than Mozart's. His ruse was, however, unsuccessful.Gasparini - Stabat Mater - Mov. 3-5/9HARMONICO1012009-10-22 | QUIRINO GASPARINI (1721-1778)
"Stabat Mater" for two sopranos, strings and basso continuo
3. Vidit suum
4. Sancta mater
5. Fac me
Performed by Stradivaria
Featuring Isabelle Desrochers, Isabelle Poulenard, sopranos
Directed by Daniel Poulenard
*Quirino Gasparini was an Italian composer, born in Gandino, near Bergamo and died in Turin, Italy. He studied for the priesthood, but largely devoted his life to music, becoming maestro de capello at Turin's cathedral. His compositions are mainly of church music, including a Stabat Mater which is still performed occasionally. He also wrote several operas, including a 1767 setting of Vittorio Amadeo Cigna-Santi's libretto Mitridate, which three years later was set by the 14-year-old Wolfgang Amadeus Mozart for the 1770 Milan carnival. One of Gasparini's arias, preferred by the tenor singer over Mozart's version of it, was sung at the Milan performance and is still included in modern publications of the opera's score. According to some accounts, Gasparini tried to subvert the Milan prima donna, Antonia Bernasconi, attempting to persuade her to sing his settings of her arias rather than Mozart's. His ruse was, however, unsuccessful.