Podcast appearances and mentions of Alessandro Scarlatti

durée : 01:27:20 - En pistes ! du lundi 03 mars 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En Pistes ! célèbre les 150 ans de la création de Carmen de Bizet en vous faisant découvrir quelques raretés du compositeur fraichement enregistrées. Au programme aussi : le piano de Slava Guerchovitch ou d'Olga Pashchenko et un jardin de roses signé Alessandro Scarlatti

durée : 01:27:20 - En pistes ! du lundi 03 mars 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En Pistes ! célèbre les 150 ans de la création de Carmen de Bizet en vous faisant découvrir quelques raretés du compositeur fraichement enregistrées. Au programme aussi : le piano de Slava Guerchovitch ou d'Olga Pashchenko et un jardin de roses signé Alessandro Scarlatti

Alessandro Scarlatti (1660-725) - Agar et Ismaele esiliatiOratorio in due partiPARTE PRIMA         1  |  0:00.00 Sinfonia          2  |  3:56.36 Recit: Udisti Abramo, udisti i miei desiri           3  |  5:45.19 Aria: Chi lo sguardo sublime e constante          4  |  7:48.40 Recit: Sia pur come t'aggrada          5  |  8:43.73 Aria a 2:  Con frode gradita           6  | 10:18.37 Recit: Ascolta, Àbramo, ascolta;           7  | 11:13.22 Aria: Caro I sac, amato figlio,           8  | 13:43.61 Recit: Ferma Sara, deh, ferma, ove tic vai?        9  | 14:36.06 Aria: Non più dm 4, non più querele;         10  | 15:49.64 Recit: Non lungi Agar con l'empia prole io miro.       11  | 16:17.33 Recit: Padre.         12  | 17:16.17 Aria a 3: Àbramo pietà       13  | 21:32.53 Recit: All'alito nocente,         14  | 23:02.12 Aria: Non ha limiti, nè mete       15  | 26:15.65 Recit: In van s'affligge, in vano        16  | 27:01.29 Aria: No no 1‘alnia mia         17  | 30:20.68 Recit: Tacete ormai tacete,        18  | 31:30.21 Aria: Sgombra pure il timore, e le pene        19  | 34:41.11 Recit: Si sì figlio gradito PARTE SECONDA         20  | 36:03.01 Aria: Affetti paterni,         21  | 39:01.13 Recit: È di te degno il tuo pensiero Àbramo.          22  | 40:27.10 Aria: Veggio pure in steril campo       23  | 43:31.21 Recit: Ma qual larva funesta        24  | 46:08.31 Aria a 2: Quando oh Dio quando sarà,        25  | 49:38.34 Aria: Qui del Sol gl'infausti lampi         26  | 51:59.22 Recit: li a qual d'ignoto Mondo arso confine        27  | 53:45.10 Aria a 2: Quando o Dio quando sarà?         28  | 54:37.37 Recit: D'un incendio mortale         29  | 56:25.05 Aria: L'aura mesta d'accesi sospiri,       30  | 59:05.71 Recit: O figlio, del cor mio parte più cara,        31  | 01:01:29 Aria: Speranze ch'il cuore       32  | 01:04:44 Arioso: Pietà, mercé, ristoro!         33  | 01:06:06 Recit: Tu languisci Ismael, tu spiri o figlio,         34  | 01:07:42 Aria: L'innocenza oappressa langue,          35  | 01:12:43 Recit: Ma lo sguardo pietoso        36  | 01:14:05 Rccit: Agar? Agar?       37  | 01:15:21 Arioso: E con gli esempi suoi chi soffre speri.        38  | 01:15:57 Aria: E folle chi paventa Jennifer Lane (Mezzo Soprano)Karina Gauvin (Soprano)Melissa Fogarty (Soprano)Seattle Baroque OrchestraIngrid Matthews, conductor

We trappen het jaar af met oud-NAVO-secretaris-generaal Jaap de Hoop Scheffer. Samen bespreken we het mogelijke bestand tussen Israël en Hamas: hoe dichtbij is vrede écht? En daarnaast kijken we naar de uitdagingen die Europa dit jaar te wachten staan. Hoe moet de EU bijvoorbeeld omgaan met de radicale uitspraken van inkomend president Trump over Groenland, of over een verhoging van de defensie-uitgaven? En komt er dit jaar eindelijk een einde aan de oorlog in Oekraïne? Daarnaast aandacht voor de coalitie-onderhandelingen in Oostenrijk, waar de rechts-radicale FPÖ een nieuwe regering lijken te gaan vormen. SHOWNOTES: Kritiek over gezondheid Von der Leyen 'voorbeeld van Amerikanisering van EU' (https://www.youtube.com/watch?v=BzjzlMZBtn0&t=57s) Hoe houdbaar is de deal tussen Israël en Hamas? (https://www.nporadio1.nl/nieuws/buitenland/d508c7c1-9304-4855-97f1-bac6987ac9aa/waarom-ligt-israel-opeens-toch-dwars-bij-een-deal-met-hamas) Trump wil terug naar de Monroe-doctrine (https://www.groene.nl/artikel/trump-wil-terug-naar-de-monroe-doctrine) Rutte waarschuwt: 'We moeten onszelf blijven verdedigen' (https://www.ad.nl/video/productie/rutte-meer-geld-naar-defensie-anders-kunnen-we-beter-russisch-leren-of-vertrekken-naar-nieuw-zeeland-1063314) Donald Trump to urge Zelenskyy to lower Ukraine's conscription age to 18 (https://www.ft.com/content/9fa3b0ac-e33d-4784-8222-6b745aba3004) Austria's far right hits Europe's soft centre (https://www.ft.com/content/388af55b-9b33-4078-b65c-9a40dd72c248) O cessate di piagarmi - Alessandro Scarlatti & Cecilia Bartoli (https://open.spotify.com/track/61qVRPI1GSWhUEwq9RNGQd?si=n3rB9rHuT7e-3k00B98cTg&context=spotify%3Aplaylist%3A37i9dQZF1DZ06evO21NUZl)

In February our beloved Elly Ameling turns 92. I cannot think of another classical singer who recorded more Christmas albums over the course of her career. One of the most obscure of these is the 1980 release “Christmas with Elly Ameling,” which was briefly available on LP, but never re-released in any format. I present it to you here complete, albeit reordered. A highlight is her performance of the delightful “Weihnachtslieder” by the German romantic composer Peter Cornelius, accompanied by Dalton Baldwin. Also included are works by Alphons Diepenbrock, Hugo Wolf, Alessandro Scarlatti, Richard Strauss, and Max Reger. That record is supplemented by excerpts from two of her earliest recordings, 1960's “A Christmas Fantasy,” alongside Countermelody favorite Bernard Kruysen; and 1963's “Christmas Music of the Renaissance.” Also included are a Haydn Advent cantata and two traditional Spanish carols 1977's “Christmas Songs from Europe,” arranged by Joaquín Nin; rounded off by two exquisite Bach selections from an even rarer Elly recording, a 1979 festive Christmas concert at the Grote Kerk in Monnickendam. All of these represent Elly Ameling at her charming and exquisite best and are sure to put even the Scroogiest of my listeners in the Christmas spirit. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 01:28:14 - En pistes ! du mercredi 05 juin 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce mercredi matin sur En pistes ! Les œuvres de Maurice Ravel, Boris Liatochinski, Alessandro Scarlatti, Paul Hindemith, Jacques Ibert, Jacques Duphly et Wolfgang Amadeus Mozart

Si quieres encontrar historias apasionantes sólo hay que ojear los numerosos libros del Antiguo Testamento; ahí habitan Adán y Eva, Abraham, Noé, Judit y miles de personajes más que inspiraron grandes obras a muchos de los grandes compositores de la historia de la música. En el programa de hoy podemos escuchar piezas destacadas de genios como Saint-Saëns, Alessandro Scarlatti, Haendel, Parry, Britten y Felix Mendelssohn. Para comentar numerosas curiosidades sobre todo ello, nos visita de nuevo David González Nuño, musicólogo y divulgador musical, quien demuestra su pasión por todo lo que rodea a nuestro arte favorito, del que intentamos ofrecerte las mejores obras de la historia. Por eso suenan en Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Haar ouders noemden Nora Fischer ‘de tank'. En inderdaad, als een eigengereide zangeres zwenkte ze later door het kunstlandschap. Aan klassieke muziek, haar nest, voegde ze scheuten jazz en ladingen pop toe. Totdat ze in 2020 compleet vastliep: haar bejubelde stem weigerde. Hoe kon dit, wat nu? Nora Fischer maakte er een voorstelling over, De Sprong. En praat in Klassieke Klets vanuit Studio Pandora in TivoliVredenburg openhartig over verwachting, angst en veerkracht. Speellijst * Osvaldo Golijov, Nani, Nora Fischer en Asko Schönberg * Max Reger, Im Himmelreich ein Haus steht, Nationaal Jeugdkoor o.l.v. Eric Ericson * Beck, Old Shanghai, Nora Fischer en The Four Baritones * Maurice Ravel, Kaddish, Nora Fischer en Daniël Kool (piano) * Morris Kliphuis, The Elm Seeds, Nora Fischer en Remco Menting (slagwerk) * Alessandro Scarlatti, O cessate di piagarmi, Nora Fischer en Marnix Dorrestein (gitaar)

durée : 01:27:51 - En pistes ! du lundi 11 mars 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce lundi matin, Emilie et Rodolphe vous proposent d'entendre les œuvres de Pablo de Sarasate, Johannes Brahms, Franz Schubert, nous écouterons également celles de Diego Ortiz, Alessandro Scarlatti, Maurice Ravel, Giuseppe Maria Jacchini et Louis Beydts

Here's the link to the motet I mention towards the end of the podcast "Laetatus sum" by Alessandro Scarlatti. https://www.youtube.com/watch?v=XiOPqLsv_UAIn this second installment of the "Let the Music Speak" series, Mark again demonstrates how we can look at the music of Gregorian Chant as Commentary on the text.This episode looks at the "jubilus" of the Alleluia chant for the 2nd Sunday of Advent!  Listen to learn about this centuries-old practice of joyful Catholic worship!Subscribe to our mailing list for upcoming special announcements about my work at https://markemersondonnelly.com/get-involved/Please support these podcasts and our other Church music projects. Go to https://LifeFunder.com/mdonnellymusicYou can also commission a composition (like the ChantHacks extro music), or host/sponsor workshops for a choir, parish, or diocese. If you're a choir, schola, or parish music director, I am also available for mentoring. Please contact us either at mark@vocalart.org or allanna@vocalart.orgMerry Christmas & God bless!

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Deze week hebben we in chronologische volgorde geluisterd naar gitaarmuziek door de eeuwen heen. Waar we begonnen met de voorloper van de gitaar, de luit, is het vandaag tijd voor de moderne variant: de elektrische gitaar. Zangeres Nora Fischer en gitarist Marnix Dorrestein maakten een bewerking van de aria 'O cessate di piagarmi', oorspronkelijk geschreven door Alessandro Scarlatti in de zeventiende eeuw. Elektrische gitaar, zang, en vroege klassieke muziek: ontdek hoe die samengaan.

Alessandro Scarlatti (1660-1725) - Concerto grosso No. 1 in fa minore per due violini, archi, e continuo 1. Grave2. Allegro3. Largo4. Allemande [Allegro]Orchestra Europa GalanteFabio Biondi, direttore---------------------------------------Nicola Porpora (1686-1766) -  Salve ReginaI. Salve regina (Adagio)II. Ad te clamamus (Allegretto)III. Ad te suspiramus (Adagio)IV. Eia ergo (Allegro)V. Illos tuos misericordes (Adagio)VI. O clemens (Affettuoso)Orchestre Nationale de FranceElīna Garanča, mezzosopranoRiccardo Muti, direttore-----------------------------------Niccolò Jommelli (1714-1774) - Sinfonia in Sol MaggioreI. AllegroII. LargoIII. Allegro assaiMünchener KammerorchesterKarl-Heinz Schickhaus, salterioHans Stadlmair, direttore-------------------------------------Giovanni Paisiello (1740-1816) - Concerto in mi bemolle maggiore per mandolino e orchestra 1. Allegro Maestoso 2.  Larghetto 3. AllegrettoI Solisti Veneti , direttore : Ugo Orlandi, mandolino Claudio Scimone, direttore ---------------------------------------Domenico Cimarosa (1749-1801) - Concerto per Oboe in do minore1. Introduzione - Larghetto2. Allegro3. Siciliana4. Allegro giustoGrand Orchestre de Radio-Télé-LuxembourgNorbert Mattern, oboeLouis De Froment, direttore -------------------------------Domenico Cimarosa (1749-1801) - Inno della Repubblica PartenopeaL' "Inno della Repubblica Partenopea" fu composto da Cimarosa nel 1799 per l'amata terra.

Domenico Scarlatti schrieb schon als 17-Jähriger seine erste Oper. Seine eigentliche Leistung aber sind seine Sonaten für Cembalo: Luftige, tänzerische Juwelen des Barock wie die Sonate K 380, in der Scarlatti spanische Volksmusik verarbeitet und mit kühnen Harmonien experimentiert. Von Murat Kayi.

SynopsisOn today's date in 1757, the Italian composer Domenico Scarlatti died in Madrid. He was 71 years old, and for the last 38 years of his life was employed at the court of Princess Maria Barbara, first in her native Portugal, and then, when the Princess married the heir to the Spanish throne, in Madrid.Although Domenico could very well have stayed in Italy and become a famous opera composer like his father, Alessandro Scarlatti, Domenico spent the better part of his life composing over 600 virtuoso sonatas for Maria Barbara. Only a handful of these were published during his lifetime. In the 19th century, Liszt and Brahms took the trouble to hunt down additional Scarlatti sonatas in manuscript, but the bulk of them remained unpublished and unknown until a complete edition was published in the 20th century.While not coming anywhere close to matching Scarlatti's output, one 20th century American composer, the Philadelphia-born Vincent Persichetti, composed ten harpsichord sonatas of his own. The growing number of modern-day harpsichordists has meant that in addition to the wealth of OLD music for the instrument, many contemporary composers have followed Persichetti's example, and are writing NEW works for this old instrument.Music Played in Today's ProgramDomenico Scarlatti (1685 - 1757) Sonata in c, K. 363 Elaine Comparone, harpsichord Laurel 838Vincent Pershichetti (1915 - 1987) Sonata No. 4 Elaine Comparone, harpsichord Laurel 838

Realizamos, a vista de pájaro, un acercamiento a la vocalidad en la ópera de Gluck, con Orfeo y Eurídice como epicentro. Comentamos el caldo de cultivo en el que nace, los antecedentes y consecuentes, la naturaleza y la forma. Con ejemplos abundantes. Se escuchan fragmentos de aquella ópera en las voces de Kathleen Ferrier y René Jacobs, de Polifemo de Porpora, de Alcina de Haendel por Joan Sutherland, del oratorio San Filippo Neri de Alessandro Scarlatti y el final del segundo acto de Idomeneo de Mozart dirigido por John Eliot Gardiner. Escuchar audio

The Stabat Mater by Alessandro Scarlatti is a religious musical work composed for two voices, two violins, and basso continuo in 1724. The work was commissioned by the Order of Friars Minor for Lent and meditates on the suffering of Mary, mother of Christ. Scarlatti set the Stabat Mater three times. The work was replaced by Giovanni Battista Pergolesi's Stabat Mater in 1736. Scarlatti's Stabat Mater is considered outdated by those who commissioned it. Scarlatti was one of the first exponents of the Neapolitan School and composed over 600 cantatas, 150 oratories, and 115 operas.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Un día como hoy, 2 de mayo: Nace: 1660: Alessandro Scarlatti, músico italiano (f. 1725). 1772: Novalis (Georg von Handenburg), poeta alemán (f. 1801). 1936: Engelbert Humperdinck, cantante británico. 1953: Valeri Gérgiev, director de orquesta y músico ruso. Fallece: 1519: Leonardo da Vinci, artista renacentista italiano (n. 1452). 1864: Giacomo Meyerbeer (Yaakov Liebmann Beer), compositor judío alemán (n. 1791). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Alessandro Scarlatti (1660-1725)Cantata per la notte di Natale di Nostro Signore“Abramo, il tuo sembiante” di Alessandro Scarlatti.Eseguita in Vaticano nella notte del 24 dicembre 1705, in presenza di Papa Clemente XI. Recitativo (Daniele, Abramo) – “Abramo, il tuo sembiante” Aria (Daniele) – “Mira come al crin gelato” Aria (Daniele) – “Fugge l'ombra ed ogni stella” Recitativo (Abramo, Ezechiele, Isaia, Daniele) – “Amato Ezechiele” Aria (Ezechiele) – “Gia sento che sereno” Recitativo (Isaia) – “Già nel ciel di Giacobbe” Aria (Isaia, Ezechiel, Daniel, Abramo) – “Bella gloria avrà il Giordano” Recitativo (Ezechiele, Daniele) – “Fortunata capanna” Aria (Daniele) – “Pargoletto in rozze fasce” Recitativo (Abramo) – “Pur giungesti una volta” Aria (Abramo) – “Qual nocchiero agitao dall'onde” Recitativo (Daniele, Ezechiele) – “Innocenti pastori!” Duetto (Daniele, Ezechiele) – “Sí, vi brama” Aria (Geremia – “Lagrime amare” Recitativo (Daniele, Isaia, Ezechiele) – “In notte sì gioconda” Aria (Geremia) – “Io sol vorrei” Recitativo (Daniele, Isaia, Ezechiele, Geremia) – “Frena il duol” Aria (Ezechiele) – “Tempo non è di piangere” Recitativo (Isaia, Geremia, Daniele, Ezechiele) – “O vaga di Sion figlia, deh sorgi” Recitativo accompagnato (Geremia) – “Gerusalemme ingrata” Aria (Abramo) – “Chiama le gioie al core” Recitativo (Daniele) – “Tu già narrasti un tempo” Aria (Daniele) – “Senti, che lieti intorno al bel presepe” Recitativo (Abramo, Geremia, Isaia) – “Se volgi un guardo solo” Aria (Isaia) – “Gioie sono i pianti suoi”§ Recitativo (Ezechiele, Geremia, Abramo) – “Vedi già nato il Verbo” Aria (Geremia) – “A poco a poco l'anima mia” Recitativo (Ezechiele) – “In te nulla più resti” Aria (Ezechiele) – “Se togli dall'alma” Recitativo (Abramo, Daniele, Geremia, Isaia, Ezechiele) – “Stillano alfin alma ruggiada i cieli” Tutti, e il coro (SATB) – “Amato mio Gesù”  Rossana Bertini: Soprano (Daniele)Claudio Cavina: Alto (Geremia)Elena Cecchi Fedi: Soprano (Ezechiele)Sergio Foresti: Basso (Abramo)Sandro Naglia: Tenore (Isaia)Concerto italianoRinaldo Alessandrini, conductor

Yule 2022 – IV14th-21st CenturiesWe hear anonymous and traditional works and works by Thomas Tallis, Jacobus Vaet, Michael Praetorius, Alessandro Scarlatti, Christoph Weyse, Heinrich Kaminski, Hugh Martin, Ralph Blane, Irving Berlin, Mel Tormé, Myroslav Skoryk, Franz Gruber, Sir John Tavener, John Rutter, and Peter Warlock.167 Minutes – Week of 2022 December 19

Música

Música

durée : 00:25:02 - Alessandro Scarlatti, La Griselda - par : Anne-Charlotte Rémond - Janvier 1731, en plein Carnaval, le théâtre Capranica de Rome accueille la première représentation de ''La Griselda'', d'Alessandro Scarlatti. Anne-Charlotte Rémond lève aujourd'hui le masque sur le 114 ème et dernier opéra du compositeur italien ! - réalisé par : Claire Lagarde

Today it is a huge pleasure to have someone back on air who already featured an earlier episode in 2019. Chris Guidice is a well-known scholar - but by no means an ‘armchair magician' - having earned an MA in Western Esoteric Tradition at the University of Exeter and a PhD at the University of Gothenburg, Sweden. Chris has Italian and English ancestry and grew up in Italy until age 18 when he decided to study classics at the University of Oxford developing a special interest in Greek literature. After finishing his studies, however instead of pursuing a purely academic carreer, he embarked on a 10-year-journey working for MTV in Italy as a video editor and a scriptwriter. As a practitioner he spent 20 years with the OTO and the A.:A.: During a visit in London in 2009/2010 Chris stumbled across a small ad for an MA in Western Esoteric Tradition at the University of Exeter where soon no one else than renowned historian and professor Nicholas Goodrick-Clarke became his teacher. Chris' succeeded and followed up with his PhD at the University of Gothenburg where ultimately it was his graduation thesis that would turn into the soon to be published book that is the focus of this week's episode, ‘Occult Imperium: Arturo Reghini, Roman Traditionalism, and the Anti-Modern Reaction in Fascist Italy' (Oxford University Press). In our conversation, we'll explore the life of main protagonist, Arturo Reghini, who was born in Florence in 1878 and was not only a genius mathematician but also a pagan in a Pythagorean tradition. In this context we'll try to shed some light on the practices of the Pythagoreans in South Italy back then and how their ideas ran parallel with certain political aspirations of the time culminating into the prospect of (re)-establishing a ‘Sacred Imperium of Italy' in the tradition of ‘True Roman' Imperial concepts. Of course, the question of the relationship between Italian occultism and Italian Fascism can't be neglected and so we will have a honest and open discussion about the role and rise of Mussolini, how the occult imperialist ideas came into pretty handy serving a purpose for a limited amount of time and how the relationship finally played out especially for Reghini himself. We'll close our episode with a glimpse at Chris' upcoming projects which include publishing rare occult classics of the fin de siècle period such as Florence Farr's plays and a special project right in time for the Magickal Women Conference in October 2022. Oxford University Press - Page for Chris' book Oxford University Press' highly interesting series on Western Esotericsm Kamuret Press - Chris Giudice's own publishing company Music played in this episode Italian baroque music will accompany us this week! You know I like classical music. And from what I often hear from you listeners, there are quite a few who like especially classical music from the baroque time, 16th and especially 17th century. Well, this is for you then! Music from Italy, the country our subject is about in the interview today, from the 17th century! Alessandro Scarlatti's (1660-1725) music forms an important link between the early Baroque Italian vocal styles of the 17th century, with their centers in Florence, Venice and Rome, and the classical school of the 18th century. Scarlatti's style, however, is more than a transitional element in Western music; like most of his Naples colleagues he shows an almost modern understanding of the psychology of modulation and also frequently makes use of the ever-changing phrase lengths so typical of the Napoli school. His son, Domenico Scarlatti (1685-1757), is classified primarily as a Baroque composer chronologically,

Scarlatti Alessandro (1660-1725) - Cantata per la notte di Natale di Nostro Signore“Abramo, il tuo sembiante” di Alessandro Scarlatti.Eseguita in Vaticano nella notte del 24 dicembre 1705, in presenza di Papa Clemente XI.1.Recitativo (Daniele, Abramo) – “Abramo, il tuo sembiante”2.Aria (Daniele) – “Mira come al crin gelato”3.Aria (Daniele) – “Fugge l'ombra ed ogni stella”4.Recitativo (Abramo, Ezechiele, Isaia, Daniele) – “Amato Ezechiele”5.Aria (Ezechiele) – “Gia sento che sereno”6.Recitativo (Isaia) – “Già nel ciel di Giacobbe”7.Aria (Isaia, Ezechiel, Daniel, Abramo) – “Bella gloria avrà il Giordano”8.Recitativo (Ezechiele, Daniele) – “Fortunata capanna”9.Aria (Daniele) – “Pargoletto in rozze fasce”10.Recitativo (Abramo) – “Pur giungesti una volta”11.Aria (Abramo) – “Qual nocchiero agitao dall'onde”12.Recitativo (Daniele, Ezechiele) – “Innocenti pastori!”13.Duetto (Daniele, Ezechiele) – “Sí, vi brama”14.Aria (Geremia – “Lagrime amare”15.Recitativo (Daniele, Isaia, Ezechiele) – “In notte sì gioconda”16.Aria (Geremia) – “Io sol vorrei”17.Recitativo (Daniele, Isaia, Ezechiele, Geremia) – “Frena il duol”18.Aria (Ezechiele) – “Tempo non è di piangere”19.Recitativo (Isaia, Geremia, Daniele, Ezechiele) – “O vaga di Sion figlia, deh sorgi”20.Recitativo accompagnato (Geremia) – “Gerusalemme ingrata”21.Aria (Abramo) – “Chiama le gioie al core”22.Recitativo (Daniele) – “Tu già narrasti un tempo”23.Aria (Daniele) – “Senti, che lieti intorno al bel presepe”24.Recitativo (Abramo, Geremia, Isaia) – “Se volgi un guardo solo”25.Aria (Isaia) – “Gioie sono i pianti suoi”§26.Recitativo (Ezechiele, Geremia, Abramo) – “Vedi già nato il Verbo”27.Aria (Geremia) – “A poco a poco l'anima mia”28.Recitativo (Ezechiele) – “In te nulla più resti”29.Aria (Ezechiele) – “Se togli dall'alma”30.Recitativo (Abramo, Daniele, Geremia, Isaia, Ezechiele) – “Stillano alfin alma ruggiada i cieli”31.Tutti, e il coro (SATB) – “Amato mio Gesù”Rossana Bertini: Soprano (Daniele)Claudio Cavina: Alto (Geremia)Elena Cecchi Fedi: Soprano (Ezechiele)Sergio Foresti: Basso (Abramo)Sandro Naglia: Tenore (Isaia)Concerto italianoRinaldo Alessandrini, conductor

Synopsis On today's date in 1719, the Papal ambassador in Lisbon noted the arrival of a fellow Italian, a composer named Domenico Scarlatti. Domenico was in his early 30s, and the son of Alessandro Scarlatti, a very famous and influential composer of Baroque operas in Naples. At the time, Domenico was nowhere near as famous as his father, and had come to Lisbon to serve as the music teacher for an 8-year old Portuguese princess named Maria Magdalena Barbara. This teaching gig turned out to be the most important event in the life of Domenico Scarlatti – and for two reasons. First, the little princess was mad about music, and became a very talented performer on the harpsichord. Second, in 1733, when the princess was 22, she married into the Spanish royal house, becoming the Queen of Spain. Scarlatti remained in her service for the next 25 years, composing for her amusement over 500 harpsichord sonatas, infused with the rhythms and colors of Spanish and Portuguese folk music and with the plucked sound of the harpsichord often mimicking a Spanish guitar. Only a small number of Scarlatti's sonatas were published during his lifetime, but long after his death all surviving manuscripts were tracked down and published.

Es gibt Vorläufer des Streichquartetts vor Haydn und Boccherini. Das beweist mit seinen Sonate a quattro, die ausdrücklich ohne Cembalo gespielt werden sollen, Alessandro Scarlatti. Meisterlich interpretiert vom Quartett Les Récréations.

For her third album for Gramophone's current Label of the Year, Alpha Classics, the mezzo-soprano Kate Lindsey re-visits the Baroque for ‘Tiranno'. She offers five works by four composers – Alessandro Scarlatti, George Frederick Handel, Claudio Monteverdi and Bartolomeo Monari – that put Nero, his mother Agrippina and second wife Poppea centre stage. Lindsey's last stage role before the pandemic was as Nero in Sir David McVicar's acclaimed production of Handel's Agrippina at New York's Metropolitan Opera and her first role before an audience as the Staatsoper in Vienna recently re-opened its doors to the public was as Nero in Monteverdi's L'incoronazione di Poppea. James Jolly spoke to Kate Lindsey the day before L'incoronazione di Poppea opened and they discussed the new album and its themes of power and corruption, her experience of playing Nero and her plans for the future. Gramophone Podcasts are presented in association with Wigmore Hall.

2 MAYIS 2021 DÜNYA TARİHİNDE BUGÜN YAŞANANLAR 1670 - İngiltere Kralı II. Charles, Hudson's Bay Şirketi'ne sözleşme çerçevesinde ayrıcalıklar tanıyarak, Hudson Körfezi'nin içlerine akan tüm akıntı kenarlarında bulunan Kızılderililer ile ticaret yapmasını kabul etti. Kürkçü Topluluğu bunu, dünyadaki en eski "Müessese" olarak görüyor. 1926 - Atlas Okyanusu'nun iki yakası arasında ilk faks mesajı gönderildi. 1945 - İtalya'daki Alman işgal birlikleri; Müttefik ordularına, Berlin'deki Alman güçleri ise, Sovyet Mareşal Jukov'un birliklerine teslim olmaya başladı. TÜRKİYE TARİHİNDE BUGÜN YAŞANANLAR 1885 - Anadolu'nun ilk lisesi (idadisi) olan Kastamonu Abdurrahmanpaşa Lisesi'nin temeli törenle atıldı. 1999 - Fazilet Partisi'nden Merve Kavakçı, Milletvekili yemin törenine türbanla katıldı. Olay, TBMM'de protestolarla karşılandı. BUGÜN DOĞANLAR 1660 -  İtalyan Barok Dönem klasik batı müziği bestecisi Alessandro Scarlatti, doğdu. BUGÜN ÖLENLER 1519 İtalyan ressam, heykeltıraş, mimar ve mühendis (Rönesans'ı başlatan) Leonardo da Vinci, vefat etti. 2011 -  El Kaide'nin kurucusu ve lideri Usame bin Ladin, hayatını kaybetti.

Synopsis On today’s date in 1692, London audiences were treated to a lavish theatrical entertainment entitled “The Fairy Queen.” This show was loosely based on Shakespeare’s comedy “A Midsummer Night’s Dream,” a play already 100 years old in 1692. To make it more in line with contemporary taste, characters were added or cut, and scenes shifted around to such an extent that Shakespeare, were he alive to see it, would be hard put to recognize much of his original concept. Musical sequences were also expanded, and the producers hired the leading British composer of the day to write them. His name was Henry Purcell, and “The Fairy Queen” would turn out to be the biggest success of his career. In addition to writing the show’s songs and dances, Purcell provided music to entertain the audience as they entered and exited the theater or stretched their legs during the intermission. The good news is that no expense was spared in the show’s production. The bad news was the show’s producers barely recovered their expenses. Subsequent productions, they decided, would be less flashy, but, recognizing the quality of Purcell’s music, they signed him on once again for their next extravaganza. Music Played in Today's Program Henry Purcell (1659 – 1695) The Fairy Queen Le Concert des Nations; Jordi Savall, cond. Auvidis 8583 On This Day Births 1660 - Italian composer Alessandro Scarlatti, in Palermo; founder of the "Neopolitan School" of music and father of the composer, Dominico Scarlatti; 1752 - Baptismal date of German oboist and composer Ludwig August Lebrun, in Mannheim; 1810 - Danish conductor and composer Hans Christian Lumbye, in Copenhagen; 1843 - Austrian conductor and operetta composer Carl Michael Ziehrer, in Vienna; 1905 - English composer Alan Rawsthorne, in Haslingden; Deaths 1864 - German composer Giacomo Meyerbeer (Jakob Liebmann Beer), age 72,in Paris; 1990 - American composer William Levi Dawson, age 90, in Montgomery, Ala.; Premieres 1692 - Purcell: opera "The Fairy Queen," in London at the Queen's Theater, Dorset Garden; 1935 - Ibert: "Concertino da Camera" for saxophone and chamber orchestra, in Paris; 1936 - Prokofiev: "Peter and the Wolf" at a children's concert by the Moscow Philharmonic, conducted by the composer; 1947 - Copland: "In the Beginning" for mezzo-soprano and chorus, at Harvard University; 1947 - Schoenberg: String Trio, Op. 45, at Harvard University; 1951 - Cage: "Imaginary Landscape No. 4" for 12 radios, in New York; 1951 - Ulysses Kay: "Sinfonia" for orchestra, in Rochester, N.Y.; 1965 - Bolcom: "Oracle" for orchestra, in Seattle; 1965 - Grofé: "Trick or Treat: Halloween," by the Philadelphia Orchestra, André Kostelanetz conducting; 1981 - David Amram: Violin Concerto, by the St. Louis Symphony, Leonard Slatkin conducting, with Charles Castleman the soloist; 1984 - Ezra Laderman: String Quartet No. 7, in New York City, by the Colorado Quartet; 1984 - Broadway premiere of Sondheim: musical "Sunday in the Park with George"; 1990 - Elliott Carter: Violin Concerto, by the San Francisco Symphony conducted by Herbert Blomstedt, with Ole Böhn as soloist; Others 1855 - American premiere of Verdi's opera "Il Trovatore" (The Troubadour) at the Academy of Music in New York. 1872 - First documented American performance of Beethoven's "Missa solemnis" in D (Op. 123), at Steinway Hall in New York , by the Church Music Association, Dr. James Pech conducting; Subsequent regional premieres of this work occurred in Cincinnati (May 19, 1880) and Boston (Mar. 12, 1897). Links and Resources More on "The Fairy Queen" More on Purcell

Un día como hoy, 2 de mayo: Nace: 1660: Alessandro Scarlatti, músico italiano (f. 1725). 1772: Novalis (Georg von Handenburg), poeta alemán (f. 1801). 1936: Engelbert Humperdinck, cantante británico. 1953: Valeri Gérgiev, director de orquesta y músico ruso. Fallece: 1519: Leonardo da Vinci, artista renacentista italiano (n. 1452). 1864: Giacomo Meyerbeer (Yaakov Liebmann Beer), compositor judío alemán (n. 1791). Una producción de Sala Prisma Podcast. 2021

Synopsis On today’s date in 1692, London audiences were treated to a lavish theatrical entertainment entitled “The Fairy Queen.” This show was loosely based on Shakespeare’s comedy “A Midsummer Night’s Dream,” a play already 100 years old in 1692. To make it more in line with contemporary taste, characters were added or cut, and scenes shifted around to such an extent that Shakespeare, were he alive to see it, would be hard put to recognize much of his original concept. Musical sequences were also expanded, and the producers hired the leading British composer of the day to write them. His name was Henry Purcell, and “The Fairy Queen” would turn out to be the biggest success of his career. In addition to writing the show’s songs and dances, Purcell provided music to entertain the audience as they entered and exited the theater or stretched their legs during the intermission. The good news is that no expense was spared in the show’s production. The bad news was the show’s producers barely recovered their expenses. Subsequent productions, they decided, would be less flashy, but, recognizing the quality of Purcell’s music, they signed him on once again for their next extravaganza. Music Played in Today's Program Henry Purcell (1659 – 1695) The Fairy Queen Le Concert des Nations; Jordi Savall, cond. Auvidis 8583 On This Day Births 1660 - Italian composer Alessandro Scarlatti, in Palermo; founder of the "Neopolitan School" of music and father of the composer, Dominico Scarlatti; 1752 - Baptismal date of German oboist and composer Ludwig August Lebrun, in Mannheim; 1810 - Danish conductor and composer Hans Christian Lumbye, in Copenhagen; 1843 - Austrian conductor and operetta composer Carl Michael Ziehrer, in Vienna; 1905 - English composer Alan Rawsthorne, in Haslingden; Deaths 1864 - German composer Giacomo Meyerbeer (Jakob Liebmann Beer), age 72,in Paris; 1990 - American composer William Levi Dawson, age 90, in Montgomery, Ala.; Premieres 1692 - Purcell: opera "The Fairy Queen," in London at the Queen's Theater, Dorset Garden; 1935 - Ibert: "Concertino da Camera" for saxophone and chamber orchestra, in Paris; 1936 - Prokofiev: "Peter and the Wolf" at a children's concert by the Moscow Philharmonic, conducted by the composer; 1947 - Copland: "In the Beginning" for mezzo-soprano and chorus, at Harvard University; 1947 - Schoenberg: String Trio, Op. 45, at Harvard University; 1951 - Cage: "Imaginary Landscape No. 4" for 12 radios, in New York; 1951 - Ulysses Kay: "Sinfonia" for orchestra, in Rochester, N.Y.; 1965 - Bolcom: "Oracle" for orchestra, in Seattle; 1965 - Grofé: "Trick or Treat: Halloween," by the Philadelphia Orchestra, André Kostelanetz conducting; 1981 - David Amram: Violin Concerto, by the St. Louis Symphony, Leonard Slatkin conducting, with Charles Castleman the soloist; 1984 - Ezra Laderman: String Quartet No. 7, in New York City, by the Colorado Quartet; 1984 - Broadway premiere of Sondheim: musical "Sunday in the Park with George"; 1990 - Elliott Carter: Violin Concerto, by the San Francisco Symphony conducted by Herbert Blomstedt, with Ole Böhn as soloist; Others 1855 - American premiere of Verdi's opera "Il Trovatore" (The Troubadour) at the Academy of Music in New York. 1872 - First documented American performance of Beethoven's "Missa solemnis" in D (Op. 123), at Steinway Hall in New York , by the Church Music Association, Dr. James Pech conducting; Subsequent regional premieres of this work occurred in Cincinnati (May 19, 1880) and Boston (Mar. 12, 1897). Links and Resources More on "The Fairy Queen" More on Purcell

durée : 00:19:39 - Disques de légende du mercredi 28 avril 2021 - En 2002, le contreténor et chef d'orchestre René Jacobs enregistre pour Harmonia Mundi l'opéra "La Griselda" d'Alessandro Scarlatti, avec son Akademie fûr Alte Musik Berlin et un beau casting vocal, en particulier le trio féminin formé par Dorothea Röschmann, Bernarda Fink et Veronica Cangemi.

Carlos Iribarren | Hoy Toca estremecernos y no tanto por la música sino por el tema del que nos ocupamos: el crimen, el asesinato, el homicidio... ¿sabrías diferenciarlos? Para que nos aclare ese punto y muchísimas más cosas, nos visita la abogada penalista y criminóloga Beatriz De Vicente, muy activa en programas de televisión, con quien recorreremos algunos de los casos más señalados de la historia, tanto real como cinematográfica. El estrangulador de Boston, Landrú, los Borgia o el celebérrimo Jack el Destripador comparten programa con personas mucho menos dañinas e infinitamente más apreciables como Hitchcock, Charles Chaplin, Alessandro Scarlatti o Johann Sebastian Bach, una de cuyas mejores piezas para piano aparece en un momento mítico del cine criminal... ¿Adivinas la película? Disfruta junto a Carlos y Mario Mora de este repaso escalofriante en el que aprenderemos casi de todo mientras escuchamos la mejor música del mundo, la que suena en Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Alessandro Scarlatti (1660 – 1725) - Passione Secondo Giovanni (1679)Giuseppina Bridelli Mezzosoprano Salvo Vitale Basso(Cristo) solisti del coro de Chambre de Namur Ancilla, soprano: Caroline Weynants Pilato, controtenore: Guillaume Houcke Pietro, tenore: Pierre Derhet Un giudeo, tenore: Maxime Melnik Leonardo García Alarcón, direttoreMillenium OrchestraChœur du Chambre de Namur

En clave de Dios (CXLI): 'La vanità del mondo'. En este programa presentamos el último lanzamiento discográfico del contratenor francés Philippe Jaroussky, 'La vanità del mondo', un recorrido por el oratorio barroco italiano de finales del siglo XVII y comienzos del XVIII. Así, escuchamos una selección de arias compuestas por grandes representantes del oratorio como Pietro Torri, Alessandro Scarlatti, Antonio Maria Bononcini, Nicola Fago, Johann Adolph Hasse y Antonio Caldara. El género musical del oratorio nació a comienzos del siglo XVII en una concepción pseudo escénica con el objetivo de plasmar y describir las virtudes morales de la Iglesia Católica, y sus argumentos tratan episodios bíblicos del Antiguo Testamento o vidas de santos.

In deze tweede aflevering hebben we het over de eerste moord in de Bijbel, aan de hand van literatuur en muziek. Je hoort over werken van John Steinbeck en Willem Jan Otten en muziek van Alessandro Scarlatti en Darius Milhaud. Op www.eo.nl/scheppingsdrift vind je een overzicht van de kunst die we bespreken in deze aflevering.

Ela não conhecia nada a não ser as coisas da natureza. Aprendera a falar com os passarinhos, comer com os ursos e brincar com as raposas. Até que um dia, chegam na floresta uns bichos muito esquisitos... De: Emily Hughes Tradução: Maria Luiza X. De A. Borges Editora Pequena Zahar Música: Alessandro Scarlatti, Sinfonie di concerto grosso No 2 em D maior para flauta, trompete e cordas Execução: Orquestra de Câmara de Modena (www.musopen.org) --- Send in a voice message: https://anchor.fm/depaiparafilha/message

Die «Fiirabigmusig» am Mittwoch widerspiegelt das traditionelle Schweizer Musizieren und Singen in allen Schattierungen. In der Sendung stellt Musikredaktor Dani Häusler ausserdem das Stück «Gavotte für Gitarre» vor. In der undatierten Aufnahme aus der «Sammlung Dür» spielt Dante Brenna die «Gavotte für Gitarre» von Alessandro Scarlatti.

Un día como hoy, 22 de octubre: 1071, nace el trovador Guillermo de Poitiers. 1811, nace Franz Liszt. 1863, nace el arquitecto Adamo Boari. 1919, nace Doris Lessing. 1938, nace el actor Christopher Lloyd. 1943, nace Catherine Deneuve. 1952, nace el actor Jeff Goldblum. 1725, fallece Alessandro Scarlatti. 1906, fallece Paul Cézanne. 1973, fallece Pau Casals. 2010, fallece el poeta Alí Chumacero. Una producción de Sala Prisma Podcast. 2020

Opera-goers today often lament the rise of intrusive stage directors who feel the need to reinterpret a composer’s work in startling and often deliberately provocative ways. One recent staging of Wagner’s “Lohengrin” at the Bayreuth Festival, for example, featured the chorus dressed up as laboratory rats. But contemporary directors would have to go pretty far to top a ballet staging that took place at the Venice Festival on today’s date in 1961. In this case, music by the Italian Baroque composer Alessandro Scarlatti was specially arranged into a short ballet score for which sets, story, and choreography were provided by two leading avant-garde artists of the day: the surrealist Spanish painter Salvador Dali and the Belgian choreography Maurice Bejart, with an important contribution by La Maison Guerlain, a pricey French perfume manufacturer. And when we said French perfume played an important role in the staging, we meant it—since big barrels of the stuff were placed on stage to mask the odor of a rotting cattle carcass that was a feature of Bejart’s scenario. To paraphrase the late Walter Cronkite, “And that’s the way it was—and smelled—August 22, 1961.”

Opera-goers today often lament the rise of intrusive stage directors who feel the need to reinterpret a composer’s work in startling and often deliberately provocative ways. One recent staging of Wagner’s “Lohengrin” at the Bayreuth Festival, for example, featured the chorus dressed up as laboratory rats. But contemporary directors would have to go pretty far to top a ballet staging that took place at the Venice Festival on today’s date in 1961. In this case, music by the Italian Baroque composer Alessandro Scarlatti was specially arranged into a short ballet score for which sets, story, and choreography were provided by two leading avant-garde artists of the day: the surrealist Spanish painter Salvador Dali and the Belgian choreography Maurice Bejart, with an important contribution by La Maison Guerlain, a pricey French perfume manufacturer. And when we said French perfume played an important role in the staging, we meant it—since big barrels of the stuff were placed on stage to mask the odor of a rotting cattle carcass that was a feature of Bejart’s scenario. To paraphrase the late Walter Cronkite, “And that’s the way it was—and smelled—August 22, 1961.”

Ep.104 Parliamodillibres 7, 8 i 9 - Ràdio Catalunya Itàlia i SantJordiaCasa presenten:Tonada especial: Susanna Crespo Held canta Alessandro Scarlatti, Io Son Pur SoloTina Vallès La memòria de l'arbre (Anagrama)Sara Cavarero, traductora del llibre, La memoria dell'albero (Solferino). Núria Esponellà, Ànima de tramuntana, premi Prudenci Bertrana de novel.la, presentada per Esther SagreraGlòria Sabaté, El vel de la deessa (Edicions 62), premi Néstor Luján de novel.la històricaMaria Carme Roca, amb els seus Barcino i A Bàrcino, i la seva traductora S.M.CiminelliGianfranco Calligarich, L'ultima estate in città (Bompiani), presentat i llegit per la seva traductora al catalàMercè Ubach, autora i traductora, presenta a G.Calligari i ens llegeix un fragment de L'últim estiu a Roma (Edicions 62)

On today's date in 1757, the Italian composer and harpsichordist Domenico Scarlatti died in Madrid. He was 71 years old, and for the last 38 years of his life had been employed at the court of Princess Maria Barbara, first in her native Portugal, and then, when the Princess married the heir to the Spanish throne, in Madrid. Although Domenico could very well have stayed in Italy and become a famous opera composer like his father, Alessandro Scarlatti, Domenico spent the better part of his life composing over 600 virtuoso sonatas for Maria Barbara. Only a handful of these were published during his lifetime. In the 19th century, Liszt and Brahms took the trouble to hunt down additional Scarlatti sonatas in manuscript, but the bulk of them remained unpublished and unknown until a complete edition was published in the 20th century. While not coming anywhere close to matching Scarlatti's output, one 20th century American composer, the Philadelphia-born Vincent Persichetti, composed ten harpsichord sonatas of his own. Like Scarlartti, Persichetti was a virtuoso keyboard performer, and wrote showcase pieces for the piano and organ in addition to the harpsichord. The growing number of modern-day harpsichordists has meant that in addition to the wealth of old music for the instrument, an increasing number of contemporary composers have followed Persichetti's example, and are writing new works for this old instrument.

Domenico Scarlatti, Keyboard Sonata in E Major Domenico Scarlatti, Keyboard Sonata in E minor Terry Riley, “Simone's Lullaby”Domenico Scarlatti (1685-1757) was born in Naples. His father was Alessandro Scarlatti, who had composed a series of successful operas in Naples and Rome. Domenico studied in Rome with the most respected musicians of his time and was considered a brilliant harpsichordist. He worked as a composer/musician in the courts of the Vatican, Lisbon and then, for the rest of his life, in Madrid, where he became harpsichord teacher to the future Queen of Spain. The vast majority of his compositions, over 500 short harpsichord sonatas, were written in Madrid towards the end of his life and were little known elsewhere in Europe until the early 20th century.Terry Riley (1935- ) is an American composer whose works are performed worldwide. His piece “in C” (1964) launched what became known as the Minimalist movement. He is an acknowledged master in the disciplines of classical Western composition, Indian classical music, film scoring and jazz. Simone's Lullaby, from Heaven's Ladder Book 7, was written for his granddaughter. He was born in Colfax, CA in 1935, lives in a small town in the northern Sierra Nevada foothills and continues to perform internationally. 

durée : 01:57:24 - En pistes ! du jeudi 10 octobre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : l'Ôde à la joie de Beethoven interprétée par un orchestre composé des membres de six orchestres différents en l'honneur de l'anniversaire de la Chute du mur de Berlin, Jean-Marc Andrieu et son orchestre Les Passions réunissent Giovanni Battista Pergolesi et Alessandro Scarlatti... - réalisé par : Lionel Quantin

Ensemble Black Tulip in concert, celebrating the delights of Arcadia, including pastoral solo cantatas by Handel and Alessandro Scarlatti.

Ensemble Black Tulip in concert, celebrating the delights of Arcadia, including pastoral solo cantatas by Handel and Alessandro Scarlatti.

durée : 01:57:42 - En pistes ! du lundi 09 mars 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu également : du piano avec l'intégrale des sonates de Beethoven par Fazil Say et le "Marathon Chopin " d'Alexander Brailowsky, des cantates et concertos baroques signés Alessandro Scarlatti sans oublier le nouvel opus du Dudok Quartet Amsterdam consacré au père du quatuor à cordes : Haydn. - réalisé par : Lionel Quantin

Donald Macleod delves into the international successes of Arcangelo Corelli. Arcangelo Corelli was something of a European phenomenon not only during his lifetime, but also after his death. His compositional output was not large, but the development of the printing press enabled his music to be widely circulated. Musically, he bridged the gap between the Baroque and the Classical periods, and is seen as pivotal in the development of the sonata and the concerto. Even today, Corelli’s music is held in high esteem, with composers still inspired by his music. As a violinist he was also legendary, and people flocked from all over Europe to not only hear him play, but to also be taught by him. Corelli spent most of his career in Rome, maintained in some luxury by royalty, nobility and the Church. During his career he collaborated with many other composers including Alessandro Scarlatti and Handel. Despite his fame and continued popularity, we still know relatively little about Corelli, and this Composer of the Week series seeks to explore the man and his music through his personal and professional relationships. Music featured: Sonata in G minor, Op 4 No 2 (Corrente) Concerto Grossi, Op 6 No 3 Sonata in G, Op 1 No 9 Handel: La Resurrezione (Ho un non so che nel cor) Sonata in F major, Op 5 No 10 Concerto Grosso in D, Op 6 No 1 Fuga con un soggetto solo Sonata in G minor, Op 5 No 5 Sonata in F, Op 1 No 1 Sonata in A minor, Op 1 No 4 Sonata in B minor, Op 3 No 4 Sonata in F minor, Op 3 No 9 Concerto Grosso in F, Op 6 No 12 Sonata in D Sonata in B major, Op 2 No 5 Sonata in E flat major, Op 2 No 11 Sinfonia to Santa Beatrice d’Este in D minor, WoO1 Concerto in G minor, Op 6 No 8 (Christmas Concerto) Sonata in C, Op 5 No 9 Sonata in A minor, op 4 No 5 Sonata in B minor, op 4 No 12 Sonata in C, Op 2 No 3 Sonata in F major, Op 2 No 7 Handel: Sonata a 5, HWV288 (Violin Concerto in B flat) Sonata in G minor WoO2 Corelli Arr. J. C. Schickhardt: Concerto Grosso Op 6 No 3 Sonata No 2 in D minor, Op 2 No 2 Concerto Grosso in F, Op 6 No 2 Corelli Arr. Geminiani: Concerto Grosso VII in D minor Sonata in D minor, Op 5 No 12 (Follia) Concerto Grosso in F, Op 6 No 9 Presented by Donald Macleod Produced by Luke Whitlock for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Arcangelo Corelli. https://www.bbc.co.uk/programmes/m000d6y6 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

durée : 01:57:24 - En pistes ! du jeudi 10 octobre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : l'Ôde à la joie de Beethoven interprétée par un orchestre composé des membres de six orchestres différents en l'honneur de l'anniversaire de la Chute du mur de Berlin, Jean-Marc Andrieu et son orchestre Les Passions réunissent Giovanni Battista Pergolesi et Alessandro Scarlatti... - réalisé par : Lionel Quantin

Esta semana, los cosmopoditas aprovechan el sol y la incipiente primavera parisina para juntar ánimo y meterse en temas muy oscuros. Primero, comentan “An Elephant Sitting Still”, el drama monumental de 4 horas de Hu Bo, y charlan sobre las formas de la desesperanza y de la desesperación en el norte minero de China, lejos de los brillos y de las promesas del capitalismo comunista. Luego, vuelven a la ópera para ver “Il primo omicidio”, la desafiante puesta de Romeo Castellucci del oratorio de Alessandro Scarlatti sobre la historia de Caín y Abel, y discuten sobre el mal, la culpa y el crimen como experiencias fundadoras de subjetividad occidental y de la potencia de la puesta en escena como intervención cultural en la obra de Castellucci. Ochenta y siete minutos de programa, porque nada es suficiente para limpiar la culpa. Suscribite y apoyanos en Spotify, Apple Podcasts, TuneIn, Stitcher, Soundcloud, Google Podcasts, Pocket Casts y en tu aplicación favorita. Escribinos a cosmopodis@gmail.com y seguinos en Instagram y en Twitter en @cosmopodis.

Große Oper im Miniaturformat: Nicolas Achten und sein Ensemble "Scherzi Musicali" haben einige weltliche Kantaten Alessandro Scarlattis aufgenommen, die allesamt um die Qualen unglücklicher Liebe kreisen. So klangschön, farbenreich und bravourös kann tiefer Seelenschmerz klingen...

Il primo omicidio ovvero Caino di Alessandro Scarlatti all'Opera di Parigi

Kirsten Rønn præsenterer den italienske barokkomponist Alessandro Scarlatti. Han var glemt i 250 år, men nu genfunden og i den grad værdsat efter fortjeneste. Scarlatti levede i Rom og Napoli i en tid med politik, krige og intriger og hans operaer har vundet fornyet opmærksomhed. I udsendelsen hører vi 1. og 3 satser af hans Concerto nr 3 i F-dur, som I Musici spiller. Dertil synger Cecilia Bartoli to af hans sange med György Fischer ved klaveret og...

Sicilian-born composer Alessandro Scarlatti had a love/hate relationship with the city of Rome. In the early part of his career, he was employed there by the self-exiled Queen Christina of Sweden, and he returned to the city for the last six years of his life, composing some of his finest work there. Lucie Skeaping explores Scarlatti's Roman years and some of the music he produced during his time in the Italian capital.

Alessandro Scarlatti's best-known but rarely performed opera.

Liebe Hörerinnen und Hörer! Heute erzähle ich euch über die Oper "La Caduta de Decemviri" von Alessandro Scarlatti! Aus dieser Oper stammt die Arie "Spesso vibra per suo gioco". Ich wünsche euch ganz viel Freude damit! Hier ein paar Youtube links: Sinfonia I. Allegro: https://youtu.be/GTD31FJQLIA II. Largo: https://youtu.be/Pv0X_HNU1p0 III: Allegro: https://youtu.be/VqQQnTFYzmU Le Violette aus dem 1. Akt: https://youtu.be/NDIOXN6vjwo Spesso vibra per suo gioco: https://youtu.be/Zeja0keHNKQ https://youtu.be/IVWhI0HKBvU www.barbarapavelka.at mein Youtube: www.youtube.com/user/bablbabs Eure Barbara Marie-Louise Pavelka --- Send in a voice message: https://anchor.fm/a-lyrical-singers-life/message

Liebe Hörerinnen und Hörer! In der heutigen Folge geht es nun um die Oper "La donna ancora e fedele" von Alessandro Scarlatti. Zwei Arien aus den Arie Antiche stammen aus dieser Oper, einmal "Se Florindo e fedele" und "Son tutta duolo". Worum geht es? Das erfährt ihr in dieser Folge! Hier die Links zu den beiden Arien: "Se Florindo e fedele" https://youtu.be/RiEi8xUDQfM "Son tutta duolo" https://youtu.be/-suy_ImjI_8 www.barbarapavelka.at Viel Freude beim Hören! Eure Barbara Marie-Louise Pavelka --- Send in a voice message: https://anchor.fm/a-lyrical-singers-life/message

Liebe Hörerinnen und Hörer! Heute geht es um die Oper "Il Pompeo" von Alessandro Scarlatti. Über die Arie "O Cessate di piagarmi habe ich euch ja schon berichtet, nun die Oper dazu. Hier noch ein paar Links zu einigen Arien aus dieser Oper: Toglietemi la vita ancor: https://www.youtube.com/watch?v=GiNTVdirI-I https://www.youtube.com/watch?v=myUAK3HpTjk O Cessate di piagarmi: https://www.youtube.com/watch?v=8si3ZXYU8OA https://www.youtube.com/watch?v=ogsM1cWpqyI Viel Freude beim Hören! Eure Barbara Marie-Louise Pavelka --- Send in a voice message: https://anchor.fm/a-lyrical-singers-life/message

Liebe Hörerinnen und Hörer! Heute geht es weiter mit den Arie Antiche. Da wir schon bei Alessandro Scarlatti sind, habe ich mir gedacht, dass ich gleich die nächste von ihm präsentiere. Diesmal "O Cessate di Piagarmi", die ich ebenfalls in meinem Programm zur "Arie Antiche" bringen werden. Mehr erfährt ihr in der Folge selbst. Hier nun noch die versprochenen Links: von Cecilia Bartoli: https://youtu.be/vEn8iWMOdzc von Angela Gheorghiu: https://youtu.be/NSgw5_ssiaI von Hal Leonard: https://youtu.be/ogsM1cWpqyI und hier mit dem natürlichen Kammerton von 432Hz. https://youtu.be/TY3opwomiaE Viel Freude beim Hören! Eure Barbara Marie-Louise Pavelka --- Send in a voice message: https://anchor.fm/a-lyrical-singers-life/message

Liebe Hörerinnen und Hörer! Wie schon angekündigt erzähle ich euch in dieser Folge über den Komponisten Alessandro Scarlatti, von dem ich euch schon in der Folge über seine Arie "Son tutta duolo" erzählt habe. Ich hoffe ihr habe viel Freude dabei von diesem großartigen Komponisten zu hören! Hier könnt ihr euch auf Youtube einige interessante Aufzeichnungen anhören: https://www.youtube.com/watch?v=PvQUesVmZvQ https://www.youtube.com/watch?v=VovHmfHzkM4&t=195s https://www.youtube.com/watch?v=uFjxmHqNtyA https://www.youtube.com/watch?v=5cB35U5BYXg Eure Barbara Marie Louise --- Send in a voice message: https://anchor.fm/a-lyrical-singers-life/message

Alessandro Scarlatti (d. 2 Mayıs 1660 Palermo, Sicilya – ö. 24 Ekim 1725 Napoli) özellikle opera eserleri ve oda kantataları ile ünlü olan İtalyan Barok dönem klasik batı müziği bestecisidir.… The post Alessandro Scarlatti  : La Major Piyano Sonati K24 appeared first on Radio Fehu.

Barock-Arien aus Opern und Kantaten von Carl Heinrich Graun; Georg Friedrich Händel, Johann Adolf Hasse, Giovanni Legrenzi, Alessandro Scarlatti, Antonio Vivaldi, Johann Mattheson und Antonio Sartorio | Regula Mühlemann (Sopran) | Katerina Ghannudi (Harfe und Gesangsstimme) | La Folia Barockorchester | Leitung: Robin Peter Müller

Giuseppa Bridelli (Mezzo-Sopran) | Salvo Vitale (Bass) | Chœr de Chambre de Namur | Millenium Orchestra | Leitung: Leonardo García Alarcón

In Episode 91, Simone di Felice and I work through the text to Alessandro Scarlatti's "Già il sole dal Gange", talking a lot about consonants! This is the audio version of the SDU Tutorial. For more Video Tutorials and Text Readings, as well as our Facebook Diction Lessons and Tongue Twisters for Singers series, or for the accompanying PDF for this Tutorial, please visit us at www.dictionpolice.com . You can also follow The Diction Police on Facebook and Twitter.

In Episode 91, Simone di Felice and I work through the text to Alessandro Scarlatti's "Già il sole dal Gange", talking a lot about consonants! For more Video Tutorials and Text Readings, as well as our Facebook Diction Lessons and Tongue Twisters for Singers series, or for the accompanying PDF for this Tutorial, please visit us at www.dictionpolice.com . You can also follow The Diction Police on Facebook and Twitter.

Concerto de‘ Cavalieri | Leitung: Marcello Di Lisa

Alessandro Scarlatti, Bernardo Pasquini, Giovanni Paolo Colonna, Domenico Gabrielli, Giovanni Bononcini, Giuseppe Torelli, Antonio Lotti, Antonio Caldara, Nicola Antonio Porpora | Nuria Rial, Valer Sabadus, Kammerorchester Basel: Julia Schröder

Der Vielschreiber Alessandro Scarlatti galt zu seinen Lebzeiten als einer der führenden Komponisten: Neben etlichen Instrumentalwerken, Oratorien und 799 Kantaten sind in seinem Werkverzeichnis nicht weniger als 115 Opern aufgeführt. Und gerade in dieser Gattung erlebte Alessandro Scarlatti zur Karnevalszeit 1707 in Venedig eine schmerzhafte Niederlage, weshalb noch Jahre später eine Mordermittlung eingeleitet werden musste.

"Giuseppe Domenico Scarlatti (Naples, 26 October 1685 – Madrid, 23 July 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas." from "Domenico Scarlatti", Wikipedia https://en.wikipedia.org/wiki/Domenico_Scarlatti

"Giuseppe Domenico Scarlatti (Naples, 26 October 1685 – Madrid, 23 July 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas." from "Domenico Scarlatti", Wikipedia https://en.wikipedia.org/wiki/Domenico_Scarlatti

"Giuseppe Domenico Scarlatti (Naples, 26 October 1685 – Madrid, 23 July 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas." from "Domenico Scarlatti", Wikipedia https://en.wikipedia.org/wiki/Domenico_Scarlatti

The Rev. Susan S. Shafer, Retired Senior Minister at Asbury First United Methodist Church, Rochester, NY, preaches a sermon entitled "Power by Example". The Marsh Chapel Choir sings "Give almes of thy goods" by Christopher Tye and "Exultate Deo" by Alessandro Scarlatti along with service music and hymns.

The Rev. Susan S. Shafer, Retired Senior Minister at Asbury First United Methodist Church, Rochester, NY, preaches a sermon entitled "Power by Example". The Marsh Chapel Choir sings "Give almes of thy goods" by Christopher Tye and "Exultate Deo" by Alessandro Scarlatti along with service music and hymns.

En clave de Dios (XVIII): 'La Santissima Trinità' de A. Scarlatti (y II). Segundo programa dedicado al oratorio 'La Santissima Trinità' de Alessandro Scarlatti en el que escuchamos la segunda parte de este debate teológico musical entre los personajes alegóricos de la Fe, la Incredulidad, el Amor Divino, la Teología y el Tiempo. El programa se abre con el 'Gloria Patri' y el 'Sicut erat' conclusivos del salmo 'Laudate Pueri Dominum' RV 602 en La mayor de Antonio Vivaldi y se cierra con el 'Gloria Patri' de su salmo 'Dixit Dominus' RV 594 en Re mayor.

En clave de Dios (XVII): 'La Santissima Trinità' de A. Scarlatti (I). Primer programa dedicado al oratorio 'La Santissima Trinità' del compositor barroco italiano Alessandro Scarlatti, estrenado en Nápoles en 1715 y que narra un debate teológico entre personajes alegóricos acerca del misterio de la Santísima Trinidad. El programa comienza con el 'Gloria Patri et Filio et Spiritui Sancto' final del salmo 'Dixit Dominus' HWV 232 de Händel, obra de juventud del compositor.

1. Variations on ‘La Folia’ (Alessandro Scarlatti). Mahan Esfahani, cravo/harpsicord. 2. Canto do xexéu de bananeira/Brazilian birdsong. 3. Just (After Song of Songs) (David Lang). Trio Mediaeval & Garth Knox Trio. 4. Um a zero (Pixinguinha). Hamilton de Holanda, bandolim/mandolin. Wynton Marsalis, trumpete/trumpet. Fancy my sets? So please click LIKE and also FOLLOW. You can subscribe with iTunes. :: Gostou? Então clique em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações. www.facebook.com/heloisafischer helofischer@gmail.com

Arien von Leonardo Leo, Giovanni Battista Pergolesi, Nicola Porpora, Alessandro Scarlatti, Leonardo Vinci und Domenico Auletta | Max Emanuel Cencic (Countertenor) | Il Pomo d'Oro | Leitung: Maxim Emelyanychev

In 1702, the 19-year-old Philip V of Spain came from his native France to Naples for a month. For this occasion, the Neopolitan based composer Alessandro Scarlatti was joined by the other great Italian composer of the day, Arcangelo Corelli, with mixed results! On the 350th anniversary of Scarlatti's birth, Catherine Bott explores the stories that surround the music and entertainments put on for this occasion.

Neben etlichen Instrumentalwerken, Oratorien und 799 Kantaten, führt er in seinem Werkverzeichnis auch 115 Opern auf. Und gerade in dieser Gattung erlebte Alessandro Scarlatti zur Karnevalszeit 1707 in Venedig eine schmerzhafte Niederlage. Warum deshalb noch Jahre später eine Mordermittlung eingeleitet werden musste, erzählt das folgende Zoom von Katharina Neuschaefer.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia

Lucie Skeaping looks at the life and works of the composer and teacher Nicola Porpora, whose early career was overshadowed by the successes of Alessandro Scarlatti in his native Naples.

Donald Macleod explores the life and work of Alessandro Scarlatti, who is seen as the founder of Neapolitan opera. He appraises the composer's legacy, asking if we should re-evaluate his importance

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Voice from Heaven". In Choro Novo sings "Exultate Deo" by Alessandro Scarlatti and "Ave Maria (Angelus Domini)" by Franz Biebl along with service music and hymns.

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Voice from Heaven". In Choro Novo sings "Exultate Deo" by Alessandro Scarlatti and "Ave Maria (Angelus Domini)" by Franz Biebl along with service music and hymns.

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Voice from Heaven". In Choro Novo sings "Exultate Deo" by Alessandro Scarlatti and "Ave Maria (Angelus Domini)" by Franz Biebl along with service music and hymns.

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Voice from Heaven". In Choro Novo sings "Exultate Deo" by Alessandro Scarlatti and "Ave Maria (Angelus Domini)" by Franz Biebl along with service music and hymns.

Julika Jahnke stellt Scarlattis Concerti grossi zusammen mit dem Cembalisten Ottavio Dantone vor.

Scarlatti im Fokus der Mordermittler

A look at Alessandro Scarlatti and three of his oratorios with performances by Il Seminario Musicale, the Akademie für Alte Musik Berlin, and Europa Galante.