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2 episodes with Italian Baroque
2 episodes with Italian Baroque
11 episodes with Italian Baroque
2 episodes with Italian Baroque
3 episodes with Italian Baroque
2 episodes with Italian Baroque
Alright, this week…It's the OBS year in review! From Beyoncé showing off her Italian Baroque chops to Arts Council England continuing to be the enemy of opera, to friend of the show Anthony Roth Costanzo being tapped as Opera Philadelphia's new GD, to other friend of the show Benjamin Bernheim getting the ultimate OBS bump, 2024 certainly was…something. The team breaks it down for you… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore
Good afternoon, I'm _____ with today's episode of EZ News. Tai-Ex opening The Tai-Ex opened up 111-points this morning from yesterday's close, at 20,634 on turnover of 5.1-billion N-T. The market rose nearly 200 points on Monday to close above the 20,500-point mark - as buying was sparked by Wall Street's solid performance at the end of last week amid renewed hopes over a rate cut cycle by the U-S Federal Reserve. Artificial intelligence development-related stocks attracted strong investor interest and led the local main board higher, while the financial sector also posted strong gains throughout the session. MOFA defends deal to provide Ukraine aid via Czech NGO The Ministry of Foreign Affairs is denying allegations that it misused taxpayer money in a partnership with the Czech Republic to provide assistance (協助) to Ukraine. According to ministry spokesman Jeff Liu, his office plans to pursue legal action against K-M-T lawmaker Hsu Chiao-hsin for releasing secret details of an agreement between Taiwan signed with the Czech Republic last December. The statement comes after Hsu released details of the agreement in a Facebook post -which she defended that by saying she released the information due to Foreign Minister Joseph Wu's failure to properly respond to her concerns during a legislative hearing. Circular Line Repair Costs Surpass NT$400Million And, The New Taipei City Department of Rapid Transit Systems says current estimates show that the cost of repairing sections of the Circular Line's elevated track damaged during the April 3 earthquake stand at over 400-million N-T. According to the metro operator, the funds will be initially covered by the New Taipei City Government. The earthquake damage the disc bearings of the connecting beams between the Banxin and Qiaohe stations, resulting in the displacement (移位) of steel box beams at 11 spots and severe twisting to some sections of track. The New Taipei City Government has said it could take over a year to fully repair the damaged sections of track. US Soldier Detained in Russia US lawmakers say they're "deeply concerned" after an American soldier was detained in Russia. An army spokesperson confirmed on Monday that the man — who's unnamed — was apprehended (被捕) last week in the far east of the country "on charges of criminal misconduct." Benji Hyer reports. Spain Lost Caravaggio to be Exhibited Spain's Prado Museum has confirmed that a painting that was due to be auctioned in Madrid in 2021 is in fact a work by Italian Baroque master Michelangelo Merisi da Caravaggio that was considered (認為) lost. It will be unveiled to the public for the first time in the museum later this month. The Prado said in a statement on Monday the work titled “Ecce Homo” will go on display from May 27-th until October as a special one-piece exhibition following an agreement with its owner, who has not been identified. It said that since its reappearance at an auction three years ago, Ecce Homo has represented one of the greatest discoveries in the history of art. That was the I.C.R.T. news, Check in again tomorrow for our simplified version of the news, uploaded every day in the afternoon. Enjoy the rest of your day, I'm _____. －－－－以下訊息由 SoundOn 動態廣告贊助商提供－－－－ 迎接十年一遇的存債良機，富養自己不是夢！ 中信優息投資級債【00948B】，甜甜價10元入手，還有「平準金」及「月配息」， 小資也能輕鬆跟隊。【00948B】投資就是發！ 5/22-5/28飛躍募集，一同「債」現王者新高度! 詳細資訊請見：https://bit.ly/3y7XL7A -- 城揚建設新推出的「陽明第一廳」 緊鄰三民區的明星學府-陽明國中 46~52坪，每層四戶兩部電梯 最適合有換屋與置產需求的你 讓生活中充滿書香、運動風，滿足食衣住行的消費需求 城揚建設 陽明第一廳 07-384-2888 https://bit.ly/4azoWGy
Artemisia Gentileschi (1593- c.1656) was an Italian Baroque painter. She was one of the most accomplished 17th century artists, painting naturalistic depictions of forms and figures. But, her achievements have often been overshadowed by scandals in her personal life. For Further Reading: A Fuller Picture of Artemisia Gentileschi Isn't She Good – For a Woman? Artemisia's Moment Orazio and Artemisia Gentileschi Historically, women have been told to make themselves smaller, to diminish themselves. Some have used that idea to their advantage, disappearing into new identities. For others, a disappearance was the end to their stories, but the beginning of a new chapter in their legacies. This month we're telling the stories of these women: we're talking about disappearing acts. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones and Abbey Delk. Special thanks to Shira Atkins.Original theme music composed by Miles Moran.Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.
On this episode of Big Blend Radio, artist Victoria Chick shares talks about three noteworthy women artists in history that she has written about in Big Blend Magazines over the years. HEAR ABOUT:- ARTEMESIA GENTILESCHI (July 8, 1593 – c. 1656), who was an Italian Baroque painter considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio.- MARY EDMONIA LEWIS, aka "Wildfire" (July 4, 1844 – September 17, 1907), who was the first African-American and Native American sculptor to achieve national and then international prominence. - ANNA MARY ROBERTSON MOSES, aka Grandma Moses, (September 7, 1860 – December 13, 1961), who was an American folk artist who gained popularity during the 1950s.Victoria Chick is a contemporary figurative artist and early 19th/20th century print collector based in Silver City, New Mexico. Visit: https://victoriachick.com/ Victoria appears on Big Blend Radio every 3rd Saturday. Follow the podcast: https://tinyurl.com/3an38624 Hosted on Acast. See acast.com/privacy for more information.
On this episode of Big Blend Radio, artist Victoria Chick shares talks about three noteworthy women artists in history that she has written about in Big Blend Magazines over the years. HEAR ABOUT:- ARTEMESIA GENTILESCHI (July 8, 1593 – c. 1656), who was an Italian Baroque painter considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio.- MARY EDMONIA LEWIS, aka "Wildfire" (July 4, 1844 – September 17, 1907), who was the first African-American and Native American sculptor to achieve national and then international prominence. - ANNA MARY ROBERTSON MOSES, aka Grandma Moses, (September 7, 1860 – December 13, 1961), who was an American folk artist who gained popularity during the 1950s.Victoria Chick is a contemporary figurative artist and early 19th/20th century print collector based in Silver City, New Mexico. Visit: https://victoriachick.com/ Victoria appears on Big Blend Radio every 3rd Saturday. Follow the podcast: https://tinyurl.com/3an38624 Hosted on Acast. See acast.com/privacy for more information.
On this episode of Big Blend Radio, artist Victoria Chick shares talks about three noteworthy women artists in history that she has written about in Big Blend Magazines over the years. HEAR ABOUT: - ARTEMESIA GENTILESCHI (July 8, 1593 – c. 1656), who was an Italian Baroque painter considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. - MARY EDMONIA LEWIS, aka "Wildfire" (July 4, 1844 – September 17, 1907), who was the first African-American and Native American sculptor to achieve national and then international prominence. - ANNA MARY ROBERTSON MOSES, aka Grandma Moses, (September 7, 1860 – December 13, 1961), who was an American folk artist who gained popularity during the 1950s. Victoria Chick is a contemporary figurative artist and early 19th/20th century print collector based in Silver City, New Mexico. Visit: https://victoriachick.com/ Victoria appears on Big Blend Radio every 3rd Saturday. Follow the podcast: https://tinyurl.com/3an38624
SynopsisWhat's your favorite season? And how would you describe it in words? And if you're a composer, how would you describe it in music?The most famous musical depiction is The Four Seasons, a set four violin concertos by Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today's date in 2009, American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work, The American Four Seasons.Glass' seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass's view of some of the seasons did not quite match his own, so they came up with an unusual solution: In the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season.So, in this case of this Four Seasons, it's all up to you.Music Played in Today's ProgramPhilip Glass (b. 1938) The American Four Seasons (Violin Concerto No. 2); Robert McDuffie, vn; London Philharmonic; Marin Alsop, cond. Orange Mountain CD 0072
A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque. Lyndeurozone.com Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month? The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher. We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April If you have any questions you can contact Robert Lynde at Lyndeurozone.com. Instagram: @Lyndeurozone
SynopsisOn today's date in 2001, the release of a CD of Vivaldi's oratorio Juditha Triumphans launched an ambitious project to record nearly 450 works of the famous Italian Baroque composer that exist as manuscript scores in the Biblioteca Nazionale in Turin, Italy.It's the largest collection of manuscript scores by any 18th-century composer in existence and includes many Vivaldi works unperformed since his lifetime.Susan Orlando, the director of the recording project, explained how that came to be: “When Vivaldi died in Vienna in 1741, he had debts, so the authorities immediately sealed off his home. We have the inventory that they made. It included no musical manuscripts, but there was a big, empty chest. It seems Vivaldi's brother had got hold of the music and sold it off.”Back then, Vivaldi's scores ended up with various wealthy collectors, but in 1930 the scattered music was consolidated and bequeathed to the library in Turin.The French label Naïve has released over 60 Vivaldi Edition CDs so far, including 17 Vivaldi operas. More than a dozen additional titles are planned for release by 2028, the year that will mark the 350th anniversary of Vivaldi's birth.Music Played in Today's ProgramAntonio Vivaldi (1678 – 1741) Sinfonia, fr Juditha Triumphans Academia Montis Regalis; Magdalena Kozena, m.s.; Juditha Maria José Trullu, m.s.; Holofernes Marina Comparato, m.s.; Vagaus Anke Herrmann, s.; Abra Tiziana Carraro, s.; Alessandro De Marchi, cond. Naïve Vivaldi Edition OP-30314
SynopsisDetails on the lives and careers of composers born before 1700 tend to be a bit skimpy, at best. For example, we know that the Italian Baroque composer Jacopo Peri was born on today's date in 1561, but we're not sure if that was in Rome or Florence.As a point of reference, remember that William Shakespeare was born in 1564, just three years after Peri. And by the 1580s, around the same time Shakespeare was learning to be a playwright, Peri and some of his Italian contemporaries were experimenting with a new art form that we call now call “opera.”There was much discussion at the time about what the music of the ancient Greek dramas must have been like, and how dramatic stories might be told in music. Peri was instrumental in the production of two of the earliest operas for which the complete music survives: Dafne, which premiered around 1597, and Euridice from 1600.Peri outlived his English contemporary Shakespeare by 17 years. Shakespeare died in 1616 at the age of 52, while Peri died sometime in August of 1633, at 72, a ripe old age for the 17th century.Music Played in Today's ProgramVagn Holmboe (1909 – 1996) String Quartet No. 13, Op. 124 Kontra Quartet Da Capo CD 8.207001 (complete) or 8.224127 (Quartets 13-15 only)
Bet You Wish This Was An Art Podcast is back and better than ever! Did you miss us? We missed you! More importantly we missed Baroque Art. Head back into the 16th century, where we explore the very influential Italian art movement in the 16th century. We're unhinged in this episode, and you're welcome. Join us as we wish to go searching for our imperfect pearls, contemplate how Vatican Propaganda responds to a strongly worded thesis, obsess over Keeping Up With The Catholics, and enjoy as we exalt the heavens with oval ceilings and tenebrism! If it ain't baroque, don't fix it! Things have changed, but we're changing with it. Donate. Sign petitions. Support Black-owned businesses. Challenge racism. Educate yourselves. Listen. Speak. Repatriate. Stay Safe. Don't Touch Your Face. Wash Your Hands. If you like what we do, you can support BYWAP over on our Patreon! Find us online! NEW: We're on Youtube! Go check us out! You can follow BYWAP on Twitter and Instagram. You can also find us over on our website! We want to hear from you, to share this time with you. We're in this together, and we're better together. Please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again. This is global. Your voice matters. Systemic change is possible. It will not happen overnight—so keep fighting! We stand with you. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.
523. We talk to Diana M. Greenlee and Jenny Ellerbe about their book, Poverty: Revealing the Forgotten City. "The settlement of Poverty Point, occupied from about 1700 to 1100 BC and once the largest city in North America, stretches across 345 acres in northeastern Louisiana. The structural remains of this ancient site-its earthen mounds, semicircular ridges, and vacant plaza-intrigue visitors as a place of artistic inspiration as well as an archaeological puzzle. Poverty Point: Revealing the Forgotten City delves his enduring piece of Louisiana's cultural heritage through personal introspection and scientific exploration. With stunning black and white photography by Jenny Ellerbe and engrossing text by archaeologist Diana M. Greenlee, this imaginative and informative book explores in full Poverty Point's Late Archaic culture and its monumental achievements. This week in Louisiana history. May 18, 1896. LA. case of Plessy v. Ferguson, "seperate but equal." This week in New Orleans history. New Orleans' 4,000-seat Saenger Theatre opened on February 4, 1927 after three years of construction at a cost of $2.5 million. It was the flagship of Julian and Abe Saenger's theatre empire and is one of a few still in existance. Being New Orleans, a parade of thousands formed on Canal Street on opening night where the most expensive tickets could be had for 65 cents. For the cost of admission was a silent movie, stage play, and music by the Saenger Grand Orchestra. With an interior designed by architect Emile Weil it was an "atmospheric theatre" — 150 lights in the ceiling are arranged in the shape of constellations in the night sky surrounding an Italian Baroque courtyard. Special effects machines projected images of moving clouds, sunrises, and sunsets. This week in Louisiana. Visit Louisiana's Old State Capitol Website 100 North Blvd. Baton Rouge LA 70801 Admission: Free Hours 10:00 am - 4:00 pm Tuesday - Friday 9:00 am -3:00 pm Saturday Louisiana's Old State Capitol is a standing testament to the resiliency of our state and its people. Learn how this National Historic Landmark has withstood war, fire, abandonment and even a few fist fights. From the historic House Chamber where Louisiana succeeded from the Union in 1861 to the impeachment proceedings of Gov. Huey P. Long in the Senate Chamber, this old Statehouse has seen it all. Discover the importance of voting and what it means to be a good citizen throughout our various interactive exhibits, learn more about our colorful past governors and don't forget to look up to marvel at the breathtaking stained glass dome! Postcards from Louisiana. Listen on Google Play. Listen on Google Podcasts. Listen on Spotify. Listen on Stitcher. Listen on TuneIn. The Louisiana Anthology Home Page. Like us on Facebook.
A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque. Do you want to get that 5? Enter code “GO4FIVE” at checkout for 25% OFF the Lyndeurozone Online Resources! Online access expires June 15th, 2023. Lyndeurozone.com Patreon If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month? The Euro Simplified Podcast has no advertising revenue and is produced by a public school teacher. We love and appreciate our supporters on Patreon as our supporters help us meet the costs associated with the production of this free resource for students. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: November and December Unit 6: January Unit 7: Late January & February Unit 8 : March Unit 9: April If you have any questions you can contact Robert Lynde at Lyndeurozone.com. Instagram: @Lyndeurozone
Synopsis There are dozens of famous cello concertos that get performed in concert halls these days, ranging from 18th century works by the Italian Baroque master Antonio Vivaldi to dramatic 20th century works of the Russian modernist Dmitri Shostakovich. In 2007, the American composer Sean Hickey was commissioned by Russian cellist Dmitry Kouzov to write a new concerto, which received its premiere performance on today's date two years later, in 2009. “In this work,” Hickey recalled, “I wanted to fuse my interest in neo-classical clarity and design with the songful, heroic nature of the greatest cello concerto literature … My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River in Saint Petersburg … [It] was then recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others. “One moment of personal satisfaction came when the Russian orchestra, after rehearsing the piece for days, picked up on a buried quotation from Shostakovich's Seventh, his ‘Leningrad Symphony' in the final pages of my piece. It's easy to forget in the glittering and watery metropolis, which rivals any European city for beauty and culture, that St. Petersburg is a city full of ghosts.” Music Played in Today's Program Sean Hickey (b. 1970) –Cello Concerto (Dmitry Kouzov, vcl; St. Petersburg State Symphony; Vladimir Lande, cond.) Delos 3448
Opera star Joyce DiDonato joins us to talk about and sample her new album Songplay, which delightfully mixes jazz, Latin, and tango rhythms into arrangements of Italian Baroque arias, jazz standards, and picks from the Great American Songbook.
Bach's Concerto for two violins in D minor, BWV1043, affectionately known as the 'Double Concerto', is one of the most popular works of the Baroque repertoire. The two solo parts of this concerto have survived in Bach's own handwriting, in an autograph that dates from around 1730, when Bach was living in Köthen. The outer movements illustrate the influence of the Italian Baroque style on Bach in their brisk rhythms, fugal imitations and much of the intricate passage work, while the central movement is deeply expressive as the melodic lines weave between the two violins.
Today we are speaking with artist Jana Opincariu, who lives in San Pedro. I was introduced to Jana's work in June of 2020, at her solo exhibition, Meditations in Solidarity, a collection of paintings created during the pandemic at Hellada Gallery in Long Beach. A striking exhibit, it featured works from Jana's Black Series, her Beautiful Grotesque series and other works — all of which demanded unremitting attention.Hyper-realistic is just one way to describe this young artist's work. Jana creates images of human bodies, objects and animals that are surreal and fantastical—and some with macabre undertones. Jana originally studied to become a medical lab scientist but decided to follow her true passion: art. She graduated with a dual bachelor's in art history and studio art from University of New Mexico, with a focus on ancient Latin American art and European art through the centuries. Jana works in photography, printmaking and lithography but her passion is painting. She finds inspiration from her studies of Spanish and Italian Baroque, her travels, nature, and her dreams.Jana has shown in multiple cities across the Southwest and the Pacific coast. Her breakout show, Totem, a September 2019 collaboration with internationally known artist, Daniel Kathalynas, at the Factory on 5th in Albuquerque, New Mexico.
Discovery with CN LesterHow do we keep fighting when there seems to be no hope? CN Lester is a musician, academic, activist and author of Trans Like Me and they tell Lucy Scholes the best advice they've been given for continuing to work in the face of backlash. Join their fascinating conversation on their discovery of women composers of the Italian Baroque (who should never have been forgotten!), their newfound love for Ursula K Le Guin (who should have won a Nobel Prize!), and their deeply personal joy in the poetry of Joelle Taylor (who has won the TS Eliot Prize!). See acast.com/privacy for privacy and opt-out information.
This week I sit down with photographer Rachel Vogeleisen to discuss 4 works from the brilliant Artemisia Gentileschi!!! Artemisia Gentileschi was an Italian Baroque painter and is considered among the most accomplished seventeenth-century artists. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele. Many of Gentileschi's paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors. Gentileschi was known for being able to depict the female figure with great naturalism and for her skill in handling colour to express dimension and drama. Her achievements as an artist were long overshadowed by the story of Agostino Tassi raping her when she was a young woman and her participation in the trial of her rapist. Rachel and I discuss how this event shaped the art that she made, why she is a feminist icon and why her subjects are still (sadly) so relevant to today's world. A great episode and I hope you enjoy it! Jo Host: Jo McLaughlin @josarthistory Guest: Rachel Vogeleisen Website: https://rachelvogeleisenprints.com Instagram @rachelvogeleisen SOME LINKS: Great overview and videos of Artemisia: https://www.khanacademy.org/humanities/renaissance-reformation/baroque-art1/baroque-italy/a/gentileschi-conversion-of-the-magdalene And here: https://www.designartmagazine.com/2020/12/artemisia-gentileschi.html National Gallery Artemisia in 8 paintings: https://www.youtube.com/watch?v=cNsg6RnlJtI&t=618s National Gallery Series on restoring Self-portrait: https://www.youtube.com/watch?v=CXX8s2aH5co&t=0s FKA Twigs on Artemisia Gentileschi for Google Arts and Culture: https://artsandculture.google.com/project/artemisia-gentileschi Judith slaying Holofernes https://www.uffizi.it/en/artworks/judith-beheading-holofernes https://en.wikipedia.org/wiki/Corisca_and_the_Satyr https://en.wikipedia.org/wiki/Judith_Slaying_Holofernes_(Artemisia_Gentileschi,_Naples) Judith and maidservant https://en.wikipedia.org/wiki/Judith_and_Her_Maidservant_(Detroit) Corsica and the satyr https://www.artemisiagentileschi.org/corisca-and-the-satyr/ Susanna and the elders.
Music composed by Vivaldi: Concerto No. 3 in F Major, Op. 8, RV 293 - Autumn, allegro. Born on March 4, 1678. Died in Vienna in 1741. Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher, impresario, and Roman Catholic priest. Born in Venice, the capital of the Venetian Republic, Vivaldi is regarded as one of the greatest Baroque composers. SOURCE: Wikipedia. Soundtrack recording by Musici & Felix Ayo (permission granted on my YouTube channel in a different video).
Artemisia was one of the most famous and sought after Baroque artists in the 1600s when she was actively taking submissions. A victim of a traumatic sexual assault as a teenager, a lot of her narrative has been wrapped up in it. Depicting her as a wronged woman exacting her revenge through her artwork- there is so much more to her and the legacy she has left behind than something that happened to her. ofherstory.com Twitter- @theherstorypod Instagram- @womenofherstorypodcast TikTok- @womenofherstory Facebook- Women of HERstory
The Classical period was an era of classical music between roughly 1730 and 1820. The Classical period falls between the Baroque and the Romantic periods. 10 Classical Music Composers to Know. Wolfgang Amadeus Mozart (1756-1791) was one of the most influential, popular and prolific composers of the classical period. He composed over 600 works, including some of the most famous and loved pieces of symphonic, chamber, operatic, and choral music. Mozart was born in Salzburg to a musical family. Ludwig van Beethoven (1770–1827) ... Johann Sebastian Bach (1685–1750) ... Wolfgang Amadeus Mozart (1756–91) ... Johannes Brahms (1833–97) ... Richard Wagner (1813–83) ... Claude Debussy (1862–1918) ... Pyotr Ilyich Tchaikovsky (1840–93) ... Frédéric Chopin (1810–49) BAROQUE COMPOSERS who lived from around 1600 to 1850. With Antonio Vivaldi, Italian Baroque music reached its zenith. The prosperous, cultivated world of contemporary Venice shines through all his works, composed with innate craftsmanship. Johann Sebastian Bach (1685-1750) Antonio Vivaldi (1678-1741) George Frideric Handel (1685-1759) Henry Purcell (1659-95) Claudio Monteverdi (1567-1643) Heinrich Schütz (1585-1672) Domenico Scarlatti (1685-1757) Jean-Philippe Rameau (1683-1764) Johann Pachelbel (1653-1706)
I quizzed my friend and co-host, Hunter Sigona to test his knowledge of Italian Baroque Composers! Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicspeaks-podcast/support
The boys profile the new Culture Secretary Nadine Dorries, lay bare one of classical music's most flagrant pick pockets and polish up a rough diamond by Italian Baroque composer Antonio Caldara. … Music referenced: ‘Tim and Sam's Podcast' written and performed by Harry Sever Haydn's Symphony No. 104, Mov. 1 Schumann's Symphony No. 2 in C major The Trio Sonata from Bach's A Musical Offering Beethoven's ‘Nimm sie hin denn, diese Lieder' from An die ferne GeliebteAntonio Caldara's Stabat Mater, performed by The Sixteen Pergolesi's Stabat Mater… Buy us a coffee innit: https://ko-fi.com/classicalpod… Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/
A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque. Lyndeurozone.com Would you please consider giving the show a rating on Apple Podcasts and leaving a comment on Apple Podcasts/iTunes? It takes less than 60 seconds and it really makes a difference helping to get the word out about the podcast. We could use your help! Our goal is to keep the Lyndeurozone Euro Simplified Podcast a free resource for the students that use it, but our costs are substantial. If you use this podcast regularly would you please consider supporting us on Patreon for as little as a dollar a month? We also have subscription tiers at our Patreon that allow you to access the Lyndeurozone study files, slides that correspond to the podcasts, and tutorials to help you prepare for your exams. Head on over to our Patreon and check out what we have to offer our subscribers. Remember, Robert Lynde offers tutoring services to help you master the skills required to succeed in AP Euro and tutoring sessions can be offered online and in person. You can get more information at Lyndeurozone.com. Episodes will be released on the following schedule: Unit 1 and Unit 2 - August/September Unit 3: October Unit 4: November Unit 5: December Unit 6: January Unit 7: February Unit 8 : March Unit 9: April If you have any questions you can contact Robert Lynde at Lyndeurozone.com. Instagram, Twitter, and Facebook: @Lyndeurozone
Notes:Joy McCullough is the award-winning playwright of Smoke and Dust and Blood/Water/Paint which both debuted in Seattle. She is also the award-winning author of the YA novel Blood Water Paint. Her most recent book release is the powerful contemporary YA novel We Are the Ashes, We Are the Fire, which released in February of this year. She's also published middle grade books A Field Guide to Getting Lost and Across the Pond, in addition to the New York Time's Bestseller picture book Champ & Major. Her upcoming releases are:Picture Book - Harriet's Ruffled Feather's - https://www.simonandschuster.com/books/Harriets-Ruffled-Feathers/Joy-McCullough/9781534486768 - Release Date: March 15, 2022Reimagining of Little Women - Great or Nothing - https://www.penguinrandomhouse.com/books/667530/great-or-nothing-by-joy-mccullough-caroline-tung-richmond-tess-sharpe-and-jessica-spotswood/ - Release Date: March 8, 2022Middle Grade - (Not) Starring Zadie Gonzalez - https://www.goodreads.com/book/show/56933265-not-starring-zadie-gonzalez - Summer 2022A Narrative Centered on Shakespeare's Heroines - Enter the Body - https://www.goodreads.com/book/show/58043080-enter-the-body - Expected Fall 2022 You can learn more about Joy's work on her personal website https://joymccullough.com/ and connect with her on instagram @jmcwrites and on twitter at @JMCwrites. The Verbivore mentions the power clip she watched from the play Blood Water Paint performed by Macha Works Theater. Here is the link to that video:“Macha Theatre Works Visits Flesh and Blood” - https://www.youtube.com/watch?v=9jionlfqb7o Joy mentions that she's been a mentor for pitch wars. Here's some information on that:Pitch Wars - https://pitchwars.org/ Joy references her main character Artemisia from her play and book Blood Water Paint, this character is based on actual events that happened to Italian Baroque painter Artemisia Gentileschi and the paintings she created. Here is some additional information on who she was and her work:The Art Story - Artemisia Gentileschi - https://www.theartstory.org/artist/gentileschi-artemisia/artworks/ The National Gallery - Artemisia Gentileschi - https://www.nationalgallery.org.uk/artists/artemisia-gentileschi The Verbivore referenced an interview that she read that Joy did about Blood Water Paint. Here is a link to that article:Art World “A New Book Uses 400-Year-Old Court Transcripts to Recreate Baroque Painter Artemisia Gentileschi's Rape Trial” - https://news.artnet.com/art-world/a-new-novel-artemisia-gentileschi-1255694 Joy also talks a little about the historical figure Barbara Strozzi who is the main character in her play Smoke and Dust. She was a prolific female composer in the 1600s. Here is a link to more information about her life and her work:Barbara Strozzi | Complete Tests, Translations, and References - https://barbarastrozzi.com/ Joy references two posts about Marguerite de Bressieux on the rejected princesses website, the original and then the correction that stated that historical record is unclear as to whether or not she lived. Here are these posts: Marguerite de Bressieux - The Black Knight Who Hunted Rapists - https://www.rejectedprincesses.com/princesses/marguerite-de-bressieux Marguerite de Bressieux: the Legend and the Truth - https://www.rejectedprincesses.com/blog/corrections/marguerite-de-bressieux-the-legend-and-the-truth Books Mentioned:Blood Water Paint by Joy McCulloughWe Are the Ashes, We Are the Fire by Joy McCulloughArtemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art by Mary D. GarrardA Field Guide to Getting Lost by Joy McCulloughAcross the Pond by Joy McCulloughChamp & Major: First Dogs by Joy McCullough, Illustrated by Sheyda Abvabi Best Music from: https://filmmusic.io 'Friendly day' by Kevin MacLeod (https://incompetech.com) Licence: CC BY (https://creativecommons.org/licenses/by/4.0/)
Synopsis The 1985 Salzburg Festival boasted a quite unusual premiere: a 17th century Venetian opera by the Italian Baroque composer Claudio Monteverdi entitled “Il Ritorno d'Ulisse in Patria,” or “The Return of Ulysses to his Homeland,” as arranged and orchestrated by the contemporary German composer Hans Werner Henze. The surviving music for Monteverdi's opera does not exist in what we now call “full score.” Monteverdi wrote down a bare 5-part accompaniment to the vocal lines of his opera, without indicating what specific instruments he meant to play those notes. This means for any modern performance someone needs to make those decisions. For their 1985 summer season, the Salzburg Festival commissioned Henze to prepare a new orchestration of Monteverdi's “Return of Ulysses” 245 years after its first performance in Venice back in 1640. The music critics, in the main, were complimentary after Henze's version premiered in Salzburg, noting that his scoring somehow managed to sound both ancient and modern at the same time. Even though we'll never know EXACTLY how the opera sounded when Monteverdi heard it back in 1640, thanks to modern technology, that 1985 Salzburg performance can be sampled in both audio and video recordings. Music Played in Today's Program Claudio Monteverdi (1567-1643) arr. Hans Werner Henze — Ulysses' Homecoming (soloists; Vienna Radio Symphony; Jeffrey Tate, cond.) Orfeo 528 003
Recorded in June, posted in August, it's another scandalous episode of I Minored In Art History! Neysa and Jocelyn talk about nonsense for the first half hour, so skip there if you want to know some things about Artemisia Gentileschi, Italian Baroque painter (1593-1653) and all around badass. ***TRIGGER WARNING*** R*pe mention. Neysa brings it in with Gustav Klimt, Austrian symbolist painter (1862-1918) and female body appreciator. --- As always, check out the 'gram for some of the art we reference: @IMinoredInArtHistoryPod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support
Nicola Benedetti's new album is out today on Decca Classics focussing on two composers of the Italian Baroque, Francesco Geminiani, and Antonio Vivaldi, and accompanied by eight live performances at Battersea Arts Centre and an online education project, the Baroque Virtual Sessions. Then on August 14 the violinist begins a residency at this year's Edinburgh International Festival, featuring music spanning the breadth of her instrument's repertoire and history. She talks to Editor Martin Cullingford about all these projects, as well what it feels like to return to live performance.
George Frideric (or Frederick) Handel baptised Georg Friederich Händel,; 23 February 1685 – 14 April 1759 was a German-born Baroque composer becoming well known for his operas, oratorios, anthems, concerti grossi, and organ concertos. Handel received his training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque.Handel started three commercial opera companies to supply the English nobility with Italian opera. In 1737 he had a physical breakdown, changed direction creatively, and addressed the middle class and made a transition to English choral works. After his success with Messiah (1742), he never composed an Italian opera again. His orchestral Water Music and Music for the Royal Fireworks remain steadfastly popular.[6] Almost blind, he died in 1759, a respected and rich man, and was given a state funeral at Westminster Abbey.Handel composed more than forty opera serias over a period of more than thirty years. Since the late 1960s, interest in Handel's music has grown. The musicologist Winton Dean wrote that "Handel was not only a great composer; he was a dramatic genius of the first order." His music exerted a strong influence on Classical-era composers, including Mozart and Beethoven.
Synopsis There are dozens of famous cello concertos that get performed in concert halls these days, ranging from 18th century works by the Italian Baroque master Antonio Vivaldi to dramatic 20th century works of the Russian modernist Dmitri Shostakovich. The American composer Sean Hickey was commissioned by Russian cellist Dmitry Kouzov to write a new one, which received its premiere performance on today's date in 2009. “I wanted to fuse my interest in neo-classical clarity and design with the songful, heroic nature of the greatest cello concerto literature,” said Hickey. “My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River in Saint Petersburg … [It] was then recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others. “The Russian orchestra, after rehearsing the piece for days, even picked up on a buried quotation from Shostakovich's ‘Leningrad Symphony' in the final pages of my piece. It's easy to forget in the glittering and watery metropolis, which rivals any European city for beauty and culture, that St. Petersburg is a city full of ghosts.” Music Played in Today's Program Sean Hickey (b. 1970) Cello Concerto (Dmitry Kouzov, vcl; St. Petersburg State Symphony; Vladimir Lande, cond.) Delos 3448
Synopsis There are dozens of famous cello concertos that get performed in concert halls these days, ranging from 18th century works by the Italian Baroque master Antonio Vivaldi to dramatic 20th century works of the Russian modernist Dmitri Shostakovich. The American composer Sean Hickey was commissioned by Russian cellist Dmitry Kouzov to write a new one, which received its premiere performance on today's date in 2009. “I wanted to fuse my interest in neo-classical clarity and design with the songful, heroic nature of the greatest cello concerto literature,” said Hickey. “My Cello Concerto had its Russian premiere at the Beloselsky-Belozersky Palace, a neo-Baroque edifice on the banks of the Fontanka River in Saint Petersburg … [It] was then recorded in the legendary Melodiya Studios on Vasilevsky Island in St. Petersburg, known from Soviet times as producing recordings from the likes of Shostakovich, Rostropovich, Mravinsky, and many others. “The Russian orchestra, after rehearsing the piece for days, even picked up on a buried quotation from Shostakovich's ‘Leningrad Symphony' in the final pages of my piece. It's easy to forget in the glittering and watery metropolis, which rivals any European city for beauty and culture, that St. Petersburg is a city full of ghosts.” Music Played in Today's Program Sean Hickey (b. 1970) Cello Concerto (Dmitry Kouzov, vcl; St. Petersburg State Symphony; Vladimir Lande, cond.) Delos 3448
As I was sitting beside a village duckpond not far from Malvern the other day, enjoying the warmth of the sunshine and the fresh green of the new leaves, I was struck afresh by the tenderness of God toward us. This meditation springs from that time, and is accompanied by two exquisite pieces of music for oboe, that seem to breathe with the soft and clear life-giving ruach of the Lord. The first, played by Amy Roberts and Christiane von Albrecht, is by the Italian Baroque missionary musician, Domenico Zipoli, who found his life's calling ministering in South America. The second is by one of my all-time favourite composers, Jean Baptiste Loeillet, from Flanders, and played by Thomas Herzog and Christiane. May this reflection help prepare you to receive His tender touch once more.
In this episode, we discuss six recent releases including Italian Baroque, classical and jazz female vocals, French brothers and duets, and some interesting album cover art. Episode 6 Deezer Playlist "Settecento" (Signum Classics) La Serenissima, Adrian Chandler (director/violin) Tabea Debus (recorders) https://open.spotify.com/album/5p5I0dWZUQ9PcdybfQLRP6 https://music.apple.com/gb/album/settecento/1545224932 "French Duets" (Hyperion) Paul Lewis, Steven Osbourne https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68329 https://www.prestomusic.com/classical/products/8863099--french-duets "And Love Said…" (Alpha) Jodie Devos (soprano), Nicolas Krüger (piano) https://open.spotify.com/album/0i7U9K1Qf3jSpfdD4vry2m https://music.apple.com/us/album/and-love-said/1549525103 "Tone Poem" (Blue Note) Charles Lloyd and the Marvels https://open.spotify.com/album/6Qo5COqwUoBomPPQsGx568 https://music.apple.com/us/album/tone-poem/1550230419 "Come What May" (Club44 Records) Jane Monheit https://open.spotify.com/album/1PfdkCao8Kpvpwn977xklZ https://music.apple.com/gb/album/come-what-may/1555770116 "Brotherhood" (Jazz and People) Belmondo Quintet https://open.spotify.com/album/4P1gs1NNheK0KeujsETd4F https://music.apple.com/us/album/brotherhood-feat-eric-legnini-sylvain-romano-tony-rabeson/1556243031
Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher, impresario, and Roman Catholic priest. Born in Venice, the capital of the Venetian Republic, Vivaldi is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe, being paramount in the development of Johann Sebastian Bach's instrumental music. He composed many instrumental concertos, for the violin and a variety of other musical instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 18 months and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died in poverty less than a year later.After almost two centuries of decline, Vivaldi's music underwent a revival in the early 20th century, with much scholarly research devoted to his work. Many of Vivaldi's compositions, once thought lost, have been rediscovered - in one case as recently as 2006. His music remains widely popular in the present day and is regularly played all over the world.
Für ihr neues Album hat das Barockensemble Artemandoline Weltersteinspielungen vergessener Meisterwerke ausgegraben, die in Florenz und Rom des 18. Jahrhunderts für Mandoline und Basso continuo geschrieben wurden.
The sun has not shown in three days, Steph is still dying of the plague, the global economy is unstably controlled by a small ruling class. In many ways, today is a perfect day to talk about Italian Baroque queen: Artemisia Gentileschi. Thanks to (extremely) recent art historical focus shifts, names like Yayoi Kusama, Frida Kahlo, and Artemisia Gentileschi are recognized in the Art History Canon as talented and remarkable artists. Artemisia, in her own right, possess a timelessness that makes her art so approachable now as it was back in the 17th century (gotta love #WomenWhoKill). But, this wasn't always the case. Join us as we investigate the life of the Gentileschi's, yell into the void about how art history ignored women artists for nearly forever, get gore-y about descriptions of Judith slaying Holofernes, and remain amazed that this podcast has officially made it to 50 episodes. Things have changed, but we're changing with it. Donate. Sign petitions. Support Black-owned businesses. Educate yourselves. Listen. Speak. Repatriate. Stay Safe. Don't Touch Your Face. Wash Your Hands. Donate! Donate to Black Lives Matter LA, the Action Bail Fund, Black Visions Collective. Please be sure you've signed petitions. If you like what we do, you can support BYWAP over on our Patreon! Find us online! You can follow BYWAP on Twitter and Instagram. You can also find us over on our website! We want to hear from you, to share this time with you. We're in this together, and we're better together. Please leave us a review wherever you listen to podcasts. Every little bit helps as we grow, and we cannot wait to talk to you all again. This is global. Your voice matters. Systemic change is possible. It will not happen overnight—so keep fighting! We stand with you. Our music was written and recorded by Elene Kadagidze. Our cover art was designed by Lindsey Anton-Wood.
Quinn and Betty dive into the life and work of Elisabetta Sirani, a groundbreaking Italian Baroque painter. Along the way, they discover that they will be dying soon due to lack of marriage, so that's exciting!
Quinn and Betty dive into the life and work of Elisabetta Sirani, a groundbreaking Italian Baroque painter. Along the way, they discover that they will be dying soon due to lack of marriage, so that's exciting!
In today's show, Kendra and Gillian take a deep, dark look into the life of 17th-century Italian Baroque artist, Artemisia Gentileschi. And, how the trauma that informed her art and life, can help assault survivors today, regain a sense of self and control. This episode of Badass Women of History discusses adult themes that may be triggering. Listener discretion is advised. #womenofhistory #ArtemisiaGentileschi If you or anyone you know have found themselves the victim of, or exposed to any kind of sexual or domestic violence and or abuse, you may find the following helplines, resources and support networks, helpful. North America - http://www.aardvarc.org U.K. - Supportline https://www.supportline.org.uk/problems/rape-and-sexual-assault/ European Rape Crisis Network - https://www.rcne.com/ Global - Innocence in Danger https://www.innocenceindanger.ch/en/ Follow us on Instagram: @badasswomanofhistory and Facebook: @BWoHPodcast
为你读英语美文 · 第395期封面作者：意大利画家 Giovanni Battista Torriglia主播：Nina Zhan 娇娇（ 12 岁）地点：美国 · 芝加哥大家好，我是华裔Nina 娇娇，很高兴在”为你读英语美文“节目里再次和大家见面。 从八岁起第一次做客”为你读英语美文“节目，到现在已经是第四个年头了。现在我读初中二年级，从小学到中学一路走来，感谢听众朋友们一直以来，对我的鼓励和对”为你读英语美文“节目的忠爱。 今天，我想为大家介绍的是意大利已故作曲家--安东尼奥·卡尔达拉和他在歌剧里写的一段咏叹调《虽然你冷酷无情》《Sebben Crudele》。这首曲子被翻译成了多国文字为全世界传唱。这也是我唱的第一首咏叹调，在节目的最后送给大家。 Antonio Caldara (1670 – 1736) was an Italian Baroque composer. He is one of the most productive composers of his era. To say Caldara was prolific is an understatement: he wrote nearly 3,500 works, including more than 90 operas, numerous oratorios, liturgical works, cantatas, madrigals, and many instrumental pieces. Antonio Caldara began his musical career as a cellist. 安东尼奥·卡尔达拉（1670年-1736年）是意大利巴洛克作曲家。安东尼奥·卡尔达拉是那个时代最多产的作曲家之一，说卡尔达拉多产是一种轻描淡写：他写了近3500部作品，包括90余部歌剧，众多圣经曲，礼拜仪式作品，康塔塔*，牧歌小调和许多器乐作品。他以大提琴家的身份开始了他的音乐生涯。As a performer he was immensely talented: he was accomplished as a violin player, cellist, and keyboardist, and in his childhood, as a choirboy at St. Mark's Cathedral in Venice, he was considered a highly gifted singer. 作为一名表演者，他非常有才华。他是一名小提琴演奏家，大提琴手和键盘手，并且在他的童年时曾在威尼斯圣马可大教堂担任合唱男孩，被认为是一位很有天赋的歌手。Antonio Caldara was not only one of the most important composers of his generation, but wielded considerable influence over the evolution of Italian vocal music of the early eighteenth century. 安东尼奥·卡尔达拉不仅是那一代人中最重要的作曲家之一，而且对18世纪初期意大利声乐的发展产生了重大影响。Caldara began publishing works soon after the age of 20, and by 30 was an opera composer. Beginning in 1699, for approximately eight years he was in service to Ferdinando Carlo. After some travels and performances in Spain and time in Rome and other places related to commissions, he settled in Vienna in 1716, where for twenty years until his death he served as vice-Kapellmeister to Emperor Charles VI, a position with a handsome salary which required him to compose over 30 dramatic works.卡尔达拉在20岁之后, 就开始出版作品，到30岁时成为歌剧作曲家。 从1699年开始，他在费迪南多·卡洛任职大约八年。 经过一些旅行后，在西班牙演出并且在罗马和其他地方做商业演出，他于1716年在维也纳定居，在那里他呆了20年，直到去世为止，一直担任查理六世皇帝的卡佩尔副校，职位要求他创作30多部戏剧作品，并给予相当可观的薪水。While his operas are rarely performed today, his instrumental and liturgical music has achieved some currency, and because of the increasing availability of them on recordings, Caldara's reputation could be on the upswing.尽管他的歌剧如今很少演出，但他的器乐和礼仪音乐已取得了一定的成就，并且由于唱片中录音的可用性不断提高，卡尔达拉的声誉还在继续上升。Moreover, having lived the last two decades of his life in Vienna, he was a significant factor in shaping the direction of both Viennese and German music. Unfortunately, many of his scores are lost, but there still exists a substantial body of work by which to judge him positively.此外，在维也纳生活了最后二十年后，他是塑造维也纳音乐和德国音乐发展方向的重要因素。不幸的是，他的许多分数都丢失了，但是仍然存在大量的作品可以用来对他做出积极的判断。"Sebben crudele" is an aria from Antonio Caldara's 1710 opera, La costanza in amor vince l'inganno. It comes from the third scene of the opera's first act, Sebben, crudele remains a popular concert aria. “ Sebben crudele”是作曲家安东尼奥·卡尔达拉（Antonio Caldara）1710年的歌剧《阿莫尔文斯·林加诺》中的咏叹调。 它来自歌剧第一幕中的第三段，直到现在歌曲 "Sebben, crudele" 依然是音乐会里流行的咏叹调。安东尼奥·卡尔达拉在维也纳居住期间，每年需要创作许多不同规模的戏剧音乐作品，包括歌剧和清唱剧，并且为当地的狂欢节创作音乐。在他繁忙的作曲任务中，卡尔达拉还要为贵族创作歌剧。他的诸多创作也使他在维也纳声名卓著。“ Sebben crudele”是作曲家安东尼奥·卡尔达拉1710年的歌剧《阿莫尔文斯·林加诺》中的咏叹调。 它来自歌剧第一幕中的第三段，直到现在歌曲 "Sebben crudele" 依然是音乐会里流行的咏叹调。Parisott指出该歌剧的情节“simple and perfectly idyllic, but the graces of song are lavished throughout with a prodigal hand.““ Sebben crudele” 的曲调“简单而完美，具有田园风光，但歌曲表达的韵味却无限奢华。” 在节目的最后我为大家送上我唱的这首曲子。 让我们一起来感受一下这位17世纪意大利巴洛克作曲家的艺术才华。Sebben Crudele 《虽然你冷酷无情》作曲：Antonio Caladara Sebben Crudele,Mi fai languir,sempre fedele.sempre fedele ti voglio amar.Sebben Crudele.Mi fai languir,Sempre fedele ti voglio amar.Con la lunghezza,Del mio servir,La tua fierezza,La tua fierezza,Saprò stancar,La tua fierezza,Saprò stancar.Sebben Crudele,Mi fai languir,sempre fedele.sempre fedele ti voglio amar.Sebben Crudele.Mi fai languir,Sempre fedele ti voglio amar歌词大意：虽然你冷酷无情我永远爱你我的心永远忠诚而又坚定我一片赤诚始终不渝总有那一天你铁石心肠也会动情▎背景知识康塔塔（Cantata），指多乐章的大型声乐套曲。康塔塔源于意大利，后在德国盛行；其原意指声乐说唱的乐曲，后演变成包括独唱、重唱及合唱的作品。康塔塔由管弦乐队演奏，各乐章具有一定的连贯性；内容既有宗教题材，也有世俗题材。后期：Jean▎节目首发，背景音乐，图文资料，更多推送敬请关注微信公众号：为你读英语美文，ID：readenglishforyou
为你读英语美文 · 第395期封面作者：意大利画家 Giovanni Battista Torriglia主播：Nina Zhan 娇娇（ 12 岁）地点：美国 · 芝加哥大家好，我是华裔Nina 娇娇，很高兴在”为你读英语美文“节目里再次和大家见面。 从八岁起第一次做客”为你读英语美文“节目，到现在已经是第四个年头了。现在我读初中二年级，从小学到中学一路走来，感谢听众朋友们一直以来，对我的鼓励和对”为你读英语美文“节目的忠爱。 今天，我想为大家介绍的是意大利已故作曲家--安东尼奥·卡尔达拉和他在歌剧里写的一段咏叹调《虽然你冷酷无情》《Sebben Crudele》。这首曲子被翻译成了多国文字为全世界传唱。这也是我唱的第一首咏叹调，在节目的最后送给大家。 Antonio Caldara (1670 – 1736) was an Italian Baroque composer. He is one of the most productive composers of his era. To say Caldara was prolific is an understatement: he wrote nearly 3,500 works, including more than 90 operas, numerous oratorios, liturgical works, cantatas, madrigals, and many instrumental pieces. Antonio Caldara began his musical career as a cellist. 安东尼奥·卡尔达拉（1670年-1736年）是意大利巴洛克作曲家。安东尼奥·卡尔达拉是那个时代最多产的作曲家之一，说卡尔达拉多产是一种轻描淡写：他写了近3500部作品，包括90余部歌剧，众多圣经曲，礼拜仪式作品，康塔塔*，牧歌小调和许多器乐作品。他以大提琴家的身份开始了他的音乐生涯。As a performer he was immensely talented: he was accomplished as a violin player, cellist, and keyboardist, and in his childhood, as a choirboy at St. Mark's Cathedral in Venice, he was considered a highly gifted singer. 作为一名表演者，他非常有才华。他是一名小提琴演奏家，大提琴手和键盘手，并且在他的童年时曾在威尼斯圣马可大教堂担任合唱男孩，被认为是一位很有天赋的歌手。Antonio Caldara was not only one of the most important composers of his generation, but wielded considerable influence over the evolution of Italian vocal music of the early eighteenth century. 安东尼奥·卡尔达拉不仅是那一代人中最重要的作曲家之一，而且对18世纪初期意大利声乐的发展产生了重大影响。Caldara began publishing works soon after the age of 20, and by 30 was an opera composer. Beginning in 1699, for approximately eight years he was in service to Ferdinando Carlo. After some travels and performances in Spain and time in Rome and other places related to commissions, he settled in Vienna in 1716, where for twenty years until his death he served as vice-Kapellmeister to Emperor Charles VI, a position with a handsome salary which required him to compose over 30 dramatic works.卡尔达拉在20岁之后, 就开始出版作品，到30岁时成为歌剧作曲家。 从1699年开始，他在费迪南多·卡洛任职大约八年。 经过一些旅行后，在西班牙演出并且在罗马和其他地方做商业演出，他于1716年在维也纳定居，在那里他呆了20年，直到去世为止，一直担任查理六世皇帝的卡佩尔副校，职位要求他创作30多部戏剧作品，并给予相当可观的薪水。While his operas are rarely performed today, his instrumental and liturgical music has achieved some currency, and because of the increasing availability of them on recordings, Caldara's reputation could be on the upswing.尽管他的歌剧如今很少演出，但他的器乐和礼仪音乐已取得了一定的成就，并且由于唱片中录音的可用性不断提高，卡尔达拉的声誉还在继续上升。Moreover, having lived the last two decades of his life in Vienna, he was a significant factor in shaping the direction of both Viennese and German music. Unfortunately, many of his scores are lost, but there still exists a substantial body of work by which to judge him positively.此外，在维也纳生活了最后二十年后，他是塑造维也纳音乐和德国音乐发展方向的重要因素。不幸的是，他的许多分数都丢失了，但是仍然存在大量的作品可以用来对他做出积极的判断。"Sebben crudele" is an aria from Antonio Caldara's 1710 opera, La costanza in amor vince l'inganno. It comes from the third scene of the opera's first act, Sebben, crudele remains a popular concert aria. “ Sebben crudele”是作曲家安东尼奥·卡尔达拉（Antonio Caldara）1710年的歌剧《阿莫尔文斯·林加诺》中的咏叹调。 它来自歌剧第一幕中的第三段，直到现在歌曲 "Sebben, crudele" 依然是音乐会里流行的咏叹调。安东尼奥·卡尔达拉在维也纳居住期间，每年需要创作许多不同规模的戏剧音乐作品，包括歌剧和清唱剧，并且为当地的狂欢节创作音乐。在他繁忙的作曲任务中，卡尔达拉还要为贵族创作歌剧。他的诸多创作也使他在维也纳声名卓著。“ Sebben crudele”是作曲家安东尼奥·卡尔达拉1710年的歌剧《阿莫尔文斯·林加诺》中的咏叹调。 它来自歌剧第一幕中的第三段，直到现在歌曲 "Sebben crudele" 依然是音乐会里流行的咏叹调。Parisott指出该歌剧的情节“simple and perfectly idyllic, but the graces of song are lavished throughout with a prodigal hand.““ Sebben crudele” 的曲调“简单而完美，具有田园风光，但歌曲表达的韵味却无限奢华。” 在节目的最后我为大家送上我唱的这首曲子。 让我们一起来感受一下这位17世纪意大利巴洛克作曲家的艺术才华。Sebben Crudele 《虽然你冷酷无情》作曲：Antonio Caladara Sebben Crudele,Mi fai languir,sempre fedele.sempre fedele ti voglio amar.Sebben Crudele.Mi fai languir,Sempre fedele ti voglio amar.Con la lunghezza,Del mio servir,La tua fierezza,La tua fierezza,Saprò stancar,La tua fierezza,Saprò stancar.Sebben Crudele,Mi fai languir,sempre fedele.sempre fedele ti voglio amar.Sebben Crudele.Mi fai languir,Sempre fedele ti voglio amar歌词大意：虽然你冷酷无情我永远爱你我的心永远忠诚而又坚定我一片赤诚始终不渝总有那一天你铁石心肠也会动情▎背景知识康塔塔（Cantata），指多乐章的大型声乐套曲。康塔塔源于意大利，后在德国盛行；其原意指声乐说唱的乐曲，后演变成包括独唱、重唱及合唱的作品。康塔塔由管弦乐队演奏，各乐章具有一定的连贯性；内容既有宗教题材，也有世俗题材。后期：Jean▎节目首发，背景音乐，图文资料，更多推送敬请关注微信公众号：为你读英语美文，ID：readenglishforyou
What’s your favorite season? And how would you describe it in words? And if you’re a composer, how would you describe it in music? The most famous musical depiction of “The Four Seasons” is a set four violin concertos by the Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today’s date in 2009, the American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work entitled “The American Four Seasons.” Glass’s seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass’s view of some of the seasons did not quite match his own, so they came up with an unusual solution: in the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season. So, in this case of THIS “Four Seasons,” it’s all up to you.
What’s your favorite season? And how would you describe it in words? And if you’re a composer, how would you describe it in music? The most famous musical depiction of “The Four Seasons” is a set four violin concertos by the Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today’s date in 2009, the American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work entitled “The American Four Seasons.” Glass’s seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass’s view of some of the seasons did not quite match his own, so they came up with an unusual solution: in the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season. So, in this case of THIS “Four Seasons,” it’s all up to you.
The critic and novelist Elizabeth Lowry joins Thea Lenarduzzi and Toby Lichtig to discuss the Italian Baroque master Artemisia Gentileschi, the subject of a major exhibition at the National Gallery in London, a painter whose Life is as dramatic and moving as her art; and Toby reviews new fiction steeped in dread, paranoia and failure, including a short work by Don DeLillo and the debut novel from the Oscar-winning screenwriter Charlie Kaufman Artemisia – National Gallery, London, until January 24, 2021 The Silence by Don DeLilloAntkind by Charlie KaufmanReality: And other stories by John LanchesterWhy Visit America by Matthew Baker See acast.com/privacy for privacy and opt-out information.
Art historian and curator Mary Kisler is back to discuss the Artemisia Gentileschi exhibition currently on at the National Gallery in London. Gentileschi (1593 - c.1656) was an Italian Baroque artist, and one of the first women to forge a successful career as a painter. She painted subjects that were traditionally the preserve of male artists.
On today’s date in 2001, the release of a CD of Vivaldi’s oratorio “Juditha Triumphans” launched a very ambitious project – to record nearly 450 works of the famous Italian Baroque composer that exist as manuscript scores in the Biblioteca Nazionale in Turin, Italy. It’s the largest collection of manuscript scores by any 18th century composer in existence, and includes many Vivaldi works unperformed since his lifetime. Susan Orlando, the director of the recording project, explained how that came to be: “When Vivaldi died in Vienna in 1741 he had debts, so the authorities immediately sealed off his home. We have the inventory that they made. It included no musical manuscripts, but there was a big, empty chest. It seems Vivaldi’s brother had got hold of the music and sold it off.” Back then, Vivaldi’s scores ended up with various wealthy collectors, but in 1930 the scattered music was consolidated and bequeathed to the library in Turin. The French label Naïve has released over 60 Vivaldi Edition CDs so far, including 17 Vivaldi operas. More than a dozen additional titles are planned for release by 2028, the year that will mark the 350th anniversary of Vivaldi’s birth.
On today’s date in 2001, the release of a CD of Vivaldi’s oratorio “Juditha Triumphans” launched a very ambitious project – to record nearly 450 works of the famous Italian Baroque composer that exist as manuscript scores in the Biblioteca Nazionale in Turin, Italy. It’s the largest collection of manuscript scores by any 18th century composer in existence, and includes many Vivaldi works unperformed since his lifetime. Susan Orlando, the director of the recording project, explained how that came to be: “When Vivaldi died in Vienna in 1741 he had debts, so the authorities immediately sealed off his home. We have the inventory that they made. It included no musical manuscripts, but there was a big, empty chest. It seems Vivaldi’s brother had got hold of the music and sold it off.” Back then, Vivaldi’s scores ended up with various wealthy collectors, but in 1930 the scattered music was consolidated and bequeathed to the library in Turin. The French label Naïve has released over 60 Vivaldi Edition CDs so far, including 17 Vivaldi operas. More than a dozen additional titles are planned for release by 2028, the year that will mark the 350th anniversary of Vivaldi’s birth.
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.”
In this week's books podcast, Sam's guest is that man of parts Loyd Grossman. Loyd's new book is An Elephant in Rome: Bernini, the Pope, and the Making of the Eternal City, which explores the titanic influence of Bernini on the Rome we see today, and his partnership with Pope Alexander VII. Loyd tells Sam why you couldn't bring Italian Baroque home to meet your parents, about Bernini's far from congenial character - and why you'd stick an obelisk on top of an elephant anyway.
In this week's books podcast, my guest is that man of parts Loyd Grossman. Loyd's new book is An Elephant in Rome: Bernini, the Pope, and the Making of the Eternal City, which explores the titanic influence of Bernini on the Rome we see today, and his partnership with Pope Alexander VII. Loyd tells me why you couldn't bring Italian Baroque home to meet your parents, about Bernini's far from congenial character - and why you'd stick an obelisk on top of an elephant anyway.
A quick conversation on my personal research on Italian Baroque artist Caravaggio.
*Episode 13 was recorded in March before the UK-wide lockdown began. We've been battling with disruptions caused by the Coronavirus and therefore the release of this episode was delayed.*Whilst stuck at home, and hopefully staying safe, we offer a glimpse at exhibitions of the pre-lockdown era including: the early works of Alan Davie and David Hockney at the Towner Gallery, a slightly-problematic experience of Cao Fei at the Serpentine Galleries, and Aubrey Beardsley at the Tate Britain.New developments at the US Supreme Court mean that the restitution of art looted by the Nazis during the Holocaust is back in the news again. In particular we discuss the appeal over the ownership of Picasso's The Actor, which is currently hanging at the Metropolitan Museum of Art in New York. And we've gone back in history further than we've ever gone before for our Artist Focus, as we discuss the life and work of Italian Baroque painter Artemisia Gentileschi. Unknown to many, the 17th century painter will be the subject of her own eponymous solo exhibition at the National Gallery in London later this year. As the world wakes up to her legacy, we celebrate her unique contribution to women artists, and her incredibly dramatic life. SHOW NOTES: Alan Davie and David Hockney: Early Works until 31 May 2020 at the Towner Gallery: https://www.townereastbourne.org.uk/exhibition/alan-davie-and-david-hockney-early-works/ BRINK: Caroline Lucas curates the Towner Collection until 10 May 2020: https://www.townereastbourne.org.uk/exhibition/caroline-lucas-curates-the-towner-collection/Cao Fei 'Blueprints' until 17 May 2020 at the Serpentine Galleries: https://www.serpentinegalleries.org/exhibitions-events/cao-feiAubrey Beardsley, until 25 May 2020 at the Tate Britain: https://www.tate.org.uk/whats-on/tate-britain/exhibition/aubrey-beardsleyThe US Supreme Court's silence on Nazi art theft fails Holocaust survivors: https://www.theartnewspaper.com/comment/the-us-supreme-court-s-silence-on-nazi-art-theft-fails-holocaust-survivors We also refer to the 2015 movie 'The Woman in Gold' starring Helen Mirren. Get to know the Baroque painter, Artemisia Gentileschi: https://www.thegallyry.com/post/rachael-siddall-on-artemisia-gentileschi Artemisia Gentileschi at the National Gallery: https://www.nationalgallery.org.uk/exhibitions/artemisia
One of the most celebrated female painters of the 17th century, Artemisia Gentileschi was the first woman to become a member of the Academy of the Arts of Drawing in Florence. Through her talent and determination - and despite massive obstacles - she forged a 40-year career, and was collected by the likes of Charles I of England and Philip IV of Spain. But after her death, it wasn't until the 20th century that people began to reinterpret her work in the light of her remarkable life story, including the well-documented fact that she was raped at the age of 17 by fellow painter, Agostino Tassi. Joining Bridget Kendall to discuss the life and work of Italian Baroque artist, Artemisia Gentileschi are four experts: Letizia Treves is curator of the 2020 Artemisia exhibition at London's National Gallery; Mary Garrard is Professor Emerita of Art History at American University in Washington DC; Jesse Locker is Assistant Professor of Italian Renaissance & Baroque Art at Portland State University; and Patrizia Cavazzini is Research Fellow at the British School at Rome, Italy. Produced by Jo Impey for BBC World Service Image: Self-Portrait as Saint Catherine of Alexandria by Artemisia Gentileschi Credit: National Gallery, London
In this program, we explore other composers of the Italian Baroque: Claudio Monteverdi, Arcangelo Corelli and Giuseppe Tartini.
In this program, we explore other composers of the Italian Baroque: Claudio Monteverdi, Arcangelo Corelli and Giuseppe Tartini.
Pianist Jeremy Walker teamed up with Garrick Comeaux and Consortium Carissimi to explore the similarities between music in the early Baroque era and jazz with two performances this weekend.
Pianist Jeremy Walker teamed up with Garrick Comeaux and Consortium Carissimi to explore the similarities between music in the early Baroque era and jazz with two performances this weekend.
Pianist Jeremy Walker teamed up with Garrick Comeaux and Consortium Carissimi to explore the similarities between music in the early Baroque era and jazz with two performances this weekend.
This week we dive into the life of Artemisia Gentileschi. Artemisia was an Italian Baroque painter who is now considered one of the most accomplished painters in the generation following Caravaggio. Join us as we learn more about her life and work. This week's recommendations: Watch the Artemesia movie. Read The Passion of Artemisia: A Novel. And don't forget to share with us on Instagram! #oysdpodchallenge Intro/Outro Music: Tripped and Fell in Love (instrumental) by Yacht.
Opera star Joyce DiDonato joins us to talk about and sample her new album Songplay, which delightfully mixes jazz, Latin, and tango rhythms into arrangements of Italian Baroque arias, jazz standards, and picks from the Great American Songbook.
Opera star Joyce DiDonato joins us to talk about and sample her new album Songplay, which delightfully mixes jazz, Latin, and tango rhythms into arrangements of Italian Baroque arias, jazz standards, and picks from the Great American Songbook.
Listening Guide With Lew Smoley The Works Marcello Concerto A Cinque For Violin and Orchestra in D Veracini Violin Concerto in A Allegro Grave Allegro Tartini Concerto For Violin, Strings, and Continuo in Bb Grave Allegro Largo Allegro Locatelli Concerto De Chiesa in c Grave Andante, Adagio Vivace, Adagio Largo Largo Andante, Adagio Leo Concerto […]
Listening Guide With Lew Smoley The Works Torelli Concerto For Violin and Orchestra Marcello Violin Concerto in G Allegro Lerghetto Vivace ALbinoni Concerto No. 4, in A Allegro Adagio Allegro ALbinoni Concerto for Violin and Orchestra, in F Allegro Adagio Allegro Bonporti Concerto For Violin and Orchestra, in Bb Montinari Violin Concerto In Eb Adagio […]
A quick look at Baroque art so that you can understand the various genres, specifically Italian Baroque, Spanish Baroque, French Baroque, and Dutch Baroque.
In this episode Dr Laura-Jane Foley meets Ben Page, the Chief Executive of Ipsos MORI, one of the UK's leading market research organisations. Ben chooses the church of San Carlo alle Quattro Fontane in Rome as his favourite work of art. The church was designed by the Italian Baroque architect Francesco Borromini (1599 - 1667).To comment on the show please write to @laurajanefoley on Twitter and use the hashtag #MyFavouriteWorkOfArtPresented and produced by Dr Laura-Jane FoleyRecorded and edited at Wisebuddah, LondonTitle Music - 'Blue' from Colours by Dimitri Scarlato See acast.com/privacy for privacy and opt-out information.
Artemisia Gentileschi, a 17th century Italian Baroque artist. Born under Orazio Gentileschi, another Italian Renaissance artist, Artemisia faced societal backlash since she started painting as a teenager. Her paintings changed the way Florence and Naples thought about Caravaggism, yet, art historians reassigned her work to men and "rediscovered" her in the 1970's. What happened to Artemisisa in between 1593 and the second-wave of feminism? Check out the website to follow her paintings with the audio.
In this, the very first episode, I talk about the Italian Baroque and the daring diva, Artemisia Gentileschi. She was a fiercely talented and unconventional woman who put her skills to canvas. Enjoy!
YA author Mackenzi Lee joins me to talk about, well, almost everything, from book deal depression to hitting milestones like the NYT Bestseller List. We also cover: how to tackle historical research (and when to get anachronistic); cross-dressing fencers; Dutch tulip-mania; a lady painter of the Italian Baroque; 1980's women wrestlers -- this is a wide-ranging conversation with a fascinating author.
Gabriele Finaldi, the Director of the National Gallery, talks to Michael Berkeley about his artistic and musical passions. When Gabriele Finaldi took up his post as Director of the National Gallery in the summer of 2015, one of the first things he did was to install a piano in the corner of his office. He grew up in a musical household in Catford in South East London, the son of a Neapolitan father and half-Polish, half-English mother. Early in his career he was a curator at the National Gallery, specialising in Italian and Spanish paintings and he was involved in major and memorable shows such as Seeing Salvation and Discovering the Italian Baroque. In 2002 he was appointed Deputy Director of the Prado in Madrid, where he worked until his return to the National Gallery. Gabriele takes Michael on a musical and artistic journey though Britain, Italy, France and Spain and chooses music by Ravel, Messiaen, Puccini and Britten, as well as a 17th-century Neapolitan serenade and a spine-tingling piece of flamenco. Producer: Jane Greenwood A Loftus production for BBC Radio 3.
Violinist Anne-Sophie Mutter draws connections between Tchaikovsky's Violin Concerto and Takemitsu's Nostalghia, Boston Symphony Music Director Andris Nelsons previews Shostakovich's Symphony No. 6 with WCRB's Brian McCreath, and Handel and Haydn Society Concertmaster Aisslinn Nosky talks with WCRB's Alan McLellan about leading the ensemble and the challenges of Vivaldi and other Italian Baroque masters.
In this episode Rachel and Marie Claire discuss the brilliant and troubled Baroque painter Caravaggio. The passionate artist spent his last few years on the run from the law, wanted for murder. His work went on to inspire countless others. After we recorded Marie Claire dumped a glass of wine on my computer by accident, don't worry girl, it's all fine lol.
История Искусств: Итальянское Барокко карло мадерно, архитектура, джакомо де ла термо, бернини, микеланджело, караваджо, венецианская школа, джорджоне, тициан ...
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
The Manchester Chorale and Manchester Symphony Orchestra Brass Ensemble, conducted by Kevin L. Mack, in a holiday concert of masterpieces from the Italian Baroque and Renaissance for single and double choirs
Music for lute, organ, harpsichord, and a little-known Italian Baroque oratorio.
Selected Duets for Flute, Page 56 Number 13, Gavotte, performed by David Summer. This Gavotte is by the Italian Baroque composer Arcangelo Corelli. Corelli was also an accomplished violinist and this may very well have been originally written for 2 violins. Corelli also composed many works for brass ensemble. This duet can prove challenging for a student because the rhythm in the second flute part is so different from that in the first flute part and because of the closely repeated echo sections in the second half of the duet. The metronome setting for this performance is quarter note = 92.
Michelangelo Rossi (1601/2-1656), beginning of the Toccata Quarta, from Toccate e correnti d'intavolatura d'organo e cembalo, ca. 1634, performed by Hans Davidsson
Girolamo Frescobaldi (1532-1643), beginning of the Toccata Quarta, from Il secondo libro di toccate, 1627, performed by Hans Davidsson
Girolamo Frescobaldi (1532-1643), excerpt from the Bergamasca, from Fiori musicali, 1635, performed by Hans Davidsson
Michelangelo Rossi (1601/2-1656), beginning of the Toccata Settima, from Toccate e correnti d'intavolatura d'organo e cembalo, ca. 1634, performed by Hans Davidsson
Domenico Zipoli (1688-1726), excerpt from the Pastorale from Sonate d'intavolatura, 1716, performed by David Higgs
Domenico Scarlatti (1685-1757), beginning of the Sonata in C Major (K255), performed by David Higgs
Giuseppe Gherardeschi (1759-1815), excerpt from Sonata per organo a guisa di banda militare che suona una marcia, performed by David Higgs
Paolo Quagliati (ca. 1637-1710), beginning of Canzon II from Toccata dell'Ottavo tuono, 1593, performed by William Porter
Bernardo Pasquini (1637-1710), excerpt from Recercare con la fuga in pi modi, performed by William Porter
Domenico Zipoli (1688-1726), beginning of the Al Post Communio from Sonate d'intavolatura, 1716, performed by David Higgs
17th Century Italian Baroque Organ
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