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kanonkula favorited a video
(3 weeks ago)
Better resolution and stereo sound:
http://www.youtube.com/watch?v=AJA2x_...
Ohimè ch'io cado, SV 316, for soprano and basso continuo, music by Claud...
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Better resolution and stereo sound:
http://www.youtube.com/watch?v=AJA2x_...
Ohimè ch'io cado, SV 316, for soprano and basso continuo, music by Claudio Monteverdi on an anonymous text, published in 1624 in Carlo Milanuzzi's Quarto Scherzo della ariose vaghezze, an anthology of Venetian secular songs, along with two other works by Claudio Monteverdi: La mia turca che d'amor, and Sì dolce è 'l tormento.
"Although arias and canzonettas make up most of the Quarto Scherzo, the collection also contains two strophic cantatas, one by Milanuzzi and one by Monteverdi. These 'cantade' were among the earliest compositions to be named as such, and represent classic examples of the so-called 'strophic bass cantata,' a genre almost entirely exclusive to Venice. As the title suggests, these early cantatas are simply settings of strophic variations above an unchanging bass, the first of which were composed by Monteverdi and his colleagues at San Marco, Grandi and Berti. Monteverdi had already demonstrated an affinity for strophic variations over an unchanging bass in his seventh book of madrigals (1619) with 'Tempro la cetra,' yet had not fully explored this soon-to-be favored compositional technique in a monodic setting, first illustrated in his 'Ohimè ch'io cado' printed in Milanuzzi's Quarto Scherzo. The six verse cantata interspersed with ritornelli presents an intriguing set of variations that in many ways, represents a kind of prototype for the later solo strophic variations over the popular passacaglia and chaconne basses in the operas of Monteverdi and Cavalli."
- Cory Michael Gavito
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"Jazz" version arranged by Christina Pluhar
Philippe Jaroussky, countertenor
L'Arpeggiata, conducted by Christina Pluhar
Abbaye d'Ambronay, 18 September 2008
This work will appear (in a studio version) in the album "Monteverdi - Teatro d'Amore", with Philippe Jaroussky, Núria Rial, Cyril Auvity, Xavier Sabata, and L'Arpeggiata conducted by Christina Pluhar, that will be released by Virgin Classics in January 2009.
I must confess that I dislike these anachronistic arrangements, whether they are made by Christina Pluhar, or even by the great René Jacobs, whose work I usually admire. But I find this performance much better than the short participation at the end of the Centenary Gala at Salle Gaveau, on 18 December 2007, and also funnier. However, I still think that poor Monteverdi should be spared this kind of outrage, just like Francesco Cavalli's Callisto does not need a romantic violoncello solo in the middle of an aria, Herr Jacobs. ;)
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Marc D.
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kanonkula favorited a video
(3 weeks ago)
PHILIPPE JAROUSSKY, live recording
( probably Théâtre du Châtelet, Paris, 2005).
Ensemble "Matheus", cond. by J.-Ch. Spinosi .
I´ve ...
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PHILIPPE JAROUSSKY, live recording
( probably Théâtre du Châtelet, Paris, 2005).
Ensemble "Matheus", cond. by J.-Ch. Spinosi .
I´ve just found this INCREDIBLE piece in a mess of my folders and wanted immediately to share it !
Shame of me, but I don´t know, when and where it was recorded and I would be very grateful for some information about this concert !
G.-F. Händel, Aria of Arsace "Furibondo spira il vento" (Atto secondo) from the opera "Partenope" (HWV 27). This opera was composed to an Italian libretto, adapted by an unknown hand from an libretto, originally written in 1699 by Silvio Stampiglia. Stampiglia's libretto had received many previous settings, including one by Caldara.
The story about Queen Partenope ( the legendary founder of Naples) , who is pursued by no less than three suitors: Arsace, Armindo and Emilio. Although the libretto had been rejected four years earlier by the Royal Academy of Music as being too frivolous, Händel persisted, and "Partenope" premiered at the King's Theatre in London on 24th February 1730.
The score was completed by Händel just two weeks before the premiere.
The first cast were:
Partenope, Queen of Naples - Anna Maria Strada del Pò
Arsace, Prince of Corinth - Antonio Maria Bernacchi
Armindo, Prince of Rhodes - Francesca Bertolli
Emilio, Prince of Cumae - Annibale Pio Fabri Rosmira/Eurimene, beloved of Arsace -Antonia Maria Merighi
Ormonte - Johann Gottfried Reimschneider
The next season 1730- 1731 the role of Arsace was sung by Francesco Bernardi ( Senesino ).
"Partenope" was performed also in Braunschweig 1731- 1733 and in Hamburg 1733-1736.
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kanonkula favorited a video
(3 weeks ago)
George Frideric Handel
Il Trionfo del Tempo e del Disinganno, HWV 46a
"Un pensiero nemico di pace"
Oratorio in two parts
Libretto by: Benedet...
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George Frideric Handel
Il Trionfo del Tempo e del Disinganno, HWV 46a
"Un pensiero nemico di pace"
Oratorio in two parts
Libretto by: Benedetto Pamphilj
In this recording:
Cecilia Bartoli
Les Musiciens du Louvre - Grenoble
Marc Minkowski
The Triumph of Time and Truth is an oratorio by George Frideric Handel which has seen three iterations across 50 years of Handel's career. HWV 46a is an Italian oratorio from 1707, in 1737 Handel revised and expanded the oratorio to create HWV 46b, and HWV 71 is the work expanded and revised again, possibly without much involvement at all by Handel, into an English-language oratorio from 1757.
Under the title which translates "The Triumph of Time and Disillusionment" (HWV 46a), Handel composed his very first oratorio to a libretto by Cardinal Benedetto Pamphili. The work, which consisted of two sections, was composed in the Spring of 1707 and premiered that summer in Rome.
Il Trionfo del Tempo e del Disinganno, originally entitled La Bellezza ravveduta nel Trionfo del Tempo e del Disinganno, conjures up the atmosphere of a sophisticated cultural entertainment in the Rome of the cardinals, whose iconography is brought to life in the oratorio's arias and dialogues. In the aria "Un pensiero nemico di pace", in which Bellezza refutes the unequivocal meaning of Time. The first section is energetically compact: unrelenting unison violins and a vocal line alternating precise syllabification with coloratura volleys on key words such as "edace" and "ali" underline the bleak idea of time as a remorsless and destructive phenomenon. By comparison, central section, in which the voice is accompanied by basso continuo alone, is an oasis of serene enchantment, where the inavitability of time's passing seems to vanish.
Original text:
Un pensiero nemico di pace
fece il Tempo volubile edace
e con l'ali la falce gli diè.
Nacque un altro leggiadro pensiero
per negare si rigido impero
on'il Tempo, più Tempo non è.
Translation:
A thought inimical to peace
created inconstant, voracious Time,
Endowing him with both wings and a scythe.
Then was born a second, happy thought,
to parry suh a harsh dominion,
in wich Time is no longer Time.
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kanonkula favorited a video
(4 months ago)
STEVIE WONDER MICHAEL JACKSON MEMORIAL PERFORMANCE HIGH QUALITY HD
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kanonkula favorited a video
(6 months ago)
from the 2002 proms. He plays the hell outta this piece
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