The Organ Concertos of Henry Burgess (1718–1786)

Henry Burgess, Junior, ­published in 1743 the earliest known set of organ concertos by an English composer. These show strongly the influence of George Frideric Handel, whose organ concertos published as Op. 4 in 1738 invented the genre, but also reveal that of Antonio Vivaldi and – more surprisingly – the English song tradition. Though still little known, Burgess is a capable and inventive composer, whose sparkling concertos, performable either with or without orchestra, deserve a place in the repertoire.

Opera-Based Instrumental Parodies in Antonio Vivaldi's Concertos

В статье рассмотрена проблема композиционных параллелизмов между инструментальными концертами и оперными ариями Антонио Вивальди. Введены термины для описания типов «театрализованной» ритурнельной формы и композиционного устройства концертов. Показано влияние признаков оперной арии на форму и жанровую специфику частей инструментального концерта. Предложена новая классификация примеров протяженного цитирования оперных арий в инструментальных концертах, среди которых - неизвестные ранее цитаты, обнаруженные автором статьи в концертах RV 139, RV 159 и RV 189. The article deals with thematic concordances between instrumental concertos and operatic arias by Antonio Vivaldi. New terms are proposed in order to describe the types of ‘operatic' ritornello form and sections of musical compositions. Comparative analysis of the music material of arias and corresponding concertos shows the influence of operatic aria's features to musical form and genre of concerto's movements. Based on various types of such influence, new classification of all presently known cases of the operatic arias reworked by Vivaldi for his instrumental concertos and vice versa is delivered. Proposed classification includes previously unknown cases of self-borrowing discovered by the author of this article in the instrumental concertos RV 139, RV 159 and RV 189.

Motezuma, la ópera mexica de Antonio Vivaldi y Girolamo Giusti

El ensayo propone un acercamiento a los aspectos escénicos involucrados en la única representación de la ópera Motezuma, con música de Antonio Vivaldi, la cual fue estrenada en el teatro Sant’Angelo de Venecia en 1733. Basándose en archivos históricos inéditos, la autora establece a Girolamo Giusti como el autor del libreto Motezuma, exponiendo además los motivos y las fuentes documentales que pudieron impulsar la creación de la ópera de tema “indio-americano”. Motezuma, a Mexica opera by Antonio Vivaldi and Girolamo GiustiAbstractThis article discusses the theatrical aspects involved in the only performance of the opera Motezuma by the composer Antonio Vivaldi, which premiered at the Sant’Angelo theater in Venice in 1733. The author uses unpublished historical archives to establish Girolamo Giusti as the true playwright of the libretto Motezuma, addressing the motives and sources that could have lead to the creation of this opera with an Indigenous-American theme. Recibido: 10 de marzo de 2020Aceptado: 28 de septiembre de 2020

Analisis Teknik Permainan Biola Pada Concerto In A Minor 3RD Movement Rv 356 Op. 3 No. 6 Karya Antonio Vivaldi

Penelitian ini bertujuan untuk mendeskripsikan bentuk musik dan teknik permainan biola pada Concerto in A Minor 3rd Movement RV 356 Op. 3 No. 6 karya Antonio Vivaldi. Penelitian ini menggunakan metode penelitian kualitatif. Data yang diperoleh dalam penelitian melalui observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan data. Serta terdapat uji keabsahan data dengan teknik triangulasi. Hasil penelitian menunjukkan bahwa pada Concerto in A Minor 3rd Movement RV 356 Op. 3 No. 6 karya Antonio Vivaldi memiliki bentuk musik Concerto Form, dengan teknik Ritornello Form. Adapun teknik permainan biola yang digunakan dalam penelitian ini adalah teknik legato, detache, staccato, quavers dan semiquavers, trill, dan accent.Kata Kunci : Teknik, Bentuk, Concerto in A Minor 3rd Movement RV 356 Op. 3 No. 6, Antonio Vivaldi

‘Il grosso pacco della musica’: The Galuppiana Consignments for August III and Count Heinrich von Brühl in Warsaw, 1757–1761

The Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB), holds one of the world’s largest collections of sacred and secular works by the Italian composer Baldassarre Galuppi, “il Buranello”, whose operatic music was very popular in the mid-1750s with the Saxon elector and Polish king August III and other members of his court. This impressive collection of Galuppiana includes numerous copies of liturgical works from the copying house of the Venetian priest and notorius forger Iseppo (Giuseppe) Baldan. Recently, several compositions falsely attributed to Galuppi by Baldan have turned out to be the works of Antonio Vivaldi, including an excellent setting of Dixit Dominus (RV 807). This article demonstrates that the Galuppi-Baldan manuscripts were sent in several batches from Venice to Warsaw (and not Dresden, as originally thought) during the Seven Years’ War (1756–1763), when August III resided in the Polish capital. The Saxon prime minister count Heinrich von Brühl and his musically gifted daughter Maria Amalia also stayed in Warsaw during this period, as did Brühl’s secretary and musical director Friedrich August von Koenig, who arranged for the purchases from Galuppi and Baldan. The fact that operas were also being sent from Rome to Warsaw during the war shows that the nobility in the Polish capital was up-to-date with all the latest Italian music. Reports of performances of Galuppi’s music in Warsaw is presented through official documents and letters written by Friedrich August de Rossi, secretary of Italian affairs at the Saxon-Polish court. This includes a description of a serenate performed at the fifty-seventh birthday of Brühl in August 1757, and evidence is provided which strongly suggests that the music, the so-called “Endimione” serenate, was specially composed by Galuppi for this occasion. Finally, details of the musical manuscripts being sent from Warsaw to Dresden in 1763 and the cataloguing of the collection is presented, in addition to an account of a previously unknown visit of Galuppi to the Saxon capital in 1765.

A contagem do prazo prescricional da petição de herança em harmônico compasso com as Quatro Estações de Antonio Vivaldi

Tema historicamente pertencente à área cinzenta do Direito, a prescrição na petição de herança mereceu, em tempos recentes, a formação de uma jurisprudência dominante pelo Superior Tribunal de Justiça. A evolução do tratamento da matéria pode, perfeitamente, ser analisada com compasso com a conhecida ópera As quatro estações, de Antonio Lucio Vivialdi, por conta da variação de critérios e soluções. Em um grand finale, há de se alertar para a necessidade de uso do método distinguishing em relação ao entendimento atualmente prevalecente.

Antonio Vivaldi… ¡en Cuenca!: breve aproximación a la Semana de Música Religiosa de Cuenca (2001-2019)

<p>La Semana de Música Religiosa de Cuenca (SMR) inició su andadura en 1962. Miembro de la Asociación Europea de Festivales desde 1986, es el cuarto festival más antiguo de España. Además, comparte fecha en el calendario con la celebración de la Semana Santa conquense (ambas están declaradas de Interés Turístico Internacional).</p><p>En este artículo nos centraremos en la programación de obras de Antonio Vivaldi en las ediciones que han acontecido entre el año 2001 y el 2019. De forma previa y como contextualización, nos aproximaremos al ciclo conquense y sus claves, la figura del violinista italiano y su música religiosa.</p><p>De esta manera, nos acercaremos a los directores, solistas, gestores, agrupaciones y obras que han protagonizado los conciertos en los que se ha escuchado música de Vivaldi en la Semana de Música Religiosa de Cuenca para, en global, descubrir qué partituras e intérpretes se han considerado más interesantes, qué ediciones y cuántos recitales han contado con música del <em>prete rosso</em>.</p>

Viajes reales e imaginarios de Hernán Cortés en la corte del emperador Moctezuma II

El viaje de Hernán Cortés a la corte mexica del emperador Moctezuma II, aunque históricamente real, se modifica cada vez que es recontado. Tres versiones de este viaje se analizan en este estudio: la primera es la narrada en la Historia de la conquista de México, población y progresos de la América Septentrional, conocida por el nombre de Nueva España (Madrid, 1684), una obra panegírica de Antonio de Solís y Rivadeneira; la segunda es la cantada en el dramma per musica de Antonio Vivaldi intitulado Montezuma (Venecia, 1733), una ‘comedia’; la tercera, también sustentada en Solís, es la representada en la tragedia per musica llamada Montezuma (Berlín, 1755), del compositor Carl Heinrich Graun y el estadista—y libretista—Friedrich II (der Groβe), de la Casa de Hohenzollern. Tenemos pues tres visiones radicalmente diferentes, aunque aceptables, del viaje cortesiano en tierras americanas: una encomiástica, una trágica y otra consoladora.