In our time the composers who appear in these collections are household names, although many operas and oratorios, from which the arias are taken, are still waiting to be performed. Someone like Bach also studied 'early music' to learn, not to perform it.įrom that perspective there is no reason to be too harsh on performers of the late 19th and early 20th centuries, who used 'early music' for their own purposes, but never thought about actually performing those arias. Ironically, this approach was not very different from that of the 17th and early 18th centuries: music which was more than, say, twenty years old was hardly ever performed, and if so, it was mostly adapted to the taste of the time. That was also the case with the collection of Arie Antiche: they were used as vocal exercises, to learn and train vocal techniques, connected to what was called belcanto. Let us not forget that in the 19th century the first volumes in a complete edition of Bach's music came from the press, and Johannes Brahms published an edition of François Couperin's harpsichord works.īut music of the past was seldom played: it was something to study and learn from in the first place.
The 19th century was the era of musicology and historiography, and in general a vivid interest in the past. However, it is probably less remarkable than one may think. This seems quite remarkable in a time, that many composers of the past were only known to musicologists. In 1890 the publishing house Ricordi published three volumes under the title Arie Antiche, which included vocal items from the 17th and 18th centuries, arranged for voice and piano. Konstantin Timokhine, Antonio Lagares Abeal, horn Īndrés Gabetta, Boris Begelman, Roberto Rutkauskas, Francesco Colletti, Juliana Georgieva, Anaïs Soucaille, violin Tito Manlio, opera (1719) (RV 738) (De verde ulivo) Gli orti esperidi, componimento drammatico (1721) (Giusto Amor, tu che m'accendi) Ode for St Cecilia's Day (1739) (HWV 76) (What passion cannot Music raise and quell) San Sigismondo, Re di Borgogna, oratorio (1687) (Aure voi, de' miei sospiri) Īrianna in Creta, opera (1734) (HWV 32) (Son qual stanco pellegrino) Nitocri, dramma per musica (1722) (Fortunato e speranza) Gianguir, Imperatore del Mogol, dramma per musica (1724) (Tanto, e con sì gran piena) Il nascimento dell'aurora, componimento pastorale (c1710) (Aure, andante e baciate) Ĭoncerto for cello and orchestra in D (G 483)
Rec: March 8 - 14, 2017, Zurich-Oberstrass, Evangelisch-Reformierte Kirchgemeinde L'honestà negli amori, dramma per musica (1680) (Già il sole dal Gange)Īnne Camillo, Nicola Cleary, Thelma Handy, Martha Moore, Lucien Pagnon, Fanny Paccoud, Chingyun Tu, violin Il Pompeo, dramma per musica (1683) (O cessate di piagarmi) L’amor contrastato, commedia per musica (1788) (Nel cor più non mi sento) Ĭoncerto for cello, strings and bc in G (largo) Plaisir d'amour (La Romance du chevrier) Giulio Cesare in Egitto, opera (1724) (HWV 17) (Piangerò la sorte mia) Įteocle e Polinice, dramma per musica (1675) (Che fiero costume) Ĭoncerto for oboe, strings and bc in d minor (adagio) 1 in f minor (poco andante) Īlcina, opera (1735) (HWV 34) (Ah! mio cor, schernito sei) Orontea, dramma musicale (1656) (Intorno all'idol mio) Ĭoncerto a quartetto No. Giasone, drama musicale (1649) (Delizie, contenti) La costanza in amor vince l'inganno, drama pastorale (1711) (Sebben, crudele) Griselda, drama (1722) (Per la gloria d'adorarvi) Liner-notes: E/D/F lyrics - translations: E/D/F Rec: August 15 - 21, 2016, Lyon, Chapelle de la Trinité
0 kommentar(er)
