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Article

Jack Westrup

departamento de música de la Biblioteca de Catalunya (Barcelona): i. Els madrigals i la missa de difunts d’en Brudieu (with F. Pedrell , 1921) ii. Catàleg dels manuscrits musicals de la Collecció Pedrell (1921) iii, vii. J. Pujol: Opera omnia (1927–32) iv, viii, xiii, xvii. Musici organici Iohannis Cabanilles: Opera omnia (1927–56) vi. El còdex musical de Las Huelgas (1931/ R ) ix. A. Soler: Sis quintets per a instruments d’arc i orgue o clave obligat (with R. Gerhard , 1933) x. La música a Catalunya fins al segle XIII (1935/ R ) xv, xviii

Article

Viadana. Bianciardi’s posthumous fly-sheet Breve regola is a useful source for the early practice of thoroughbass. Works Editions Francesco Bianciardi: Opera omnia , ed. S. Cisilino and L. Bertazzo (Padua. 1973–4) Francesco Bianciardi (1572?–1607), Costanzo Porta (1529–1601): Keyboard Compositions , ed. B. Billeter, CEKM, xli (1977) all except treatise published in Venice Sacrarum modulationum, quae vulgo mottecta, 4–8vv, liber I (1596) Il primo libro de madrigali, 5vv (1597) Sacrarum

Article

William Kearns

founding of the Handel and Haydn Society of Boston. Parker's second area of composition was theatre music. After writing incidental music for two plays, The Eternal Feminine ( 1904 ) and The Prince of India ( 1906 ), he composed music for two grand operas: Mona , which won a prize offered by the Metropolitan Opera Company and received four performances in that house ( 1912 ); and Fairyland , which won a prize offered by the National Federation of Music Clubs and six performances in Los Angeles ( 1915 ). Parker composed numerous songs, anthems and hymns. Apart

Article

Bernarr Rainbow and Rosemary Williamson

translations of J.S. Bach’s St Matthew Passion , St John Passion and Christmas Oratorio were well known; but these were only a few of many similar translations, all published in Novello’s ‘Original Octavo’ edition of vocal scores, which he made of works by Beethoven, Brahms, Dvořák, Gounod, Graun, Liszt, Saint-Saëns, Schumann, Tchaikovsky, Weber and less familiar composers (see Grove5 ). In the field of opera his English librettos of Gluck’s Iphigénie en Aulide , Iphigénie en Tauride and Orfeo ed Euridice , Mozart’s Così fan tutte and Die Entführung aus dem Serail

Article

Edward Booth and Sean Gallagher

Index Thomisticus (Stuttgart, 1974–80), esp. entries ‘Consonantia’, ‘Harmonia’, ‘Musicus’ and paronyms R. Busa , ed.: S. Thomae Aquinatis opera omnia (Stuttgart, 1980) F.J. Kovach : Scholastic Challenges to some Medieval and Modern Ideas (Stillwater, OK , 1987), 213–58 S. Tugwell , ed. and trans.: Albert and Thomas: Selected Writings (New York, 1988), 201–67 R. Busa , ed.: Thomae Aquinatis opera omnia: cum hypertextibus in CD-ROM (Milan, 1992, 2/1996) C. Page : ‘Reading and Reminiscence: Tinctoris on the Beauty of Music’, JAMS ,

Article

Christine de Catanzaro

(in I-Bc ). Adlgasser’s only opera, La Nitteti , received its première in 1766 , the year following his return to Salzburg. In 1752 Adlgasser married Eberlin’s daughter, Maria Josepha ( 1730–55 ). Their daughter Maria Victoria Caecilia ( 1753–1821 ) became one of Nannerl Mozart’s best friends; she is referred to as ‘Viktorl’ in Nannerl’s diaries. Adlgasser’s second marriage was to Maria Barbara Schwab in 1756 ; following her death in 1768 , he married Maria Anna Fesemayr, a court singer who had accompanied him to Venice. All three weddings were witnessed by

Article

Franco Colussi

cappella offered to him at Il Santo in Padua. On 14 December 1711 he left Udine for the last time, and three days later took up the direction of the chapel of Vicenza Cathedral, a post he retained until his death, along with other musical duties in the city. Works Operas all music is lost Eliogabalo (A. Aureli, G.B. Pochettini), Bologna, Formagliari, 1671 Il vitio depresso e la virtù coronata (Aureli), Venice, S Angelo, 24 Nov 1686 Il Dioclete (A. Rossini), Venice, S Angelo, 18 Jan 1687 Le gare dell'Inganno e dell'Amore (P.E. Badi), Venice, S Moisè

Article

Don M. Randel and Nils Nadeau

quaestiones in vetus Testamentum , De fide catholica , Sententiarum libri tres , Synonyma , Historia Gothorum , Historiae Vandalorum et Sueborum , Laus Spaniae, De viris illustribus , and the Regula monachorum . Editions F. Arévalo, ed. S. Isidori hispalensis episcopi opera omnia (Rome 1797–1803) also ed. in PL , lxxxi–lxxxiv W.M. Lindsay, ed. Isidori hispalensis episcopi Etymologiarum sive Originum libri xx (Oxford, 1911/ R ) Eng trans. of bk iii, chaps. 15–23, in O. Strunk: Source Readings in Music History (New York, 1950/ R ) J

Article

Andrew Hughes and Andrea Budgey

exegetical passage on the effects of music and its earlier practitioners and theorists; in it, Giraldus referred to a practice of funeral lamentation characteristic of both Ireland and Spain, which he called planctus . Writings ed. J.F. Dimock : Giraldi Cambrensis opera , 5–6 (London, 1867–8/ R ) ed. and trans. L. Thorpe : The Journey through Wales – The Description of Wales (Harmondsworth, 1978) ed. and trans. J.J. O'Meara : The History and Topography of Ireland (Harmondsworth, 1982) Bibliography Ll. Hibberd : ‘Giraldus

Article

Watkins Shaw and Peter Marr

ode, Ob [BMus exercise 1755] Two constant hearts, wedding ode, 1766, Ob ; submissions to Noblemen and Gentlemen’s Catch Club competitions, 1769–86, Lbl , US-Bp , CA Numerous works cited in preface to Six and Twenty … Anthems, 1771, now lost, incl. most of the opera Rosamond, 6 sonatas, 2 fl/vn, bc; All creatures breathing on the earth, ode, ?1766 various items in White, also lost ed.: Byrd: Diliges Dominum (1770) Fifty Select Portions from The Singing Psalms [in verse, after Merrick] (Reading, ?1749, 2/1793) Bibliography Eugenius : ‘Biographical

Article

Arthur J. Ness

from Italy outwards. All of the 1546 volumes contain a detailed instruction for tuning the instrument. Works Intabulatura di lauto, libro quarto, de la messa di Antonio Fevino sopra Ave Maria (Venice, 1546²²) Intabulatura de lautto, libro quinto, de madrigali et canzon francese (Venice, 1546) Intabulatura de lautto, libro sesto, di diversi motetti (Venice, 1546²³) Intabolatura di lauto, libro nono, intitulato Il Bembo (Venice, 1549) 5 dances ed. in Chilesotti (1902) Opera intitolata contina

Article

James W. Pruett and Jean Lionnet

have been the publisher’s doing – Bartolomeo Magni published both collections – but there are one or two similarities in the contents, for example Vitali included a Lettera amorosa . Aretusa was the first secular opera staged in Rome. In the important preface (in which he named the singers who performed the work) Vitali acknowledged his debt to the operas of Peri and Caccini. He also explained that the work was composed, copied and rehearsed in only 44 days (26 December 1619–8 February 1620 ). The haste is apparent in the quality of the writing and in the repetition

Article

Victor Ravizza and Gary Towne

(Castell’Arquato, Montserrat, Munich) suggests widespread interest. Alberti’s elegant humanistic declamation, imaginative use of cantus firmus and polyphony, and innovative polychoral techniques all testify to his important place in Italian religious music in the period before Palestrina. Works Editions Italia sacra musica , ed. K. Jeppesen (Copenhagen, 1962) [J] Opera omnia Gasparis de Albertis , ed. D. Crawford and G. Towne, CMM, cv (Neuhausen-Stuttgart, forthcoming) Masses Missa de Beata Virgine, 7vv; Missa de Sancto Roccho, 6vv; Il primo libro

Article

George J. Buelow

from church music: ‘I will not propose that one drive out all cantatas from the church, like dogs, but only those that are rich and fat in the spirit of the opera’ ( Satans-Capelle , p.45). However, in the Satans-Capelle particularly he attacked the immorality of many opera texts, citing in particular three ‘obscene’ Hamburg operas by Telemann: Die verkehrte Welt , Miriways and Der Galan in der Kiste . He also denounced the castrato as a creation of the Devil (ibid., p.39) and criticized the Hamburg opera’s reliance on the figure of Harlequin. Among his six books

Article

Joseph Vella Bondin

influenced by Gregorian chant and 16th-century Italian polyphony, but it also exhibits a Gallic line of elegance and word-setting, which is even more apparent in his secular works, especially his three operas, where the influence of Massenet is evident. Works selective list; mostly unpublished; MSS in the archives of the Augustinian Priory in Valletta Sacred all for male voices and orchestra unless otherwise stated Grande messa, S, S, T, T, Bar, B, 4vv; Messa no.12, 4vv; Missa S Pauli, v, org; Missa Corpus Christi, 2vv; Kyrie e Gloria pastorale

Article

Margaret Murata

secolo XVII (diss., U. of Rome, 1940) N. Pirrotta : ‘Cesti e Abbatini: opera’, Santa Cecilia , 2/3 (1953), 31–4 W.C. Holmes : ‘Comedy–Opera–Comic Opera’, AnMc , no.5 (1968), 92–103 I. Küffel : Die Libretti G. Rospigliosis: ein Kapitel frühbarocken Operngeschichte in Rom (diss., U. of Vienna, 1968) R. Giazotto : Quattro secoli di storia dell'Accademia nazionale de Santa Cecilia (Rome, 1970) M. Murata : ‘Il carnevale a Roma nel secolo XVII’, RIM , 12 (1977), 83–99 M. Murata : Operas for the Papal Court, 1631–1668 (Ann Arbor, 1981) L. Bianconi : Il

Article

credence to Caffi’s claim that many of his works once in the archives of the Ospedale dei Mendicanti were dispersed and then lost in the early 19th century. Although he was perhaps more important in his own day for his church music he is now remembered chiefly as an opera composer. Works Operas all performed in Venice Genserico (N. Beregan), SS Giovanni e Paolo, 1669, I-Vnm IV–427 (= 9951) [some music by A. Cesti] Iphide greca (N. Minato), I Saloni, spr. 1671 (Act 1 by Partenio, 2 by D. Freschi, 3 by A. Sartorio), Vnm IV–421 (= 9945) La costanza trionfante

Article

Mary Berry

Bernardi opera omnia (Paris, 1667) [complete Lat. edn.]; repr. with addns in PL , clxxxii–clxxxv Vita prima, PL , 185, 225–455 Vita secunda, PL , 185, 469–524 W. Williams : Saint Bernard of Clairvaux (Manchester, 1935/ R ) B.S. James , ed. and trans.: The Letters of St Bernard of Clairvaux (London, 1953, 2/1967) R. Monterosso : La riforma musicale di S. Bernardo (Cremona, 1955) B.S. James : Saint Bernard of Clairvaux: an Essay in Biography (London, 1957) J. Leclercq , C.H. Talbot and H.M. Rochais , eds.: Sancti Bernardi opera (Rome, 1957–77;

Article

Mary Berry

Scholar and Bishop (Oxford, 1955) R.W. Southern : Robert Grosseteste: the Growth of an English Mind in Medieval Europe (Oxford, 1986, 2/1992) J. McEvoy , ed.: Robert Grosseteste: New Perspectives on his Thought and Scholarship (Turnhout, 1995) J. McEvoy and others, eds.: Opera Roberti Grosseteste Lincolniensis (Turnhout, 1995–) N. Van Deusen : Theology and Music at the Early University: the Case of Robert Grosseteste and Anonymous IV (Leiden, 1995)

Article

Lowell Lindgren

identifies him as a ‘virtuoso’ of Cardinal Ottoboni. He served as aiutante di camera for the cardinal from April 1700 (i.e. immediately after the death of Lulier, his illustrious predecessor) to the end of March 1711 . Near the end of his service for Ottoboni, his only complete opera, Teodosio il giovane , was splendidly produced with sets by Juvarra. Crescimbeni, in his Comentarj intorno alla storia della volgar poesia (Rome, 1702 ), terms Amadei a composer of cantatas who served Ottoboni, but his extant works include only one cantata and one cello sonata that