Описание CD

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  Исполнитель(и) :
◄◄◄        ►►►

  Наименование CD :
   Cantate, Concerto Vocale



Год издания : 1982/2004

Компания звукозаписи : Harmonia mundi

Время звучания : 58:14

Код CD : HMX 2901018

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Reconstruction)      

Concerto Vocale - Ensemble

========= from the cover ==========

1623-1640

Pietro Cesti born at Arezzo. He became a boy chorister in the Cathedral and the Church of S. Maria della Pieve. In 1637, at the age of 14, he entered the Franciscan order of the 'Minori Con-ventuali', taking the name of 'Frate Antonio'. This is probably the origin of the corrupt version of his Christian name, 'Marc' Antonio', found on the title pages of some of his operas.

1640-1645

During this period Cesti is said to have studied in Rome with A.M. Abbatini and G. Carissimi, but not a single scrap of documentary evidence has survived. It is assumed that Cesti was a more or less self-taught composer.

1646-1648

Cesti was music master at the Seminary in Volterra and direttore della cap-pella in the Cathedral. He was ordained as a priest. At Volterra Cesti was admitted to the circle of Salvatore Rosa, a celebrated poet, lutenist, and painter (and amateur composer), who had slated 'the depraved taste of Italian church music' in the cutting satire La Musica (161+0). Rosa's letters provide a rich fund of information on Cesti's life. Cesti's first chamber cantatas were composed to words by Rosa.

1649 -1652

Cesti became famous overnight after the production of his first opera L'Orontea (1649) in Venice. Rosa called him 'the glory and splendour of the secular scene'. During this period he spent some time at the Medici court in Florence, but was dismissed for 'unseemly conduct' (1650). An appearance as a tenor singer at Lucca (1650) was looked upon with disfavour by his abbot. A new opera for Venice, Cesare amante (1651) increased his popularity. (Rosa, 1652: 'In Venice he is regarded as the leading composer of the day.') All sorts of amorous adventures got the young priest into great difficulties.

1652-1657

First period at Innsbruck. Cesti became maestro di cappella at the court of Archduke Ferdinand Carl. He was given considerable freedom to travel. Between his numerous musical activities at Innsbruck he continued to work in Italy. Besides the vocal chamber music, two operas were written in this period, the first for Lucca {Alessandro, il vincitor di se stesso, 1654), the second for Innsbruck (L'Argia, 1655) on the occasion of the visit of Queen Christina of Sweden.

1657-1662

We find Cesti in Rome for almost the whole of this period. From December 1659 until February 1662 he combined the position of singer in the Sistine Chapel with his official function at Innsbruck. (Rosa: 'He is at present actually able to serve two masters with great success.') He was released from his religious vows. Cesti was now at the height of his fame, 'miracolo della musica'. In Paris it was being considered to entrust him with the composition of a festival opera for the marriage of Louis XIV (1660) because Cavalli was threatening to relinquish his commission (which, in the event, he did not do). In Rome he accepted a commission from Archduke Ferdinand to compose an opera for the marriage of Cosimo de' Medici in Florence (La Dori, ovvero la Schiava fedele, 1661). This was to become his masterpiece. He spent the greater part of 1661 in Florence preparing the production of the opera. He had a great deal of trouble with the Sistine Chapel: the relinquishing of his appointment (1662) caused serious friction with the ecclesiastical authorities.

1662-1665

Second period at Innsbruck. He lived in his own house and bore a title of nobility ('Marchese di Leombria'), both gifts from the Archduke who died in 1663. In the same year La Dori was produced in Venice, the first in a series of 'revivals' of Cesti's operas, evidence of their great popularity. In 1665 Ferdinand's successor, Sigmund Franz died unexpectedly. In a letter of this year Cesti speaks of 'an excellent group of chamber singers assembled around me in Innsbruck', a fine ensemble without affectations ('una musica cosi unita e concertata'). Many of the Cantate e Duetti da camera were doubtlessly composed for these singers who later followed Cesti to Vienna. The words are probably by Giov. Filippo Apolloni and Francesco Sbarra, both court poets at Innsbruck.

...


  Соисполнители :

Helga Muller-Molinari (Mezzosoprano Voice)
Isabelle Poulenard (Soprano Voice)
Judith Nelson (Soprano Voice)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Pria Ch'adori         0:16:52 Cantata For 2 Voices & Continuo (2 Versions)
   2 Amanti Io Vi Disfido         0:03:50 Cantata For Voice & Continuo
   3 Lacrime Mie         0:13:10 Cantata For 2 Voices & Continuo
   4 Mia Tiranna         0:08:06 Cantata For Voice & Continuo
   5 Sinfonia Avanti Il Prologo         0:04:17 Orontea, Opera In A Prologue & 3 Acts
   6 Atto I Scena II - Alidoro / Silandra 'Donzelletta' (Duetto)         0:06:18 -"-
   7 Atto II Scena I - Orontea 'S'io Non Vedo Alidoro' (recitativo), Adorisi Sempre (aria)         0:05:41 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:08:08

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