SKU: CA.2732119
ISBN M-007-25337-0. Latin.
The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.
SKU: CA.2732149
ISBN M-007-25439-1. Latin.
SKU: CA.2732113
ISBN M-007-25437-7. Latin.
SKU: CA.2732103
ISBN M-007-24052-3. Latin.
SKU: CA.2732102
ISBN M-007-25441-4. Latin.
SKU: CA.2732114
ISBN M-007-25438-4. Latin.
SKU: CA.2732111
ISBN M-007-25435-3. Latin.
SKU: CA.2732105
ISBN M-007-24053-0. Latin.
SKU: CA.2732100
ISBN M-007-24051-6. Latin.
SKU: CA.2732112
ISBN M-007-25436-0. Latin.
SKU: UT.NAP-5
ISBN 9790215318465. 9 x 12 inches.
Napoli e l'Europa (Naples and Europe) - Masterpieces of the Neapolitan School selected by Riccardo Muti for the Salzburg Whitsun Festival Project in association with the Ravenna Festival Betulia liberata, for four voices, strings, two oboes, two horns and basso continuo, was the second oratorio by Niccolo Jommelli (1714-1774), following Isacco figura del Redentore. It was composed in 1743 to a commission from the Fathers of the Congregation of the Oratorio of Saint Philip Neri, and was widely performed in Italy throughout the 18th century, as well as in Prague and in London. Metastasio's text proved popular with composers, and Jommelli's version of this text is one of the most felicitous on account of its impact, variety and consistent inventiveness, and also for the care he took in matching the music to the drama.The brilliant combination of different styles and forms, the attention to dramatic characterisation, and the power of invention displayed by Jommelli in Betulia liberata make him the foremost Italian composer of the mid-eighteenth century, pre-eminence recognised by the music critics and historians of his age.
SKU: CA.4041819
ISBN 9790007218447. Language: Latin.
After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and parts available separately - see item CA.4041800.
SKU: CA.4041814
ISBN 9790007067199. Language: Latin.
After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and part available separately - see item CA.4041800.
SKU: CA.4041812
ISBN 9790007067175. Language: Latin.
SKU: CA.4041805
ISBN 9790007067151. Language: Latin.
After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score available separately - see item CA.4041800.
SKU: CA.4041811
ISBN 9790007067168. Language: Latin.
SKU: HL.50487209
ISBN 9790080125298. Bach (23 x 30,2 cm) inches. Niccolo Jommelli; Gyorgy Balla; Henrik Prohle.
Territorial restrictions may apply. Please ask before ordering.
SKU: CA.4041813
ISBN 9790007067182. Language: Latin.
SKU: UT.OP-13
ISBN 9790215318144. 9 x 12 inches.
Duetto: La destra ti chiedo (Dircea - Soprano, Timante - Mezzosoprano); Terzetto: Padre, perdona (Dircea - Soprano, Timante - Mezzosoprano, Matusio - Contralto)Performance Material on HireIl Demofoonte che va in scena il 4 novembre 1770 nel Teatro di San Carlo a Napoli - di cui ci sono pervenute otto fonti manoscritte - è la quarta e ultima delle quattro intonazioni realizzate da Niccolò Jommelli sullo stesso libretto metastasiano, dopo i Demofoonte composti nel 1743 (Padova, Teatro Obizzi), 1753 (Milano, Teatro Regio Ducale) e 1764 (Stoccarda, Teatro Ducale).
SKU: BA.BA08349
ISBN 9790006540877. 32.5 x 25 cm inches. Text Language: Latin. Preface: Rainer Heyink.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: KU.OCT-10168_SP
Key: D major. Latin.
SKU: BA.BVK02137
ISBN 9783761821374. 24.5 x 17.5 cm inches. Text Language: Italian.
One of the major institutions of sacred music, the Cappella Giulia at St. Peter's Basilica, can look back on a five-hundred-year history. Now Giancarlo Rostirolla brings this turbulent and spellbinding history to life using original documents from the Papal Library and the chapter archives of Saint Peter in the Vatican.The Cappella Giulia was founded by Pope Julius II in 1513. Its chapel masters were the most important representatives of Roman vocal polyphony, above all Giovanni Animuccia and Giovanni Pierluigi da Palestrina, Francesco Soriano, Virgilio Mazzocchi, Orazio Benevoli, Paolo Lorenzani and Pietro Bencini. Also employed there were such opera composers as Domenico Scarlatti, Niccolò Jommelli and Nicola Zingarelli, the proponents of Italian Cecilianism up to Armando Renzi, and such renowned organists as Girolamo Frescobaldi.In this documentary history, as comprehensive as it is exciting to read, Giancarlo Rostirolla pays tribute to the Cappella Giulia as a musical institution of extraordinary historical importance and the vehicle for half a millennium of sacred music. For decades the author, an internationally acclaimed authority on Rome's musical traditions, has immersed himself like few others in the church and chapel archives, libraries and music collections of the Eternal City.– For the first time these two volumes explore the history of the Cappella Giulia with information on all the musicians known to have worked there, together with their biographies, lists of compositions and documents on the chapel's history.
SKU: KU.GM-1214_VCKB
SKU: UT.LB-19
ISBN 9788881094875. 5.90 x 8.26 inches.
Antonio Eximeno (Valencia, 1729 - Roma, 1808) - filosofo, matematico, letterato, musicologo - godette in vita di una breve ma intensa notorieta per la sua polemica contro la tradizione teorica del <>. In questa polemica ebbe, tra gli altri, un antagonista di grande prestigio, il francescano Giovanni Battista Martini; ma raccolse anche il consenso di Niccolo Jommelli ed altri autorevoli teorici e compositori italiani, e adesioni significative anche in Francia e in Inghilterra, dal Journal des Scavans alla Monthly Review. Poi, cambiati in un rapido giro di anni il clima culturale e il gusto musicale, le questioni affrontate da Eximeno persero di attualita e la sua polemica fu dimenticata.La notevole fortuna editoriale che e stata riservata in anni recenti al primo trattato musicale di Eximeno va accreditata in Italia ad alcuni studiosi della scuola di Enrico Fubini, e lo stesso Fubini ha riservato attenzione al filosofo valenciano nei propri studi di estetica musicale. Tuttavia egli ritiene rilevanti in Eximeno solo le considerazioni sull'identita originaria di linguaggio e musica esaurendone il contributo estetico in una sostanziale acquiescenza alle teorie di Rousseau e anzi indicando il filosofo valenciano come <>. Da noi - a parte i contributi di Gino Stefani - questa indicazione di Fubini ha polarizzato gli studi e le scelte editoriali su un tema che in realta ha un'importanza marginale nella vastissima opera estetica di Eximeno, cosi come marginale e anche fortemente polemico e il suo rapporto con Rousseau. Di nuovo un pregiudizio critico vizia l'interpretazione. L'inconfessato ontologismo che sottende l'approccio estetico di Fubini ai problemi della musica anche nel caso di Eximeno lo induce a escludere dall'indagine la molteplicita di elementi e di interessi che confluiscono nella filosofia musicale del filosofo valenciano e dettano le sue riflessioni sulla poetica. A questa riduzione chirurgica il presente studio cerchera di opporre una considerazione piu ampia, anche se necessariamente non esaustiva, dei temi e dei testi eximeniani, nella convinzione che nella vicenda teorica di Eximeno, ben al di la dell'angusta problematica isolata da Fubini, si esprima la reazione a una crisi di valori non solo estetici, senza comprendere la quale il giudizio sul suo pensiero estetico non ha fondamento.
SKU: KU.OCT-10168
SKU: KU.OCT-10225_SP
ISBN 9790206206405. Key: Eb major. Latin.