Alessandro Stradella was an Italian composer born in
Rome (1644-1682). He spent most of his career in Rome,
where he lived independently but composed many works to
commissions from Queen Christina of Sweden, the Colonna
family and others. Most of his stage works there were
prologues and intermezzos, notably for operas by
Cavalli and Cesti revived at the new Tordinona Theatre
in 1671-2. His life included many scandals and amorous
adventures. He left Rome in 1677 after a dispute, and
went by way o...(+)
Alessandro Stradella was an Italian composer born in
Rome (1644-1682). He spent most of his career in Rome,
where he lived independently but composed many works to
commissions from Queen Christina of Sweden, the Colonna
family and others. Most of his stage works there were
prologues and intermezzos, notably for operas by
Cavalli and Cesti revived at the new Tordinona Theatre
in 1671-2. His life included many scandals and amorous
adventures. He left Rome in 1677 after a dispute, and
went by way of Venice and Turin (escaping an attempt on
his life) to Genoa (1678). His only comic opera, Il
Trespolo tutore, was given there in c 1677; later he
presented several other operas, including Il Corispero.
He was killed there in 1682, again a consequence of an
amorous intrigue.
Stradella was one of the leading composers in Italy in
his day and one of the most versatile. His music was
widely admired, even as far afield as England. Most of
it is clearly tonal, and counterpoint features
prominently. His vocal output includes c 30 stage
works, several oratorios and Latin church works and
some 200 cantatas (most for solo voice). In his operas
the orchestra consists of two violin parts and
continuo, but some other works, such as the oratorio S
Giovanni Battista (1675, Rome), follow the Roman
principal of concerto grosso instrumentation. There is
a clear differentiation between aria and recitative
(which sometimes includes arioso writing), but their
succession is still fluid; various aria forms are used.
Stradella's 27 surviving instrumental works are mostly
of the sonata da chiesa type. The scoring and textures
of a Sonata di viole of his make it the earliest known
concerto grosso; it was apparently a model for
Corelli's concertos op.6.
"Aria di Chiesa" is a powerful and moving work,
dramatic in its restraint. Research has also shown that
it was probably written by Fetis, rather than
Stradella. It's not completely unheard of for composers
to write compositions themselves and then claim that
it's the work of another composer--a kind of reverse
plagiarism--Parisotti and Kreisler are among the list
of composers who have done this. Some seem to do it as
a prank, others to get attention work that they feel
would be ignored otherwise, and there are probably
still more reasons. In any case, this is not the first
of such works, and doubtless won't be the last.
The heavy mood of the piece is set by a fairly lengthy
instrumental introduction, and then the voice enters
with short, subdued phrases, which eventually pick up
momentum and intensity. The lines vary in length, but
always contribute to the sense of a highly structured
piece. When done with a high level of musicianship and
artistic communication, this can be a deeply effective
work, equal in intensity to even the most dramatic
opera arias or lieder.
Although originally written for Opera, I created this
arrangement for Flute & Concert (Pedal) Harp.
PARTITION