Scarlatti, Alessandro Alessandro Scarlatti
Italie Italie
(1660 - 1725)

55 Partitions
16 MP3

Nouveautés partitions Flūte traversičre
Toutes les derničres sorties en partitions pour Flūte traversičre.

"Depuis 18 ans nous vous fournissons un service gratuit et légal de téléchargement de partitions gratuites.

Si vous utilisez et appréciez, merci d'envisager un don de soutien."

A propos / Témoignages de membres

› ›

"Mentr'io Godo in Dolce Oblio" for Flute & Harp
Alessandro Scarlatti

Annoter cette partition
Notez le niveau :
Notez l'intérźt :

EcouterTélécharger MP3 : Audio principal (4.14 Mo)230x 891x VoirTélécharger PDF : "Mentr'io Godo in Dolce Oblio" for Flute & Harp (3 pages - 448.39 Ko)818x
VoirTélécharger PDF : Flute Part (404.74 Ko)
VoirTélécharger PDF : Harp Part (431.16 Ko)

Maintenant que vous eu cette partition en accès libre, les artistes membres attendent un retour de votre part en échange de cet accès gratuit.

Merci de vous connecter ou de créer un compte gratuit afin de pouvoir :

laisser votre commentaire
noter le niveau et l'intérêt de la partition
attribuer un coeur (et participer ainsi à l'amélioration de la pertinence du classement)
ajouter cette partition dans votre bibliothèque
ajouter votre interprétation audio ou video

Connectez-vous gratuitement
et participez à la communauté

Mentrio Godo in Dolce Oblio for Flute & Harp
Télécharger MP3 (3.93 Mo) : (par Magatagan, Michael)171x 174x
Mentrio Godo in Dolce Oblio for Flute & Harp
Télécharger MP3 (4.14 Mo) : (par Magatagan, Michael)252x 96x

Compositeur :Alessandro ScarlattiScarlatti, Alessandro (1660 - 1725)
Instrumentation :

Flute et Harpe

Genre :


Arrangeur :
Editeur :
Alessandro ScarlattiMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Alessandro Scarlatti (1660 – 1725) was an Italian Baroque composer especially famous for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti.

Scarlatti's music forms an important link between the early Baroque Italian vocal styles of the 17th century, with their centers in Florence, Venice and Rome, and the classical school of the 18th century. Scarlatti's style, however, is more than a transitional element in Western music; like most of his Naples colleagues he shows an almost modern understanding of the psychology of modulation and also frequently makes use of the ever-changing phrase lengths so typical of the Napoli school.

In 1701, Pope Clement XI, taking his cue from his predecessor, Pope Innocent XII, placed a ban on all public operatic performance. While Clement's initial excuse may have been the worsening political conflict between Italy and Spain, the real reason lay in the Church's moral conflict with the very idea of theatre, which the papacy had condemned as a harbinger of sin and damnation. It certainly did not help the Church's image that members of its own clergy had been seen in theaters openly enjoying themselves at the sides of courtesans or castratos.

This "Opera Proibita" restricts itself to a brief period in the early eighteenth century when opera was temporarily banned, owing to its alleged fostering of lewd and lascivious behavior in Italian society. During this time, composers adapted by writing highly operatic passages for the still legal form of oratorio, or developing formats such as the Introduzione, a highly florid kind of introduction to the Latin mass that was eventually likewise struck down by the church. Although these recitatives and arias from oratorios are taken from composers ranging from George Frederick Handel and Alessandro Scarlatti to Antonio Caldara and are presented apart from the works from which they belong, there is a certain unanimity of style among them. Opera Proibita is sequenced for emotional impact rather than in a historical context.

Scarlatti's "Mentre io godo in dolce oblio" from Il Giardino di Rose, in which the singer sweetly rests among the flowers as the orchestral writing unmistakably simulates a gentle breeze they also seem to have reacted to the Papal ban with a vengeance.

Although originally composed for period instruments (possibly Lute and Voice), I created this arrangement for Flute & Concert (Pedal) Harp.
Source / Web :Musescore
Ajoutée par magataganm le 2013-01-23

Matériel & Partitions
Pack Flūte traversičre
Débuter la flūte traversičre avec tout ne nécessaire : une flūte + un pupitre + accordeur...

0 commentaire


Cette partition est associée ą la collection de magataganm :
Dispositions Flute
Liste des partitions :
› Élévation from 30 Pièces pour Orgue for Flute & Strings
› "Matribus suis dixerunt" for Woodwind Quintet
› "2 Alma Redemptoris Mater" for Woodwinds & Strings - Vents et Quintet ą cordes
› "3 Gradualia" for Winds & Strings - Vents & Orchestre Cordes
› "A Christmas Air" for Flutes & Harp - Flute et Harpe
› "A Cup of Tea" Reel for Flute - Flūte seule
› "A Dieu Celle" for Woodwind Sextet - Sextuor ą vent.
› "A Pretty Maid Milking the Cow" for Flute, Oboe & Harp - Flūte, Hautbois, Harpe
› "A Swiss Melody" for Flute Quartet - Quatuor de Flūtes
› "Abendlied" for Woodwind Quartet - Quatuor ą vent


Partitions & Méthodes
Voir aussi les partitions digitales

Accessoires & Instruments
Voir aussi les idées cadeaux