La ricca tradizione analitica fiorita da un secolo in qua nei paesi di lingua tedesca, inglese e francese è ancora sostanzialmente estranea al musicista e al musicofilo colto italiano. Questo volume intende fornire gli strumenti per ovviare a tale lacuna formativa e informativa in una prospettiva interdisciplinare di vasto respiro. …
Il libro offre una panoramica sulla moderna metodologia dell' analisi musicale di scuola schenkeriana. Comprende anche una parte di analisi di alcune opere e un glossario di termini usati nella musica ( anche stranieri ). Un linguaggio piano e scorrevole e una struttura ad un tempo divulgativa ed erudita rendono questo volume più facilmente avvicinabile anche dall'amatore, oltreché dallo specialista. …
Didone abbandonata was one of the greatest successes in the rather brief operatic career of Leonardo Vinci, a musician who had an adventurous life about which we still know very little. Written for Rome’s Teatro delle Dame, the opera was premiered during the 1726 Carnival season and marked the first collaboration between Vinci and Pietro Metastasio, a teamwork destined to produce abundant fruits, for in the four following years Metastasio would write as many as five new librettos for Vinci. It was immediately very successful, as was the Florentine production here presented, which was the first modern performance of Didone abbandonata, finally reviving one of the great masterpieces of early 18th-century opera. This production was recorded live at Teatro di Firenze and features a cast of Baroque specialists including Roberta Mameli, Carlo Allemano, and Raffaele Pe.
As an enlightened king during the first half of the 17th century, Christian IV gave Denmark an unprecedented splendour. Added to diplomatic and military ambitions was a rich artistic life, especially in music. The Copenhagen court was rich with singers and instrumentalists, and therefore became an important place of passage for the European composers. In order to discover this astonishing activity and the unfairly neglected composers, the Witches invite us to listen to their recording. Not only for the sentimental memories, but also for the sheer pleasure of combining instrumentation of the Witches plus the unique tone of the Compenius organ, installed in the chapel of the Frederiksborg Castle by Christian IV in 1617.
The musical chapel of the Milan Cathedral is the choir, made up of adult singers and children (pueri cantores), with a musical patrimony that musically accompanies the celebrations in the cathedral of Milan. La cappella musicale del Duomo di Milano è il coro, formato da cantori adulti e bambini (pueri cantores), dotato di un patrimonio musicale proprio che accompagna musicalmente le celebrazioni nella cattedrale di Milano.
It is easy to be fooled initially by pianist Eric Reed's latest recording. He starts off the set with an effective tribute to Art Blakey and sometimes takes solos that are influenced by McCoy Tyner's chord voicings, but the music on a whole is actually fresh and fairly original, rather than just a copy of the Blue Note years. Except for the final two numbers (pieces by James Leary and Wessell Anderson), all of the music was composed by Reed, and these range from somber ballads and solid swing to the upbeat church feel of "Baby Sis" (which has a heated wah-wah solo from guest trombonist Wycliffe Gordon).
La forza del destino (The Force of Fate), premiered in St. Petersburg 1862, is one of Verdi’s most important opera compositions. Its plot is complicated and combines a sequence of interlaced unfortunate strokes of fate. Donna Leonora is the centre of events, together with her brother Don Carlo di Vargas and her lover Don Alvaro. The story was originally set in 18th century Spain, however the French director Nicolas Joël established the action in a slightly later period, in the time of the Empire, the early 19th century.