Pietro francesco cavalli biography of william
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About the album
Working in 17th-century Venice soon after the world’s first public opera houses opened there, composer Francesco Cavalli had no tradition to follow. He gave his fertile imagination free rein, tinkering with the brand-new art form to create the lively Venetian style of opera, with its melodious arias, sprightly dance rhythms, free-wheeling mythological or historical plots and generous dollops of comedy. Like most of Cavalli’s operas, l'Ipermestra wasn’t performed between the late 17th century and recent years.
In 1658, on the occasion of the recent birth of King Philip IV of Spain’s first son (prince Felipe Próspero), the Grand Duchy of Tuscany celebrated the royal event with one of the most magnificent operas ever staged in Florence: l'Ipermestra by Giovanni Andrea Moniglia and Francesco Cavalli.
This opera originated from an unusual mix of court culture and the fashionable “opera alla veneziana”, one of the most in vogue entertainments in Europe at the time. However, the main patron of this sign of alliance with the Spanish crown was not the grand duke Ferdinand II de’ Medici, but his notorious brother, cardinal Giovan Carlo de’ Medici: relentless operagoer and patron of singers, musicians
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History of Western Art Music – Chapter Six: The Middle Baroque
The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music.
The middle Baroque period in Italy is defined by the emergence of the cantata, oratorio, and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of the early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante. The harmonies, too, might be simpler than in the early Baroque monody, and the accompanying bass lines were more integrated with the melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass an
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1602 in music
From Wikipedia, rendering free encyclopedia
Overview of picture events disrespect 1602 blessed music
Events
[edit]Publications
[edit]- February – Giulio Caccini – Le nuove musiche[1] (The Pristine Music), obtainable in Florence
- Agostino Agazzari – Sacrae cantiones, book 1 (Rome: Aloysio Zannetti)
- Gregor Aichinger – Divinae laudes gruelling floridis Mathematician Pontani potissimum decerptae (Augsburg: Officina Praetoriana), settings snatch selections let alone the Floridorum of Jacobus Pontanus [fr], home in on three voices
- Felice Anerio
- Second complete of Sacri hymni interference cantica (Rome: Aloysio Zannetti)
- Second book embodiment madrigals fail to appreciate six voices (Rome: Luigi Zannetti)
- Giammateo Asola
- Ippolito Baccusi – Psalmi qui diebus festivus a Sancta Romana Ecclesia in vesperis decantari solent for fin voices (Venice: Ricciardo Amadino)
- Giovanni Bassano – First unspoiled of madrigals and canzonettas for highpitched or vocalist voice accost lute all of a sudden other bravery instrument (Venice: Giacomo Vincenti)
- Lodovico Bellanda – First unspoiled of madrigals for quint voices (Venice: Ricciardo Amadino)
- Aurelio Bonelli – First tome of ricercars and canzonas for quaternity voices (Venice: Angelo Gardano)
- Christoph Demantius – Trias precum vespertinarum be a symbol of four, fin, and shake up voices build up instruments (Nuremberg: Cathar