Filippo Capocci Videos
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Filippo Capocci 1840 1911 2021
Organo Agati-Tronci 1911 - Abbazia Concattedrale di S. Antimo - Piombino (LI) Sabato 2 ottobre 2021 – Prefestiva XXVII Tempo Ordinario Alla Comunione (http•••)
Filippo Capocci Venturini Sauer 2017
Matteo Venturini plays the Preludio e Fuga in re by Filippo Capocci. Live recording, July 6th 2017, Lutherkirche Apolda, Germany, W. Sauer Organ, op. 620
Alessandro Moreschi Gabrielli Gentili Capocci Lauro Giovanni Cesari Antonio Cotogni Gaul Domenico Mustafà Lorenzo Perosi Domenico Bartolucci Massimo Palombella Cappella Musicale Pontificia Sistina 1811 1898 1918
The Quartetto Vocale Romano Gabrielli-Gentili comprised Alessandro Gabrielli (soprano), Luigi Gentili (contralto), Ezio Cecchini (tenor), Augusto Dos Santos (bass). They were former singers in the Sistine Chapel Choir and various pontifical and Roman basilica choirs. Neither the soprano nor contralto were castrati. They were falsettists who sang in the castrato style. Alessandro Gabrielli, the soprano heard here, was something of pupil of the famed Alessandro Moreschi. The style and functional configuration (impostazione) of each of the voices is precisely in line with the long tradition of the Roman singing and indeed the one, true Italian school. Circa 1918–19 the quartet made three long concert tours through the United States, Spain, and France. While in America, they cut a handful of discs for the Lyric Record series of the Lyraphone Company. "Cor meum et caro mea" was composed by Gaetano Capocci (16 October 1811 – 11 January 1898), who for many years was director of the Cappella Pia at the Lateran Basilica. He also taught at the Scuola di San Salvatore in Lauro; among his students were the castrati Alessandro Moreschi and Giovanni Cesari. This particular quartet was one of several soloistic ensembles assembled from Roman cantors to represent the Vatican's vocal and musical properties at private parties or important functions where it was not logistically possible to bring an entire choir. Ensembles like this had been around since the mid 1800s. Capocci himself was a member of such a group—one that included the castrati Moreschi, Mattoni, and Cesari, along with the famous operatic baritone Antonio Cotogni. ............................... The quartet's tour to America had great significance for American musical audiences, most of whom had never been to Rome or ever heard the Sistine Chapel choir or its castrati or (later) the falsettists who maintained the castrati's signature sound. Harvey B. Gaul, an American composer, organist, choirmaster, lecturer, and music critic attended one the quartet's concerts and around the same time had occasion to hear a concert by the "Vatican Choir" (which was an aggregate of many singers from the Roman basilicas). In his review for "The New Music Review and Church Music Review," he praises both groups highly and remarks that the American conception of choirs has been: "...slightly on the wrong track for the last decade or two. First of all we have made a fetish of trebles. Our shibboleth has been sopranos and still more sopranos, with the result that no choirmaster in America feels that he has a well balanced choir unless he has forty boys and something like twelve men. Both the Vatican and the Russian Cathedral Choirs have taught us that the inside parts are the parts to be enunciated; that the inside parts are as melodious and integral as soprano, and that the tune is not the whole of any composition. Of course the type of music we have been singing may be at fault." AND LATER: "The [quartet] sang with wonderful choral balance. Their singing must have been an object lesson to that curious foursome, the [American-style] church quartet. In four-voice blend and juxtaposition of parts they were wholly admirable. The elephantine Alessandro Gabrielli, with his mawkish quality and unabating vibrato, became most tiresome before a program was over. The gentle-faced Luigi Gentili with his more or less pinched tonal production, that occasionally sounded like the voice of an adolescent boy, was an interesting study in male voice production. Whatever you may say for his voice, it was at least free from the silly, hootish, woolenish quality that we associate with the English male alto. The tenor and bass were he-men, as tenors and basses should be. The singing of the Sistine Quartet was remarkable for its sostenuto control and the undulating, in and out, treatment of the four parts. As differentiated from the singing of an American church quartet, it came close to being an art product. In the American church quartet we have an example of a gnat straining at a camel and trying to explode with impossible fortissimo. The Sistine Chapel Quartet hardly concerned itself with the American quartet invention, the sforzando climax, but simply sang along and stopped where the stoppage was effective." ..................................... If you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
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