Aquilino Coppini Vídeos
músico italiano
- Italia
- letrista, compositor de canciones
Última actualización
2024-05-14
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Motectus "contrafactus" Pulchrae sunt genae tuae, amica mea, soror mea sponsa, oculi tui sicut columbarum. O pulcherrima virgo, vulnerasti cor meum sponsa mea, in uno crine tuo, vulnerasti cor meum, columba mea. Ubera tua sicut botri Cypri et ut hinnuli duo gemelli Capreae, qui pascunt flores. Quam pulcra es, et speciosa virgo! Coronabere. Veni de Libano, amica mea, veni: veni de Libano, formosa mea. Tui dentes ut oves de lavacro et labia stillantia uguentum.
Verdi Gioachino Rossini Mariani Helmuth Rilling Teresa Stolz Stolz Maria Waldmann Coppini Maini Liber Mercy 1868 1869 1872 1873 1875 1988
The Requiem is scored for a quartet of solo singers (soprano, mezzo-soprano, tenor and bass), double chorus and a large orchestra consisting of three flutes (third flute doubling on piccolo), two oboes, two clarinets, four bassoons, four horns, eight trumpets (four of which play from offstage during the Tuba mirum), three trombones, one ophicleide (an obsolete instrument usually replaced by a tuba in modern performances), timpani, bass drum, and strings. Historical context When Gioachino Rossini died in 1868, Verdi suggested that a number of Italian composers should collaborate on a Requiem in Rossini's honor, and began the effort by submitting a "Libera me." During the next year a Messa per Rossini was compiled by 13 composers (of whom the only one well known today is Verdi himself). The premiere was scheduled for 13 November 1869, the first anniversary of Rossini's death. However, on 4 November, nine days before the premiere, the organising committee abandoned it. Verdi blamed the scheduled conductor, Angelo Mariani, for this. He pointed to Mariani's lack of enthusiasm for the project, even though he had been part of the organising committee from the start, and it marked the beginning of the end of their long-term friendship. Verdi never forgave Mariani, although Mariani pleaded with him.[citation needed] The piece fell into oblivion until 1988, when Helmuth Rilling premiered the complete Messa per Rossini in Stuttgart. In the meantime, Verdi kept toying with his "Libera me," frustrated that the combined commemoration of Rossini's life would not be performed in his lifetime. In May 1873, the Italian writer and humanist Alessandro Manzoni, whom Verdi had admired all his adult life and met in 1868, died. Upon hearing of his death, Verdi resolved to complete a Requiem—this time entirely of his own writing—for Manzoni. Verdi travelled to Paris in June, where he commenced work on the Requiem, giving it the form we know today. It included a revised version of the "Libera me" originally composed for Rossini. The Requiem was first performed the following May in the church of San Marco in Milan, on the first anniversary of Manzoni's death. Verdi himself conducted, and the four soloists were Teresa Stolz (soprano), Maria Waldmann (mezzo-soprano), Giuseppe Coppini (tenor) and Ormando Maini (bass). Stolz (Aida), Waldmann (Amneris) and Maini (Ramfis) had all sung in the European premiere of Aida in 1872, and Coppini was also intended to sing at that premiere (Radames) but was replaced due to illness. Teresa Stolz went on to brilliant career, Waldmann retired very young in 1875, and the male singers appear to have faded into obscurity. Teresa Stolz was also engaged to Angelo Mariani in 1869, but she later left him amid rumours (never substantiated) that she was having an affair with Verdi. Structure of the work 1. Requiem and Kyrie (chorus, soloists) 2. Dies irae Dies irae (chorus) Tuba mirum (chorus, bass) Liber scriptus (mezzo-soprano, chorus) Quid sum miser (soprano, mezzo-soprano, tenor) Rex tremendae (soloists, chorus) Recordare (soprano, mezzo-soprano) Ingemisco (tenor) Confutatis (bass, chorus) Lacrimosa (soloists, chorus) 3. Offertory Domine Jesu Christe (soloists) 4. Sanctus (double chorus) 5. Agnus Dei (soprano, mezzo-soprano, chorus) 6. Lux aeterna (mezzo-soprano, tenor, bass) 7. Libera me (soprano, chorus) [edit] The music This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. The well-known tenor solo "Ingemisco" radiates hope for the sinner who asks for the Lord's mercy. Verdi also recycles and reworks the duet "Qui me rendra ce mort? Ô funèbres abîmes!", from Act IV of Don Carlos, in the beautiful "Lacrimosa" which ends this sequence. The joyful "Sanctus" (a complicated eight-part fugue scored for double chorus) begins with a brassy fanfare to announce him "who comes in the name of the Lord" and leads into an angelic "Agnus Dei" sung by the female soloists with the chorus. Finally the "Libera me," the oldest music by Verdi in the Requiem, interrupts. Here the soprano cries out, begging, "Deliver me, Lord, from eternal death ... when you will come to judge the world by fire." For a Paris performance, Verdi revised the Liber scriptus to allow Maria Waldmann a further solo for future performances.
Claudio Monteverdi Micheli Aquilino Coppini Consort Musicke 1619
PERFORMERS: Simon Grant (Bass), Gabriele Micheli (Organ), Joseph Cornwell (Tenor), Andrew King (Tenor) ENSEMBLE: Consort of Musicke / Anthony Rooley, dir. Composed in 1619 (?) by Claudio Monteverdi. Latin text by Aquilino Coppini. This selection is contrafactum to "Parlo, miser', o taccio?" (Settimo Libro de Madrigali). Download text (PDF) here: (http•••) I claim no ownership to this clip or the referenced libretto. No copyright infringement is intended.
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- cronología: Compositores (Europa).
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