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Alessandro Moreschi Perosi Lauro Antonelli Sistine Chapel Choir Schola Cantorum Cappella Giulia 1903 1936
I'm happy to present two very rare recordings of Domenico Mancini (here age 45), a falsettist soprano who in his youth studied singing with the famed "last castrato" Alessandro Moreschi. As the old Italian school is a school of imitation, Mancini learned to sing not only the "sound" or Moreschi but also with the style of the castrati (which was not peculiar to Moreschi). Mancini did this so completely that Perosi believed he was a true castrato. At around 14, Mancini's voice changed and it was at that point that he joined the falsettisti. Please listen to/read an interview with him here: (http•••) Falsettists had always had a place in Roman choral singing—even in the Sistine Chapel choir, who employed them to fill in the soprano ranks as the castrati's numbers declined and to sing the bulk of the contralto choral parts. Nevertheless, with the advent of the Pope's Motu proprio of 1903, admission of true castrati was strictly forbidden, and there began the effort to train young boys to sing the soprano and contralto parts. As the falsettisti were aging out of the choirs, an entire tradition began to disappear entirely. There were, luckily, a small handful of records made where we can hear this kinda of vocal emission, which is verrrry different from male falsettists today. It is penetrating, silvery, yet mellow sound—never throaty or hooty. One of these I have published before—the Quartetto Vocale Romano, who soprano was also a falsettist who had studied with Moreschi. The bass of the quartet is the same bass heard in the present quartet with Mancini. (http•••) Each of these soloists of these 1936 recording had, in his own time, been a student of the Schola Cantorum school for boys at San Salvatore in Lauro in Rome and had been steeped in the ancient practices of Roman vocal style and choral singing. They each variously held positions as soloists and choral singers for the Sistine Chapel, Cappella Giulia, the Basilica of San Giovanni in Laterano, at the Accademia di Santa Cecilia, in the Quartetto Vocale Romano and/or the official pontifical soloist quartets. Domenico Mancini (age 45) – soprano Eugenio Travaglia (age 61) – contralto Armando Fantozzi (age 32) – tenor Augusto Dos Santos (age 55) – bass Maëstro Armando Antonelli (age 50) – organ ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but 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•••) #DomenicoMancini #Falsetto #HeadVoice
Giuseppe Domenico Scarlatti Alessandro Scarlatti Bernardo Pasquini Francesco Gasparini Corelli Zuccari Capranica Handel Thomas Roseingrave Charles Avison Joseph Kelway Thomas Arne Quantz Farinelli Hasse Cappella Giulia Teatro Capranica 1685 1703 1708 1709 1710 1714 1715 1718 1720 1724 1725 1728 1729 1733 1737 1738 1739 1740 1742 1744 1757
Domenico Scarlatti Giuseppe Domenico Scarlatti was born in Naples on October 26th, 1685. The high rank of his godparents is proof of the esteem in which his father, Alessandro Scarlatti, was held as maestro di cappella. Domenico's musical gifts developed with an almost prodigious rapidity. At the age of sixteen he became a musician at the chapel royal, and two years later father and son left Naples and settled in Rome, where Domenico became the pupil of the most eminent musicians in Italy. The originality of Bernardo Pasquini"s inventions and his skill in elaborating them, and Francesco Gasparini's solid science and intense vitality united to form the basis on which Domenico developed his own genius. His association with Corelli (Gasparini being a pupil of Corelli) also contributed to the evolution of his adolescent genius and soon Domenico Scarlatti became famous in his country principally as a harpsichordist. He served for five years +••.••(...)) as maestro di cappella at the Cappella Giulia in the Vatican. He composed at least one oratorio (1709) and more than a dozen operas for his father's Neapolitan theatre, San Bartolomeo +••.••(...)), the Roman Palazzo Zuccari +••.••(...)), and Teatro Capranica +••.••(...)). His patrons in Rome included the exiled Polish queen Maria Casimira +••.••(...)) and the Portuguese ambassador to the Vatican, the Marquis de Fontes (from 1714), who in 1720 was to succeed in winning Scarlatti for the patriarchal chapel in Lisbon (his serenata, Applause genetliaco, was performed at the Portuguese Embassy in 1714 and his Contessa Delle stagioni at the Lisbon royal chapel in 1720). Scarlatti was also a familiar figure at the weekly meetings of the Accademie Poetico-Musicali hosted by the indefatigable music-lover and entertainer Cardinal Pietro Ottoboni, at which the finest musicians in Rome met and performed chamber music. There Scarlatti met Handel, who had been born in the same year as Scarlatti. At the time of their meeting, in 1708, they were both twenty-three, and were prevailed upon to compete together at the instigation and under the refereeship of Ottoboni; they were adjudged equal on the harpsichord, but Handel was considered the winner on the organ. Thenceforward they held each other in that mutual respect which forms the surest basis for a life friendship. Through Ottoboni, Scarlatti also met Thomas Roseingrave who became his enthusiastic champion and, back in London, published the first edition of Scarlatti's Essercizi per gravicembalo +••.••(...)) from which, in turn, the Newcastle-born English composer Charles Avison drew material from at least 29 Scarlatti sonatas to produce a set of 12 concertos in 1744. Joseph Kelway and Thomas Arne also helped to popularize Scarlatti's music in England. Attracted by the unknown, Scarlatti abandoned the post of maestro di cappella at St. Peter's Basilica in Rome. Natural curiosity and the fascination of distant countries induced him to undertake a voyage to London, where his opera Narciso met with only a moderate success. From London Scarlatti went to Lisbon +••.••(...)). As a harpsichordist at the royal court, he was entrusted with the musical education of the princesses. The death of his father recalled him to Naples in 1725, but he did not long remain in his native town. His old pupil, the Portuguese princess, who had married Ferdinand VI, invited him to the Spanish court. Scarlatti accepted and in 1733 after a period in Seville (from 1729-33) he went to Madrid, where he lived until his death. Scarlatti returned to Italy on three occasions. In 1724 in Rome he met Quantz and Farinelli, who himself joined the Spanish court in 1737. In 1725 he returned at the death of his father in Naples - where he met Hasse. And in 1728 he returned to Rome, where he met and married his first wife by whom he had five children (she died in 1739, and by 1742 he has married again, to a Spanish woman, by whom he had four more children). In 1738, sponsored by King John V of Portugal, he passed secret trials to become a Knight of the Order of Santiago, and about 1740 Velasco painted the portrait which heads this page, and for which he wore the full regalia of the Order. He died in Madrid on July 23, 1757. baroquemusic.org 00:00 1.[Sonata For Harpsichord] C major K. 49 06:05 2.[Sonata For Harpsichord] E flat major K. 123 11:16 3.[Sonata For Harpsichord] G minor k.426 18:04 4.[Sonata For Harpsichord] B flat major, K.70 20:33 5.[Sonata For Harpsichord] D minor, K.9 24:46 6.[Sonata For Harpsichord] F Minor K.519 28:21 7.[Sonata For Harpsichord] B Minor K.87 34:51 8.[Sonata For Harpsichord] G major, K. 375 37:26 9.[Sonata For Harpsichord] B major, K.244 42:10 10.[Sonata For Harpsichord] D minor, K.1 44:51 11.[Sonata For Harpsichord] F major "Pastoral" K.446 50:37 12.[Sonata For Harpsichord] A major K. 113
Palestrina Santa Maria Cappella Giulia
Palestrina, his name derived from his probable place of birth, was one of the principal composers of the late 16th century, his style taken as a model by later generations. His musical language represents the climax of musical achievement of the period, above all in his mastery of earlier Franco-Flemish polyphonic techniques, now used with complete assurance, particularly in the provision of music for the Catholic liturgy both before and after the reforming Council of Trent. Palestrina's career was largely spent in Rome, at the basilica of Santa Maria Maggiore, the Cappella Giulia at St. Peter's and at St. John Lateran. Church Music Palestrina wrote a large number of settings of the ordinary of the Mass. Of these the Missa Papae Marcelli, popularly supposed to have been written to convince the authorities at the Council of Trent that there was still a place for polyphony in the musical performance of the Catholic liturgy, is among the best known. Missa Aeterna Christi munera, a Mass that makes use of the plainchant of the title as its basis, is a fine example of Palestrina's technical command, but a similar claim might be made for almost any other of the 100 or so surviving Mass settings. The very large number of surviving motets offers a similar embarrassment of choice. Palestrina's liturgical music also includes settings of the Lamentations for Holy Week, taken from the Book of Jeremiah, litanies, settings of the Magnificat and offertories. In addition to generally conservative Italian madrigals, he also wrote a number of five-voice Italian sacred madrigals.
Asprilio Pacelli Marco Scacchi Balsys Giovanni Pierluigi Palestrina Marenzio Cappella Giulia
Virtualus koncertų ciklas KALĖDOS VALDOVŲ RŪMUOSE 2020 Kviečiame prisiminti tarptautinio senosios muzikos ansamblio „CANTO FIORITO“ atliekamo koncerto, kuris pirmą kartą klausytojams pristatytas š.m. kovo mėnesį Valdovų rūmuose vykusio šeštojo tarptautinio Marco Scacchi senosios muzikos festivalio Vilniuje metu. Ansamblis „CANTO FIORITO“ Ieva Gaidamavičiūtė, Ieva Skorubskaitė – sopranai Renata Dubinskaitė, Saulė Šerytė – mecosopranai Ansis Betinš (Latvija), Povilas Vanžodis – tenorai Dainius Balsys, Nerijus Masevičius – bosai Andrea Buccarella (Italija) – klavesinas, vargonėliai Meno vadovas Rodrigo Calveyra (Brazilija) Šiais metais minint 450-ąsias talentingojo italų kūrėjo Asprilio Pacelli gimimo metines, tarptautinis senosios muzikos ansamblis „Canto Fiorito“ kviečia į išsamią pažintį su šiuo autoriumi. Programoje pristatomos genialios Asprilio Pacelli kompozicijos, šalia gretinant Palestrinos ir Adriano Willaerto muziką – atitinkamai Romos ir Venecijos kompozicijos mokyklų atstovus, – taip atskleidžiant visą Pacelli kūrybos sudėtingumą ir gelmę. Asprilio Pacelli gimė 1570 m. Vašiano (Vasciano) miestelyje, Italijoje. Vaikystėje dainavo berniukų chore, legendinėje Džulijos kapeloje (Cappella Giulia), kuriai vadovavo Giovanni Pierluigi da Palestrina. Dirbo kapelmeisteriu Popiežiškosios vokiečių ir vengrų kolegijos (Collegio Germanico) bazilikoje ir pačioje Šv. Petro bazilikoje Vatikane, o 1603 m. pakeitė Lucą Marenzio, perimdamas Vazų dvaro kapelos vadovo poziciją. Karališkasis Vazų dvaras Varšuvoje ir Vilniuje garsėjo savo muzikine kultūra – tuo metu, kai Italija diktavo muzikines madas visai Europai, dvare dirbo visa plejada žymių italų kompozitorių. Šiose pareigose A. Pacelli tarnavo iki pat savo mirties 1623 m., o Lenkijos karalius ir Lietuvos didysis kunigaikštis Žygimantas Vaza, vertindamas puikią tarnystę, kompozitoriui užsakė epitafiją Šv. Jono arkikatedroje Varšuvoje. A.Pacelli kūryboje ryški Romos polifoninės mokyklos įtaka, tačiau joje aiškiai jaučiami ir Venecijos polichoralinio stiliaus atgarsiai. Savo darbuose A. Pacelli įspūdingai suvienija šias dvi svarbiausias XVI–XVII a. sandūros Italijos polifonines tradicijas.
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