1.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
2.
Castrato
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A castrato is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, castration before puberty prevents a boys larynx from being transformed by the normal physiological events of puberty. As a result, the range of prepubescence is largely retained. Prepubescent castration for this purpose diminished greatly in the late 18th century and was illegal in Italy in 1870. As the castratos body grew, his lack of testosterone meant that his epiphyses did not harden in the normal manner, thus the limbs of the castrati often grew unusually long, as did the bones of their ribs. This, combined with training, gave them unrivalled lung-power. Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible and their vocal range was higher than that of the uncastrated adult male. Listening to the surviving recordings of a castrato, one can hear that the lower part of the voice sounds like a super-high tenor. Eunuch is a general term, since historically many eunuchs were castrated after puberty. Castration as a means of subjugation, enslavement or other punishment has a long history. In a Western context, eunuch singers are known to have existed from the early Byzantine Empire, by the 9th century, eunuch singers were well-known and remained so until the sack of Constantinople by the Western forces of the Fourth Crusade in 1204. Their fate from then until their reappearance in Italy more than three hundred years later is not clear and it seems likely that the Spanish tradition of soprano falsettists may have hidden castrati. Much of Spain was under Muslim rulers during the Middle Ages, stereotypically, eunuchs served as harem guards, but they were also valued as high-level political appointees since they could not start a dynasty which would threaten the ruler. Castrati first appeared in Italy in the century, though at first the terms describing them were not always clear. The phrase soprano maschio, which could also mean falsettist, occurs in the Due Dialoghi della Musica of Luigi Dentice and this is a rare term but probably does equate to castrato. The Cardinals brother, Alfonso II dEste, Duke of Ferrara, was another early enthusiast, enquiring about castrati in 1556. There were certainly castrati in the Sistine Chapel choir in 1558, although not described as such, on 27 April of that year, Hernando Bustamante, by 1574 there were castrati in the Ducal court chapel at Munich, where the Kapellmeister was the famous Orlando di Lasso. In 1589, by the bull Cum pro nostro pastorali munere, Pope Sixtus V re-organised the choir of St Peters, thus the castrati came to supplant both boys and falsettists from the top line in such choirs
3.
Composer
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A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
4.
Farinelli
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Farinelli, was the stage name of Carlo Maria Michelangelo Nicola Broschi, celebrated Italian castrato singer of the 18th century and one of the greatest singers in the history of opera. Broschi was born in Andria into a family of musicians, in 1706 Salvatore also took up the non-musical post of governor of the town of Maratea, and in 1709 that of Terlizzi. Unlike many castrati, who came from families, Farinelli was well-to-do. Maria di Loreto, specialising in composition, Carlo had already shown talent as a boy singer, and was now introduced to the most famous singing-teacher in Naples, Nicola Porpora. Already a successful composer, in 1715 Porpora was appointed maestro at the Conservatory of S. As was often the case, an excuse had to be found for this operation, under Porporas tutelage, his singing progressed rapidly, and at the age of fifteen, he made his debut a serenata by his master entitled Angelica e Medoro. The text of work was the first by the soon-to-be-famous Pietro Trapassi. Farinelli remarked that the two of them had made their debuts on the day, and each frequently referred to the other as his caro gemello. The derivation of Broschis stage name is not certain, but it was possibly from two rich Neapolitan lawyers, the brothers Farina, who may have sponsored his studies, Farinelli quickly became famous throughout Italy as il ragazzo. In 1722, he first sang in Rome in Porporas Flavio Anicio Olibrio, Farinelli surpassed the trumpet player so much in technique and ornamentation that he was at last silenced only by the acclamations of the audience. This account, however, cannot be verified, since no surviving work which Farinelli is known to have performed contains an aria for soprano with trumpet obbligato. In 1724, Farinelli made his first appearance in Vienna, at the invitation of Pio di Savoia and he spent the following season in Naples. His intonation was pure, his beautiful, his breath control extraordinary and his throat very agile, so that he performed the widest intervals quickly and with the greatest ease. Passagework and all kinds of melismas were of no difficulty to him, in the invention of free ornamentation in adagio he was very fertile. Farinelli sang at Bologna in 1727, where he met the famous castrato Antonio Bernacchi, undaunted, Bernacchi repeated every trill, roulade, and cadenza of his young rival, but performing all of them even more exquisitely, and adding variations of his own. Farinelli, admitting defeat, entreated Bernacchi to give him instruction in grazie sopraffine, in 1728, as well as performing in Torris Nicomede at the Munich court, Farinelli performed another concert before the Emperor in Vienna. In 1729, during the Carnival season in Venice, he sang in two works by Metastasio, as Arbace in Metastasios Catone in Utica and Mirteo in Semiramide Riconosciuta, during this period he could really do no wrong. George Frideric Handel was also keen to engage Farinelli for his company in London, in 1731, Farinelli visited Vienna for a third time
5.
Anton Raaff
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Anton Raaff was a German tenor from Gelsdorf near Bonn. Raaff studied at the Jesuit school in Bonn where the Elector of Bavaria, Clement Augustus, heard him singing, Raaff was brought to the capital, Munich, where he was engaged on an annual salary of 2000 thalers. From Munich he was sent to Bologna to study the Italian style so he would be able to perform in the opera seria style. In 1738 he was sent to Vienna to sing at the ceremonies for Empress Maria Theresa, after which he was sent on a long period of overseas travel. From 1752 to 1755 he was in Lisbon, and from 1755 to 1759 in Madrid and he worked in Naples from 1759 to 1769, after which he returned to Germany. Raaff sang the role in the premiere of Mozarts 1781 opera Idomeneo. He spent his years teaching and died in Munich in 1797. In the opinion of Schubart, his was the most beautiful voice of all time. Media related to Anton Raaff at Wikimedia Commons
6.
George Frideric Handel
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George Frideric Handel was a German, later British baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712 and he was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition. Within fifteen years, Handel had started three commercial opera companies to supply the English nobility with Italian opera, musicologist Winton Dean writes that his operas show that Handel was not only a great composer, he was a dramatic genius of the first order. As Alexanders Feast was well received, Handel made a transition to English choral works, after his success with Messiah he never composed an Italian opera again. Almost blind, and having lived in England for nearly fifty years, he died in 1759 and his funeral was given full state honours, and he was buried in Westminster Abbey in London. Handel was born in 1685 in Halle-on-Saal, Duchy of Magdeburg, to Georg Händel and his father,63 when George Frideric was born, was an eminent barber-surgeon who served the court of Saxe-Weissenfels and the Margraviate of Brandenburg. Georg Händel was the son of a coppersmith, Valentin Händel who had emigrated from Eisleben in 1608 with his first wife Anna Belching and they were Protestants and chose reliably Protestant Saxony over Silesia, a Hapsburg possession as religious tensions mounted in the years before the Thirty Years War. Halle was a prosperous city, home of a salt-mining industry. Even the smaller churches all had able organists and fair choirs, and humanities, the Thirty Years War brought extensive destruction to Halle, and by the 1680s it was impoverished. But since the middle of the war the city was under the administration of the Duke of Saxony, the arts and music, however, flourished only among the higher strata, which did not describe Handels family. Handel was the child of this marriage, the first son died still born. Two younger sisters were born after the birth of George Frideric, Dorthea Sophia, born 6 October 1687 and Johanna Christiana, born 10 January 1690. Early in his life Handel is reported to have attended the gymnasium in Halle, Mainwaring is the source for almost all information of Handels childhood, and much of that information came from J. C. Smith, Jr. Handels confidant and copyist. Whether they came from Smith or elsewhere, Mainwaring frequently relates misinformation and it is from Mainwaring that the portrait of Handels father as implacably opposed to any musical education comes. This did nothing to dampen young Handels inclination, in fact, Mainwaring tells the story of Handels secret attic spinnet, Handel found means to get a little clavichord privately conveyd to a room at the top of the house. To this room he constantly stole when the family was asleep, but Handel had to have had some experience with the keyboard to have made the impression in Weissenfels that resulted in his receiving formal musical training. Somehow Handel made his way to the organ, where he surprised everyone with his playing. Overhearing this performance and noting the youth of the performer caused the Duke to recommend to Georg Händel that Handel be given musical instruction, Handels father engaged the organist at the Halle parish church, the young Friedrich Wilhelm Zachow, to instruct Handel
7.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
8.
Bologna
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Bologna is the largest city of the Emilia-Romagna Region in Northern Italy. It is the seventh most populous city in Italy, located in the heart of an area of about one million. The first settlements back to at least 1000 BC. The city has been a centre, first under the Etruscans. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna is also an important transportation crossroad for the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index of 2009, Bologna is the first Italian city, Bologna is home to numerous prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture and in 2006, the city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world. Bologna is also one of the wealthiest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country, after a long decline, Bologna was reborn in the 5th century under Bishop Petronius. According to legend, St. Petronius built the church of S. Stefano. After the fall of Rome, Bologna was a stronghold of the Exarchate of Ravenna in the Po plain. In 728, the city was captured by the Lombard king Liutprand, the Germanic conquerors formed a district called addizione longobarda near the complex of S. Stefano. Charlemagne stayed in this district in 786, traditionally said to be founded in 1088, the University of Bologna is widely considered to be the first university. The university originated as a centre of study of medieval Roman law under major glossators. It numbered Dante, Boccaccio and Petrarca among its students, the medical school is especially famous. In the 12th century, the families engaged in continual internecine fighting. Troops of Pope Julius II besieged Bologna and sacked the artistic treasures of his palace, in 1530, in front of Saint Petronio Church, Charles V was crowned Holy Roman Emperor by Pope Clement VII. Then a plague at the end of the 16th century reduced the population from 72,000 to 59,000, the population later recovered to a stable 60, 000–65,000. However, there was also great progress during this era, in 1564, the Piazza del Nettuno and the Palazzo dei Banchi were built, along with the Archiginnasio, the centre of the University
9.
Johann Wilhelm, Elector Palatine
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Johann Wilhelm II, Elector Palatine of the Wittelsbach dynasty was Elector Palatine, Duke of Neuburg, Duke of Jülich and Berg, and Duke of Upper Palatinate and Cham. From 1697 onwards Johann Wilhelm was also Count of Megen and he was educated by the Jesuits and in 1674 he made a grand tour to Italy. He married Archduchess Maria Anna of Austria in 1678 and she was a daughter of Ferdinand III, Holy Roman Emperor and his third wife Eleanor of Mantua. After her death in 1689, he married Anna Maria Luisa de Medici and his brother was Franz Ludwig, Count Palatine of Neuburg, his sisters were married to Holy Roman Emperor Leopold I, Peter II of Portugal and Charles II of Spain. His father ceded the duchies of Jülich and Berg to him in 1679, in the Peace of Rijswijk, he was restored to many of the possessions which had been taken by the French, with the provision that the Electorate of the Palatinate not revert to Protestantism. This provision did not make him popular in the Palatinate and with Protestants, Johann Wilhelm proclaimed religious toleration in 1705 at the instigation of his mistress, Dorothea von Velen. During the War of the Spanish succession Johann Wilhelm received also the Bavarian Upper Palatinate and he died in Düsseldorf and was buried in the St. Andreas Church. Having no son, Johann Wilhelm was succeeded by his brother Charles III Philip and his enormous collection of paintings by Rubens can still be seen in the Alte Pinakothek in Munich. His widow Anna Maria Luisa was the last scion of the House of Medici, therefore, these treasures are still to be visited in Florence today. In Düsseldorf, the Jan-Wellem Square is named after Johann Wilhelm, media related to Johann Wilhelm, Elector Palatine at Wikimedia Commons
10.
Genoa
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Genoa is the capital of the Italian region of Liguria and the sixth-largest city in Italy. In 2015,594,733 people lived within the administrative limits. As of the 2011 Italian census, the Province of Genoa, over 1.5 million people live in the wider metropolitan area stretching along the Italian Riviera. Genoa has been nicknamed la Superba due to its glorious past, part of the old town of Genoa was inscribed on the World Heritage List in 2006. The citys rich history in notably its art, music. It is the birthplace of Christopher Columbus, Niccolò Paganini, Giuseppe Mazzini, Genoa, which forms the southern corner of the Milan-Turin-Genoa industrial triangle of north-west Italy, is one of the countrys major economic centres. The city has hosted massive shipyards and steelworks since the 19th century, the Bank of Saint George, founded in 1407, is among the oldest in the world and has played an important role in the citys prosperity since the middle of the 15th century. Today a number of leading Italian companies are based in the city, including Fincantieri, Selex ES, Ansaldo Energia, Ansaldo STS, Edoardo Raffinerie Garrone, Piaggio Aerospace, the Genoa area has been inhabited since the fifth or fourth millennium BC. In ancient times this area was frequented and inhabited by Ligures, Phoenicians, Phocaeans, Greeks, and Etruscans. The city cemetery, dating from the 6th and 5th centuries BC, testifies to the occupation of the site by the Greeks, but the fine harbour probably saw use much earlier, perhaps by the Etruscans. In the 5th century BC was founded the first oppidum at the foot of the today called the Castle Hill which now is inside the medieval old town. The ancient Ligurian city was known as Stalia, so referred to by Artemidorus Ephesius and Pomponius Mela, Ligurian Stalia was overshadowed by the powerful Marseille and Vada Sabatia, near modern Savona. Stalia had an alliance with Rome through a foedus aequum in the course of the Second Punic War, the Carthaginians accordingly destroyed it in 209 BC. The town was rebuilt and, after the Carthaginian Wars ended in 146 BC. it received municipal rights, the original castrum thenceforth expanded towards the current areas of Santa Maria di Castello and the San Lorenzo promontory. Trades included skins, wood, and honey, goods were shipped to the mainland, up to major cities like Tortona and Piacenza. Among the archeological remains from the Roman period, an amphitheatre was also found, another theory traces the name to the Etruscan word Kainua which means New City and still another from the Latin word ianua, related to the name of the God Janus, meaning door or passage. The latter is in reference to its position at the centre of the Ligurian coastal arch. The Latin name, oppidum Genua, is recorded by Pliny the Elder as part of the Augustean Regio IX Liguria, after the fall of the Western Roman Empire, the Ostrogoths occupied Genoa
11.
Johann Adolph Hasse
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Johann Adolph Hasse was an 18th-century German composer, singer and teacher of music. Immensely popular in his time, Hasse was best known for his prolific operatic output, Hasse was born in Bergedorf, near Hamburg, and died in Venice. Hasses career began in singing, when he joined the Hamburg Opera in 1718 as a tenor, in 1719 he obtained a singing post at the court of Brunswick, where in 1721 his first opera, Antioco, was performed, Hasse himself sang in the production. He is thought to have left Germany during 1722, during the 1720s he lived mostly in Naples, dwelling there for six or seven years. In 1725 his serenata Antonio e Cleopatra, was performed at Naples, the roles were sung by Carlo Broschi, better known as Farinelli. Hasses popularity in Naples increased dramatically and for years his workload kept him extremely busy. In this period he composed his only full opera buffa, La sorella amante, in addition to several intermezzi and he visited the Venetian Carnival of 1730, where his opera Artaserse was performed at S Giovanni Grisostomo. Metastasios libretto was reworked for the occasion, and Farinelli took a leading role. Two of his arias from this opera he later performed every night for a decade for Philip V of Spain, soon after the couples arrival in Dresden, Faustina performed before the court. In October Hasse left Dresden to direct premieres of his operas at Turin and Rome. Come the autumn of 1732 and Hasse was at Naples again, in February 1733 Augustus the Strong of Poland and Saxony, Hasses early royal patron at Dresden, died. As the court went into a year of mourning, Hasse was permitted to remain abroad, many of his sacred works, composed for Venices churches, date to this time. For much of 1734 Hasse was at Dresden, but from 1735 until 1737 he was in Italy, largely at Naples, Faustina performed in the September 1735 premiere of Tito Vespasiano at Pesaro. His next stay in Dresden was also his longest, between the first months of 1740 and January 1744, in this time he revised Artaserse, composing new arias for Faustina, and also wrote a couple of original intermezzi. His general avoidance of comic opera seems to have due to Faustina. Between the winter of 1744 and late summer 1745, Hasse was in Italy, but then returned to Dresden for a year. Frederick the Great, a flute player, visited the court in December 1745. The King of Prussia was also present at a performance of one of Hasses Te Deums, soon after Hasse visited Venice and Munich, returning to Dresden in June 1747 to stage his opera La spartana generosa, performed to celebrate multiple royal weddings at this time
12.
Leonardo Vinci
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Leonardo Vinci was an Italian composer, best known for his operas. He was born at Strongoli and educated at Naples under Gaetano Greco in the Conservatorio dei Poveri di Gesù Cristo and he first became known for his opere buffe in Neapolitan dialect in 1719, he also composed many opere serie. He was received into the Congregation of the Rosary at Formiello in 1728, Vinci is rumoured to have been poisoned by a jealous husband in the wake of an ill-advised affair, a story which is given by several reliable authorities without evident contradictions. The well-known aria Vo solcando, from Artaserse, is an example of his style. In 2015 Decca released a Parnassus Arts Productions recording of his 3-act opera seria Catone in Utica and his sonata in D major for flute and basso continuo is still played today. He composed 2 charming and intriguing sonatas for the recorder in addition to a concerto in a minor. Fileno - Soprano Cantatas Mesta Oh Dio, tra queste selve, emanuela Galli & Francesca Cassinari, Stile Galante, Stefano Aresi. With work wrongly attributed to Vinci by Alessandro Scarlatti Fille, tu parti, opera Glass This entry was originally from the 1911 Encyclopædia Britannica
13.
Alessandro Scarlatti
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Alessandro Scarlatti was an Italian Baroque composer, especially famous for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera and he was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti. Scarlatti was born in Palermo, then part of the Kingdom of Sicily, the production at Rome of his opera Gli Equivoci nell sembiante gained him the support of Queen Christina of Sweden, and he became her Maestro di Cappella. Here he produced a series of operas, remarkable chiefly for their fluency and expressiveness. In 1702 Scarlatti left Naples and did not return until the Spanish domination had been superseded by that of the Austrians, after visiting Venice and Urbino in 1707, Scarlatti took up his duties in Naples again in 1708, and remained there until 1717. His last work on a large scale appears to have been the unfinished serenata for the marriage of the prince of Stigliano in 1723 and he died in Naples in 1725. By 1686 he had established the Italian overture form, and had abandoned the ground bass. His best operas of this period are La Rosaura, and Pirro e Demetrio, in which occur the arias Le Violette, in his opera Teodora he originated the use of the orchestral ritornello. Besides the operas, oratorios and serenatas, which all exhibit a similar style and his instrumental music, though not without interest, is curiously antiquated as compared with his vocal works. Diana Moore, Suzana Ograjensek, Nicholas Phan, Clint van der Linde, Douglas Williams, Akademie für alte Musik Berlin, René Jacobs. Dorothea Röschmann, Lawrence Zazzo, Veronica Cangemi, Bernarda Fink, Silvia Tro Santafe, ligia digital, 0202176-07 Le parlement de musique. Ambronay editions, AMY004 Ensemble Europa Galante, virgin Classics,5456662 Academia Bizantina. Harmonia Mundi, HMI987045.46 Seattle Baroque, agora, AG249.1 Akademie für alten Musik Berlin, René Jacobs. Dorothea Röschmann, Graciela Oddone, Richard Croft, René Jacobs, Bernarda Fink, opus 111, OPS 30–129 Ensemble Europa Galante. Opus 111, OPS 30–96 Allesandro Stradella Consort, cantata natalizia Abramo, il tuo sembiante. Philips Classics Productions,434 160-2 I Musici, william Bennett, Lenore Smith, Bernard Soustrot, Hans Elhorst. 12 Sinfonie di Concerto Grosso Philips Box 6769066 Emma Kirkby, soprano and Daniel Taylor, countertenor, ATMA Classique, ACD22237 Francis Colpron, recorder, with Les Boréades. ATMA Classique, ACD22521 Nederlands Kamerkoor, with Harry van der Kamp, vespro della Beata Vergine for 5 voices and continuo
14.
Munich
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Munich is the capital and largest city of the German state of Bavaria, on the banks of River Isar north of the Bavarian Alps. Munich is the third largest city in Germany, after Berlin and Hamburg, the Munich Metropolitan Region is home to 5.8 million people. According to the Globalization and World Rankings Research Institute Munich is considered an alpha-world city, the name of the city is derived from the Old/Middle High German term Munichen, meaning by the monks. It derives from the monks of the Benedictine order who ran a monastery at the place that was later to become the Old Town of Munich, Munich was first mentioned in 1158. From 1255 the city was seat of the Bavarian Dukes, black and gold—the colours of the Holy Roman Empire—have been the citys official colours since the time of Ludwig the Bavarian, when it was an imperial residence. Following a final reunification of the Wittelsbachian Duchy of Bavaria, previously divided and sub-divided for more than 200 years, like wide parts of the Holy Roman Empire, the area recovered slowly economically. In 1918, during the German Revolution, the house of Wittelsbach, which governed Bavaria since 1180, was forced to abdicate in Munich. In the 1920s, Munich became home to political factions, among them the NSDAP. During World War II, Munich was heavily bombed and more than 50% of the entire city, the postwar period was characterised by American occupation until 1949 and a strong increase of population and economic power during the years of the Wirtschaftswunder after 1949. The city is home to corporations like BMW, Siemens, MAN, Linde, Allianz and MunichRE as well as many small. Munich is home to national and international authorities, major universities, major museums. Its numerous architectural attractions, international events, exhibitions and conferences. Munich is one of the most prosperous and fastest growing cities in Germany and it is a top-ranked destination for migration and expatriate location, despite being the municipality with the highest density of population in Germany. Munich nowadays hosts more than 530,000 people of foreign background, the year 1158 is assumed to be the foundation date, which is the earliest date the city is mentioned in a document. The document was signed in Augsburg, by that time the Guelph Henry the Lion, Duke of Saxony and Bavaria, had built a bridge over the river Isar next to a settlement of Benedictine monks—this was on the Old Salt Route and a toll bridge. In 1175, Munich was officially granted city status and received fortification, in 1180, with the trial of Henry the Lion, Otto I Wittelsbach became Duke of Bavaria and Munich was handed over to the Bishop of Freising. In 1240, Munich was transferred to Otto II Wittelsbach and in 1255, Duke Louis IV, a native of Munich, was elected German king in 1314 and crowned as Holy Roman Emperor in 1328. He strengthened the position by granting it the salt monopoly
15.
Giovanni Carestini
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Giovanni Carestini was an Italian castrato of the 18th century, who sang in the operas and oratorios of George Frideric Handel. He is also remembered as having sung for Johann Adolph Hasse, Carestinis career began in Milan in 1719, patronised at the time by the Cusani family. He sang for Alessandro Scarlatti in Rome in 1721 and he created the role of Arbace in Vinci and Metastasios Artaserse, which is known for its difficult and virtuosic arias. He sang in Munich in 1731 before coming to London to sing for Handel in 1733, for Handel he sang the main roles in Arianna in Creta, Ariodante, and Alcina, and also performed in the oratorios Deborah, Esther, and Athalia. While in Naples in 1735, he commanded a fee higher than that of the renowned Caffarelli, charles Burney records an entertaining anecdote from this time, Following this peak, Carestinis career began to wane quickly. A London audience of 1740 was indifferent, and he returned to Italy in the early 1740s, from 1747-49 he sang for Hasse in Dresden, and then moved to Berlin, and then St Petersburg. Audiences in Naples were actively displeased by his performances in 1758, one of his last appearances was portraying the title role in the world premiere of Gaetano Latillas Ezio at the Teatro di San Carlo on 10 July 1758. He was held in regard by many critics across Europe. He was also reputed to be an actor, and was furthermore noted for his striking good looks. As a mark of his impact upon operatic history, in 2007 French counter-tenor Philippe Jaroussky released a CD tribute to Carestini. In Opera, a Different Kind of Less Is More, Handel and the Castrati
16.
Senesino
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Senesino was a celebrated Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel. Senesino was the son of a barber from Siena and he joined the cathedral choir there in 1695 and was castrated at the comparatively late age of thirteen. His debut was at Venice in 1707, and during the decade he acquired a European reputation and, by the time he sang in Lottis Giove in Argo in 1717 at Dresden. As with many castrati, reports of Senesinos acting were not always positive, of the singers vocal abilities, however, there was no doubt. In 1719, the composer Quantz heard him in Lottis Teofane at Dresden, and stated, He had a powerful, clear, equal and sweet voice, with a perfect intonation. His manner of singing was masterly and his elocution unrivalled, … he sang allegros with great fire, and marked rapid divisions, from the chest, in an articulate and pleasing manner. His countenance was well adapted to the stage, and his action was natural, to these qualities he joined a majestic figure, but his aspect and deportment were more suited to the part of a hero than of a lover. Following a dispute with the court composer Heinichen in 1720, which led to his dismissal, Senesino was engaged by Handel as primo uomo in his company, the Royal Academy of Music. He made his first appearance in a revival of Radamisto on 28 December, Senesino remained in London for much of the succeeding sixteen years. He became a friend and associate of many in the highest levels of society and his antipathy to Handel eventually became so great that, in 1733, Senesino joined the rival Opera of the Nobility. By this time his style was regarded by the public as rather old-fashioned. He retired to the city of his birth, building a fine town-house there, filled with English furniture and effects - he enjoyed tea, and kept a black servant, a pet monkey and a parrot. A somewhat eccentric and difficult personality, the years of his life were plagued by disputes with members of his family, particularly his nephew and heir. Mainwaring, J, Memoirs of the life of the late G F Handel Avanzati, E, The unpublished Senesino, pp 5–9 Chrissochoidis, Ilias. Dean, W, Senesino, in The New Grove Dictionary of Music,2003 Heriot, A, The Castrati in Opera pp 91–95 LaRue, C S, Handel and his Singers, pp 105–124 Anecdotes and character of Senesino
17.
Lotario
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Lotario is an opera seria in three acts by George Frideric Handel. The Italian-language libretto was adapted from Antonio Salvis Adelaide. The opera was first given at the Kings Theatre in London on 2 December 1729, the story of the opera is a fictionalisation of some events in the life of Holy Roman Empress Adelaide of Italy. Paolo Rolli commented in a letter at the time to Giuseppe Riva that everyone thinks a very bad opera, there were 10 performances, but it was not repeated. Handel reused pieces in later operas, among other performances, Lotario was staged at the London Handel Festival in 1999 and by the Handel Festival, Halle in 2004. Adelaide refused, and now, as Queen of Italy, she has taken refuge in a fortress in Pavia, Berengario is full of ambition and rage and has sent his son Idalberto to storm the walls of Pavia. He receives news that the German King Lotario is on his way with an army to protect Adelaide, Matilde, Berengarios wife and fully his match in ambition and rage, announces that she has bribed Adelaides soldiers to open the gates of Pavia to their forces. Her son is truly in love with Adelaide and begs his parents not to do anything that will endanger her, in the castle at Pavia, Adelaide receives the German King Lotario, who has not only brought his army to her aid but loves her too. She accepts his aid and urges him to fight Berengario and Matilde and he will do so, he says, if she will repay him with her love. Clorimondo, Berengarios general, appears to Adelaide and tells her she must either marry the son or be killed by the father, Berengario takes Pavia easily owing to the treachery of Adelaides troops but she adamantly refuses to marry his son. Berengario goes to fight Lotarios army, leaving Adelaide with his wife Matilde, Berengario loses the battle against Lotario and is captured. He is a prisoner of war, and Lotario reflects that he is a prisoner to love, in the dungeon, Adelaide is also a prisoner and does not realise that Lotario has defeated her enemy. Clorimondo enters with a crown in one hand and a vial of poison in the other - Adelaide can choose to be Idalbertos queen, Adelaide, egged on by Matilde, chooses the poison and is about to swallow it when Idalberto bursts into the prison cell. He tries to rescue Adelaide but is prevented by his mother, when Adelaide is once again about to swallow the poison, Idalberto draws his dagger and threatens to kill himself, whereupon Matilde dashes the poisoned drink from Adelaides hands. Matilde is not happy about this outcome however and warns her son to expect pain, left alone together, Adelaide thanks Idalberto for saving her but says she can never love him. Idalberto accepts this and proclaims he will be content to admire her from a distance Adelaide is touched, in captivity, Berengario and Matilde appeal to Adelaide to stop the war by using her influence with Lotario to have them crowned king and queen of Italy. Berengario is beginning to regret his cruelty, but Matilde is made of sterner stuff, the two armies rush into battle, and Lotario seeing that Adelaide is in danger, calls a truce. Idalberto offers to die instead of Adelaide, however his father will not accept this, clorimondo worries that he may have backed the losing side in this struggle and reflects on the transitory nature of human fortunes. Idalberto discovers his mother arming herself for battle, ready to fight alongside her troops and he begs her not to, but she scornfully refuses to listen to her son express such cowardice
18.
Partenope
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Partenope is an opera by George Frideric Handel, first performed at the Kings Theatre in London on 24 February 1730. Although following the structure and forms of opera seria, the work is humorous in character and light-textured in music, with a plot involving romantic complications and gender confusion. A success with audiences at the time of its production and then unperformed for many years. The opera, which is in three acts, is composed to an Italian libretto adapted by a hand from a libretto originally written in 1699 by Silvio Stampiglia. Stampiglias libretto had received many previous settings, including one by Caldara which Handel may have seen in Venice around 1710 and it was Handels first comic opera since the much earlier Agrippina, breaking away from the more traditional opera seria works for which the composer was known in London. He originally proposed the libretto to the company the Royal Academy of Music in 1726. They however rejected the work because of its frivolous nature, its relatively few extended arias, the opera manager Owen Swiney opined that the project was uncommercial, in a letter of 1726 he wrote, is the very worst book that I ever read in my whole life. The score was completed by Handel just two weeks before the premiere, Partenope received seven performances at its original run in February 1730. Handel had the piece performed for seven performances in December the same year, and revived it again in 1737. Then, as with all Handel opera and Baroque opera generally, in 1964 it was performed at Ledlanet, Scotland. The work had its U. S. premiere in 1988 at Opera Omaha, in 1998 it was performed in Italian at Glimmerglass Opera, and the same production was performed later that year at New York City Opera. In 2008 a production directed by Alessandro Talevi and designed by Madeleine Boyd with Kate Manley in the role was staged by Les Azuriales Opera Festival in the Villa Ephrussi de Rothschild. A production by Christopher Alden, in English was staged in 2008 by the English National Opera, the libretto was translated by Amanda Holden. The production was set in an 1920s atmosphere and was inspired by the surrealist images of Man Ray, in 2008, the opera was presented by The Royal Danish Opera. This production was recorded and is available on DVD, also, a concert version of the production was performed at the 2009 Proms on 19 July 2009. A production by Pierre Audi was seen at the Theater an der Wien, Vienna, in 2009, the Christopher Alden production, seen in London and in Australia, premiered at the San Francisco Opera in October 2014. Arsace is astounded by the resemblance of the newcomer Eurimene to his ex-girlfriend Rosmira, Rosmira admits it is she and berates him for his inconstancy. Arsace claims he loves her, to which Rosmira replies that if so he can prove it by promising not to reveal her name or that she is a woman
19.
Giulio Cesare
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Giulio Cesare in Egitto, commonly known as Giulio Cesare, is a dramma per musica in three acts composed for the Royal Academy of Music by George Frideric Handel in 1724. The libretto was written by Nicola Francesco Haym who used a libretto by Giacomo Francesco Bussani. The opera was a success at its first performances, was revived by Handel in his subsequent opera seasons and is now one of the most often performed Baroque operas. Giulio Cesare in Egitto was first performed at the Kings Theatre in the Haymarket, the opera was an immediate success. The house was just as full at the performance as at the first. Handel revived the opera three times during his lifetime, in 1725,1730, and 1732, the roles of Cesare and Cleopatra were originally sung by the castrato Senesino and the famous soprano Francesca Cuzzoni respectively. Handel composed eight arias and two recitatives accompagnati for each singer, thus making use of their vocal capabilities. Curio and Nireno were not allotted any arias in the version, only singing in recitatives, although they take part in the first. However, Handel composed an aria for Nireno for a revival in 1730. The illustration is probably of a scene from Handels Flavio, presented by the Royal Academy of Music in 1723, the elongated bodies of the castrati tower over Cuzzoni, who was described by Horace Walpole as short and squat. Such costumes were worn by the men in Handel operas whether the setting was ancient Rome or Gothic Europe. Cuzzoni, in contrast, wears a contemporary gown such as might have been suitable for presentation at court, as with most of his other operas, Handel made several revisions to the score of Giulio Cesare for revivals, adding new arias and cutting others. The listing of arias in this synopsis applies to the original 1724 version, Cesare, in pursuit of his enemy Pompeo, has followed him to Egypt. Pompeos wife Cornelia pleads with Cesare to spare her husband and he is about to grant her plea, when the Egyptians led by their boy king Tolomeo bring him the head of Pompeo. Cornelia and Pompeos son Sesto vow to avenge his death, Tolomeos sister Cleopatra desires to depose her brother in order to become the sole ruler of Egypt. She joins Cornelia and Sesto in their plans for vengeance and entreats Cesare to aid her, following her overtures, Cesare falls in love with Cleopatra. Her brother attempts to assassinate Cesare, but he escapes and it is reported to Cleopatra that Cesare has drowned while in flight. She is taken captive by her brother, Caesar, who has escaped drowning, enters to free his beloved
20.
Tolomeo
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Tolomeo, re dEgitto is an opera seria in three acts by George Frideric Handel to an Italian text by Nicola Francesco Haym, adapted from Carlo Sigismondo Capeces Tolomeo et Alessandro. The story of the opera is a fictionalisation of some events in the life of Ptolemy IX Lathyros, an aria from the opera, Non lo dirò col labbro, was adapted by Arthur Somervell as the popular classic Silent Worship,1928. Tolomeo was first performed at the Kings Theatre, London on 30 April 1728 and it was revived with revisions on 19 May 1730 and 2 January 1733, a mark of the works popularity. Place, Cyprus Time, around 108 BC, The action takes place at the time of Ptolemy IX and its themes include revenge, lust, lost love, devotion, and eventually, reconciliation. The action opens with Tolomeo on the beach of Cyprus, where he meets his shipwrecked brother, Alessandro has come under orders from Cleopatra to kill his own flesh and blood. Tolomeo becomes aware of Alessandros identity and is tempted to kill him, Tolomeo hides, and Elisa, sister of the king, turns up. Alessandro wakes, thinks she is like a goddess, and declares his love for her, but as she and Osmin talk, it becomes clear that her feelings are not requited, that Tolomeo loves another. Alone, he considers taking his own life and we are then introduced to Seleuce who is also going under an alias, Delia. She sings of her dispossession, then sees Tolomeo on the shore, Araspe is furious at Seleuce, whom he pursues with amorous intent. Act One closes with Tolomeo visualising his wife, wishing that she could appear before him, Tolomeo loses his temper and declares to Elisa that he is not Osmin but is indeed the deposed joint ruler of Egypt. Elisa tells the resentful Araspe to bring Delia before them and this is done and Tolomeo rapturously declares his love to Seleuce. Tolomeo reiterates that he cannot love Elisa and she rages at this, Tolomeo leaves and Alessandro enters, reiterating his love for Elisa. Elisa claims that the way she can love him in return is if he murders his brother. Seleuce sings another lament and Tolomeo echoes her words in the background, Araspe bursts onto the scene and tries to rape Seleuce. Tolomeo cant bear the sight and rushes to defend his wife and he reveals their true identities, and Araspe sings ruggedly of how he will punish the lovers. The couple are alone at the end of act two and touchingly sing synchronised for the first time of how their love for one another will doom them both. Alessandro has a letter positing the death of Cleopatra and he says she has paid the price for her cruelty. Somehow Araspe interprets Alessandro saying he wants to go home to Egypt with Tolomeo as meaning he wants his brother slain, Araspe, of course, thinks himself the very man for the job and delights in avenging the jealousy he feels
21.
Charles Burney
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Charles Burney FRS was an English music historian, composer and musician. He was father of the writers Frances Burney and Sarah Burney, the explorer James Burney, Charles Burney was born at Raven Street in Shrewsbury, fourth of six children of James Macburney, a musician, dancer and portrait painter, and his second wife Ann. In childhood he and a brother, Richard were for unknown reasons sent to the care of a Nurse Ball at nearby Condover, where they lived until 1739. He began formal education at Shrewsbury School in 1737 and was sent in 1739 to The Kings School in Chester. His first music master was a Mr Baker, organist of the cathedral, Burney wrote some music for Thomsons Alfred, which was produced at Drury Lane theatre on 30 March 1745. It was for his health that he went in 1751 to Lynn Regis in Norfolk, where he was elected organist, with a salary of £100. During that time he began to entertain the idea of writing a history of music. The concertos for harpsichord which Burney published soon after his return to London were much admired, in 1766 he produced, at Drury Lane, a translation and adaptation of Jean-Jacques Rousseaus opera Le devin du village, under the title of The Cunning Man. In 1749, while working as an organist and harpsichordist in London, the couple had six children, Esther or Hetty, the explorer James Burney, the celebrated writer Fanny Burney, Susan, Charlotte, and Charles Burney. Charless first wife Esther died in 1761, in 1769 he was married a second time, to Elizabeth Allen of Lynn. From this union he had a son, Richard, and a daughter, Sarah Burney, the University of Oxford honoured Burney, on 23 June 1769, with the degrees of Bachelor and Doctor of Music, and his own work was performed. This consisted of an anthem, with an overture, solos, recitatives and choruses, accompanied by instruments, besides a vocal anthem in eight parts, in 1769 he published An Essay towards a History of Comets. Amidst his various professional avocations, Burney never lost sight of his main project — his History of Music — and decided to travel abroad and collect materials that could not be found in Britain. He left London in June 1770, carrying letters of introduction. The results of his observations were published in a book, The Present State of Music in France. In 1773 he was elected a fellow of the Royal Society, in 1776 appeared the first volume of Burneys long-projected History of Music. In 1782 Burney published his volume, and in 1789 the third. The fourth volume covers the birth and development of opera and the scene in England in Burneys time
22.
Mary Delany
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Mary Delany was an English Bluestocking, artist, and letter-writer, equally famous for her paper-mosaicks and her lively correspondence. Mary Delany was born at Coulston, Wiltshire, the daughter of Colonel Bernard Granville by his marriage to Mary Westcombe and she was also a niece of George Granville, 1st Baron Lansdowne, her fathers brother. Mary had one brother, Bernard, known as Bunny. When Mary was young, her parents moved the family to London, Mary came into close contact with the Court when she was sent to live with her aunt, Lady Stanley, who was childless the intention being that she would eventually become a Maid of Honour. While living with Lady Stanley, Mary became learned in, English, French, history, music, needlework and dancing. Marys plans to become a lady in waiting were ruined by Queen Annes death in 1714, which led to a change in power, the Granvilles moved to a manor at Buckland in Gloucestershire, where they were quite isolated from English society. However, Mary was able to continue her education and her pursuit of paper cutting, near the end of 1717 Mary was invited to stay with her uncle, Lord Lansdowne, in Wiltshire. She was introduced to Alexander Pendarves during this stay, and it became clear that her family had an interest in a marriage between the two. Pendarves was Member of Parliament for Launceston and 60 years old, Mr Pendarvess gout grew worse as the year progressed, and in the second year of their marriage, Mrs Pendarves was forced to nurse her ailing husband. In 1721, the two took a house in London and there, though Mr Pendarves began to drink excessively, in 1724, Mr Pendarves died suddenly in his sleep, leaving his young wife a widow. Mr Pendarves had not altered his will after his marriage, Mr. Pendarves, concerned with the bottle that allowed him to forget the loss of part of his fortune, had had no time to consider settling the rest of it on his wife. Despite her lack of resources, widowhood provided new opportunities for Mrs Pendarves. Widows, unlike unmarried women, were able to move freely in society, perhaps because of her own unhappy marriage, she was not satisfied with the options available to women in the 18th century. She wrote, Why must women be driven to the necessity of marrying, a state that should always be a matter of choice. And if a woman has not fortune sufficient to maintain her in the situation she has been bred to, what can she do. She was eager in the acquisition of knowledge of all kinds to the end of her life, because she had no home of her own, after her first husbands death, Mrs Pendarves spent time living with various relatives and friends. To begin with, she lived with her aunt and uncle Stanley, in Ireland, Mrs Pendarves made the acquaintance of Dr Patrick Delany, an Irish clergyman who was already married to a rich widow. It was not until 1743 that on a trip to London Dr Delany proposed to Mrs Pendarves and she chose to take Dr Delany as her husband, and the two were married in June 1743
23.
Nicolo Grimaldi
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Grimaldi was usually known by his stage name of Nicolini. Nicolini was born in Naples, where he made his operatic début in 1685 and he also sang sacred music as a soprano in the Cathedral and Royal Chapel. Between 1697 and 1731 he sang many operatic roles at various Italian cities in works by such as Alessandro Scarlatti, Nicola Porpora, Leonardo Vinci. Other composers who wrote major roles for him included Francesco Provenzale, Pollarolo, Ariosti, Lotti, Giovanni and Antonio Maria Bononcini, Caldara, Albinoni, Leo, and Riccardo Broschi. Of more than a hundred productions in which he took part, thirty-six were in Naples, thirty-four in Venice, and fifteen in London. Nicolini first visited London in 1708, where his singing and critically renowned acting were crucial to the success of Italian opera. In 1711 he created the role in Handels Rinaldo, a work whose immediate popularity was instrumental in the establishing of Handels lengthy career in England. He also sang the role in Handels Amadigi in 1715 and continued to sing in London, usually in various pasticcios. His Handel roles reveal that he possessed exceptional vocal agility and virtuosity, between 1727-1730 he performed with Farinelli in Italy. In 1731 he planned to sing at Naples in Giovanni Battista Pergolesis first opera seria, La Salustia, published 1718 by E. Curll in London. Winton Dean, Grimaldi, Nicolo, Grove Music Online ed L. Macy, grovemusic. com, subscription access
24.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
25.
The New Grove Dictionary of Music and Musicians
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The New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is one of the largest reference works on Western music, in recent years it has been made available as an electronic resource called Grove Music Online, which is now an important part of Oxford Music Online. A Dictionary of Music and Musicians was first published in four volumes edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume, an Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. In 1900, minor corrections were made to the plates and the series was reissued in four volumes. The original edition and the reprint are now available online. Grove limited the chronological span of his work to begin at 1450 while continuing up to the present day, the second edition, in five volumes, was edited by Fuller Maitland and published from 1904 to 1910, this time as Groves Dictionary of Music and Musicians. The individual volumes of the edition were reprinted many times. An American Supplement edited by Waldo Selden Pratt and Charles N. Boyd was added in 1920 and this edition removed the first editions beginning date of 1450, though important earlier composers and theorists are still missing from this edition. These volumes are now freely available online. The third edition, also in five volumes, was a revision of the 2nd edition. The fourth edition, also edited by Colles, was published in 1940 in five volumes, in addition to the American Supplement, MacMillan also published a Supplementary Volume edited by Colles. The fifth edition, in nine volumes, was edited by Eric Blom and this was the most thoroughgoing revision of the work since its inception, with many articles rewritten in a more modern style and a large number of entirely new articles. Many of the articles were written by Blom personally, or translated by him, an additional Supplementary Volume, prepared for the most part by Eric Blom, followed in 1961. Blom died in 1959, and the Supplementary Volume was completed by Denis Stevens, the fifth edition was reprinted in 1966,1968,1970,1973, and 1975. The next edition was published in 1980 under the name The New Grove Dictionary of Music and its senior editor was Stanley Sadie with Nigel Fortune also serving as one of the main editors for the publication. It was reprinted with minor corrections each subsequent year until 1995, in the mid-1990s, the hardback set sold for about $2,300. A paperback edition was reprinted in 1995 which sold for $500, the second edition under this title was published in 2001, in 29 volumes. It was also available by subscription on the internet in a service called Grove Music Online
26.
Christopher Hogwood
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Christopher Jarvis Haley Hogwood CBE was an English conductor, harpsichordist, writer, and musicologist. Founder of the music ensemble the Academy of Ancient Music, he was an authority on historically informed performance. Born in Nottingham, Hogwood studied music and classical literature at Pembroke College, Cambridge and he went on to study performance and conducting under Raymond Leppard, Mary Potts and Thurston Dart, and later with Rafael Puyana and Gustav Leonhardt. He also studied in Prague with Zuzana Ruzickova for a year, in 1967, Hogwood co-founded the Early Music Consort with David Munrow. In 1973 he founded the Academy of Ancient Music, which specializes in performances of Baroque, the Early Music Consort was disbanded following Munrows death in 1976, but Hogwood continued to perform and record with the Academy of Ancient Music. From 1981, Hogwood conducted regularly in the United States and he was Artistic Director of Bostons Handel and Haydn Society from 1986 to 2001, and for the remainder of his life held the title of Conductor Laureate. From 1983 to 1985 he was director of the Mostly Mozart Festival in the Barbican Centre in London. From 1988 to 1992, he was director of the Saint Paul Chamber Orchestra in Minnesota. In 1994 he conducted the Handel and Haydn Society in a recreation of the concert that premiered Beethovens Sixth and Fifth symphonies for the Historic Keyboard Society of Milwaukee, Hogwood conducted a considerable amount of opera. He made his debut in 1983, conducting Don Giovanni in St. Louis. He worked with Berlin State Opera, La Scala, Milan, Royal Opera Stockholm, with Opera Australia, he performed Idomeneo in 1994 and La Clemenza di Tito in 1997. In 2009, he returned to the Royal Opera House to conduct the Orchestra of the Age of Enlightenment in Purcells Dido and Aeneas,2009 also saw him conducting Stravinskys The Rakes Progress at the Teatro Real in Madrid, in a production directed by Robert Lepage. In late 2010 and early 2011, he conducted a series of performances of Mozarts The Marriage of Figaro at Zurich Opera House, on 1 September 2006, harpsichordist Richard Egarr succeeded Hogwood as Music Director of the Academy of Ancient Music and Hogwood assumed the title of Emeritus Director. Hogwood said he expected to conduct at least one project with the Academy each year. He conducted the Academy in a series of performances of Handel operas which began in 2007 with Amadigi. 2008 saw performances of Flavio, and the series concluded in May 2009, in 2013 he conducted the Academy in Imeneo. He owned a collection of keyboard instruments. In July 2010, he was appointed Professor of Music at Gresham College, London, in this role he delivered four series of free public lectures on Aspects of Authenticity, The Making of a Masterpiece, European Capitals of Music and Music in Context
27.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
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Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
