La vendemmia (1778) Giuseppa Gazzanige se je ohranila v vsaj sedmih izvirnih rokopisnih partiturah iz 18. stoletja. O priljubljenosti nekaterih točk pričajo tudi njihovi dodatni prepisi. ...Tradicionalna da capo arija »Più dell’onde e più del vento« je v 19. stoletju v lokalnem okolju cerkve sv. Danijela v Celju služila kot osnova latinski duhovni kontrafakturi in še eni nemški posvetni kontrafakturi.
Archduke Ferdinand of Inner Austria was not only the dedicatee of the anthology Parnassus Musicus Ferdinandaeus – in itself a rich document of the future Holy Roman Emperor’s wide-ranging musical ...connections – but his court in Graz also became – on account of his personal music interests and the opportunities provided by carefully planned family connections – a major hub of the leading musical trends of the first two decades of the seventeenth century. The paper provides an overview of this intricate web forming Ferdinand’s musical “Parnassus” in Graz.
In contrast to the relative thoroughness of research into the life and works of Andrea Bernasconi for the period after his arrival in Munich in 1753, his earlier biography still has many lacunae. ...Following on from the author's earlier identification of Bernasconi's setting from 1736 of the opera Adriano in Siria for the Royal and Ducal Theatre in Milan, this article analyses the extant score and libretto of his Flavio Anicio Olibrio, produced in January 1737 at the Kärntnertor Theatre in Vienna. Interestingly, this production included four arias from Bernasconi's earlier Adriano and is the source for seven manuscript copies of Bernasconi arias in the Attems collection today preserved in Maribor, Slovenia. Viennese music circles are thus identifiable as one of the sources for this collection. From Vienna Bernasconi's music had already reached Moravia by 1737, and from Milan it was already being sought in late 1736 by the Württemberg Court in Stuttgart. The two discussed operas thus paved the way for the early reception and popularity of Bernasconi's arias north of the Alps.
Italijanski duhovnik in amaterski plemiški skladatelj Francesco Antonio Bonporti je leta 1703 ponatis svoje inštrumentalne zbirke Sonate da camera a tre, opus 2, posvetil ljubljanskemu knezoškofu ...Ferdinandu grofu Kuenburgu (na tem položaju med 1701 in 1711). Kuenburg je bil znan podpornik italijanske umetnosti v svoji škofiji in kranjski prestolnici. Bonportijeve trio sonate sodijo v inštrumentalno glasbeno zvrst, ki je bila še posebno uporabna, saj je bila primerna tako za povsem razvedrilne namene kot tudi pedagoške in duhovne. Trio sonate so bile priljubljene zlasti med plemiškimi glasbenimi amaterji in v Ljubljani je bilo prav v času Bonportijevega posvetila knezoškofu Kuenburgu na vrhuncu svojega razcveta glasbeno združenje Academia philharmonicorum labacensium, katerega člani so zato zelo verjetno igrali tudi njegove trio sonate.
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Zaslužni profesor muzikologije dr. Jože Sivec je navzven dajal vtis raztresenega in od vsakdanjega življenja značilno odmaknjenega univerzitetnega profesorja, hkrati pa je bil o vsem, kar se je ...dogajalo v svetu in muzikološki stroki, še kako na tekočem in njegovo natančno pomnjenje preteklih še tako majhnih dogodkov in podatkov je bilo malodane legendarno. Profesor Sivec se je od nas in svojega bogatega ter glasbe polnega življenja poslovil konec januarja letos malo po svojem sedeminosemdesetem rojstnem dnevu.
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Ignac Attems (1714–1762) je na kavalirskem potovanju po Evropi preživel štiri leta. Iz rodnega Gradca je odšel oktobra 1734, vrnil pa se je prav tako v oktobru leta 1738. Ohranjenih je 32 pisem, ki ...jih je s potovanja pisal očetu. V njih omenja tudi dogodke, povezane z glasbo. Mladi Ignac se ni zadovoljil zgolj z enkratnim užitkom, temveč je s seboj domov prinesel tudi nekaj trajnejših spominov, med katerimi je bilo vsaj 35 glasbenih rokopisov. Ti lepo dopolnjujejo sliko o tem, kakšna je bil glasba na nemških dvorih okrog leta 1735 in kaj so bili glasbeni hiti leta 1738.
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L’Euridice, composta in musica in stile rappresentativo by Giulio Caccini (1551–1618) is considered the first fully preserved and printed opera in music history. It was composed in 1600 to the ...libretto by Ottavio Rinuccini, itself commissioned for the wedding celebrations of Maria de Medici and her spouse, the French king Henry IV. The score was printed in 1600 in Florence and dedicated to Count Giovanni Bardi; in 1615 it was reprinted in Venice, but without the dedication. In fact, Caccini had not been commissioned to write the music for that occasion: in 1600 the official composer of the opera Euridice had been Jacopo Peri, whose version, with approximately one sixth of Caccini’s music – the parts sung by Caccini’s family members, including Euridice’s part – was performed in Florence on 6 October 1600. At this hybrid performance, parts of Giulio Caccini’s opera were heard for the first time. The only known full staging of Caccini’s opera took place on 5 December 1602 at Palazzo Pitti in Florence to honour Cardinal Montalto. It entertained the noble public for two hours. Considering the simplicity and shortness of the extant score, the performance cannot have been a simple one: it would have included repetitions, dances, and other unwritten additions. In the tradition of humanist Florentine circles, Ottavio Rinuccini’s libretto follows one of the most famous classical myths – the story of the divine singer Orpheus, which was particularly appropriate for a first attempt to resurrect the classical tragedy, believed to have been entirely sung. Yet Rinuccini was inspired not only by Ovid’s and Virgil’s narratives of the myth but also by Angelo Poliziano’s Favola di Orfeo and some other, earlier Renaissance sources. Thee story itself was partly changed and adapted to the occasion of an important state marriage, a common practice in later operatic texts as well. It tells only the first part of the myth, centred on the tragic loss of Eurydice and on Orpheus’ despair: on his ‘magic’ song that makes the underworld deities return his beloved to life. Omitting Eurydice’s second death, the opera has her and her Orpheus return to the meadow, where it ends with a happy chorus of nymphs and shepherds. Caccini’s Euridice did not have a wide dissemination in the early 17th century, but somehow the score (published in a single volume, as a score for a single voice and instrumental bass with some four- and five-part choruses) found its way into the music collection of the Cathedral of Ljubljana, where it was first recorded in 1620 as »Euridice Giulii Cazini in folio«. Another hand added »desunt«, meaning that the second review had found it missing. At the next review, however, a third hand added new information, »L’euridice composta Julii Caccini liber solus«, probably referring to the same copy – now found – rather than to a second copy. Unfortunately neither of the music items listed in the above-mentioned inventory survives, so these two short notes are the only testimony to an early presence of Giulio Caccini’s Euridice in Ljubljana. The article discusses some possible theories on why and how the score might have entered the Ljubljana inventory.
Isaac Posch "Crembsensis Kokole, Metoda
Die Musikforschung,
09/2021, Letnik:
52, Številka:
3
Journal Article
Zu den erhaltenen Urkunden des ehemaligen protestantischen Gymnasium poeticum in Regensburg, die heute im Archiv des Historischen Vereins für Oberpfalz in Regensburg verwahrt werden, gehören auch 24 ...Semesterberichte für den Zeitraum 1597-1612 (MS R. 285). In diesen taucht öfters der Name Isaac Posch aus Krems in Österreich auf, der offensichtlich mit dem Komponisten identisch ist, der später als Organist der Kärtner Landstädte in Klagenfurt tätig war.
bms online (Schöner, Oliver)
V slovenskih glasbenih knjižnicah in arhivih se je v okviru potekajočega raziskovalnega projekta doslej našlo 25 tiskanih del o glasbi, pet rokopisnih priročnikov ter številni fragmenti glasbene ...teorije in praktičnih vaj iz časa med 1650 in 1800. Tiski so bili sistemizirani v tri večje skupine: teoretsko spekulativna in splošno enciklopedična dela o raznih aspektih glasbe, učni priročniki, kot so dela o kontrapunktu in drugih skladateljskih tehnikah skupaj z napotki za izvajanje, ter nazadnje učbeniki koralnega petja in praktični napotki za petje ali igro na razne inštrumente, kot so glasbila s tipkami, violina in flavta.
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