Der Frustrated Harpsichordist

Mike, Male, 24yrs, Aquarius, Mexican, Musician: Theory and History, Mostly Baroque Music, Among Other Things... Since Jan/2011

Hope you enjoy the miracle of ancient music.

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Stefano Landi (1587-1639) (Italian)

A Che Piu l’Arco Tendere

by L’Arpeggiata

Francesco Manelli (1594-1667) (Italian)

La Luciata

by Antonio Florio (Capella della Pieta de Turchini)

Der Frustrated Harpsichordist: About Pur ti Miro, duet from the Monteverdi’s Opera L’Incoronazione di Poppea.

(…) When he identified the music of still another younger composer, Francesco Sacrati, in Incoronazione, Alan Curtis concluded that the 1643 Venetian production of Incoronazione, like La Finda savia, an opera performed during the same season, at the same theater, presumably by the same troupe, must have been a collaborative effort, a pasticcio.

(…)It is ironic, too, that the youthfulness so prized in Incoronazione, especially in its final duetm could turn out to have been just that: but not Monveterdi’s. “Pur ti miro” (and possibly more than that) may well be the work of a composer who was really young at the time it was composed, as were Sacrati, Ferrari and Laurenzi.

Monteverdi’s Last Operas: A Venetian Trilogy (pp.37)
by Ellen Rosand (link)

The source exhibits a debate among authors about the authorship of the work, in which exist more evidence that it’s not Monteverdi. 

Additionally ♥, in the repertoire of Benedetto Ferrari there is Queste Pungente Spine (which draws the image of Christ tortured) on the same descending ostinato most passacaglia with a similar treatment, also present in the cantata (this) La Luciata Francesco Manelli, both composers were responsible for bringing opera to the first public opera theater (San Cassian in Venice). Here are the links. 

♫ Pur ti Miro.

♫ Queste Pungente Spine.

The bass used is contrastant to the lament one (as well descending but in minor, as the Lament of the Nymph of Monteverdi), the passacaglia in mayor key symbolizes both love and pain.

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Sobre Pur ti Miro, dueto de la opera de Monteverdi L’incoronazione di Poppea

”(…) Cuando se identificó en incoronazione la música de otro compositor joven, Francesco Sacrati, Alan Curtis concluyó que la producción Vececiana de esta, como La Finta Savia (una opera presentada durante la misma temporada, en el mismo teatro, presumiblemente de la misma compañia) debió ser un esfuerzo colaborativo, un pasticcio.
(…) Es irónico tambien que la muy apreciada juventud en Icoronazione, especialmente en el dueto final, pudo haber sido sólo eso: más no de Monteverdi. Pur ti Miro (y posiblemente más que eso) pudo ser el trabajo de un compositor que era realmente joven en el tiempo en que fue compuesto, así como Sacrati, Ferrari y Laurenzi.”

Monteverdi’s Last Operas: A Venetian Trilogy (pp.37)
por Ellen Rosand (Enlace)

La fuente expone un debate entre autores sobre la autoría de la obra, con evidencias que ponen en duda que haya sido Monteverdi.

Adicionalmente, dentro del repertorio de Benedetto Ferrari se encuentra Queste Pungente Spine (que dibuja la imagen de Cristo torturado), sobre el mismo ostinato descendente de passacaglia mayor, presente también en la cantata La Luciata de Francesco Manelli, ambos responsables de llevar la opera al primer teatro público de opera (San Casiano en Venecia). Dejo los respectivos enlaces.

Pur ti Miro.

Queste Pungente Spine .

El bajo utilizado contrasta con el usando en los lamento (que es menor, como el Lamento de la Ninfa de Monteverdi), la pasacaglia en mayor simboliza tanto el amor como el dolor.

Claudio Monteverdi (1567-1643) (Italian)

Amor (Lamento della Ninfa)

by Christina Pluhar (L’Arpeggiata)

(Source: debourbon)

Johann Sebastian Bach (1685-1750) (German)

Fugue from Clavichord Toccata in G minor BWV 915

by Trevor Pinnock (Harpsichord)

The Danse Macabre of Weimar by Boby3000

Johann Adolph Hasse (1699-1783) (German)

Sinfonía in G minor Op. 5 Nº6
I.- Allegro

by Pablo Heras-Casado, Bejun Mehta (Concerto Köln)

Giorgio Mainerio (1530-1582) (Italian) [Compiled and arranged by]

from  Il Primo Libro de Balli
XII.- Schuiarazula Marazula

by Dorothee Oberlinger

This dance was part of an ancient pagan ritual in which the dancers summoned the rain in Pentecostes midnight. It was forbidden by the Inquisition circa 1645.

image

Beach Bonfire by Jo

Henry Purcell (1659-1695) (English)

from The Fairy Queen Z.629
13. One Charming Night

by L’Arpeggiata

One charming night
Gives more delight
Than a hundred lucky days:
Night and I improve the taste,
Make the pleasure longer last
A thousand, thousand several ways.

Silvius Leopold Weiss (1687-1750) (Polish/German)

Suite Nº7 en D minor
VII. Gigue

by Michekl Gardin

by Thoman Riecken

José de Nebra (1702-1768) (Spanish)

from Zarzuela “Vendado es amor, no es Ciego”
Temprestad Grande Amigo

by Pablo Heras-Casado (Concerto Köln)

Wolfang Amadeus Mozart (1756-1791) (Austrian)

V. Laudate Dominum.
from Vesperae Solennes de Confessore K 339

by Emma Kirby & Christopher Hogwood

image

by Thomas Mangan.

Diego Ortiz (1510-1570) (Spanish)

Passamezzo Antico: Zarabanda

by Jordi Savall (Hespèrion XXI)

Antonio Vivaldi (1678-1741) (Italian)

from L’incoronazione di Dario (RV 719)
Non lusinghi il core amante

by Michel Verschaeve & Gilbert Bezzina (Ensemble Baroque de Nice) [a bit acelerated]

Hiss, a Gropher Snake by Patrick Berden

Claude Balbastre (1724-1799) (French)

La d’Héricourt 

by Skip Sempé

image

by sarahtude.

I’m back <3

Without internet conection (again!!!)… Eventually I’ll Bach.

MaLipstick~♥

Antonio Vivaldi (1678-1741) (Italian)

from Opera Orlando Furioso
Costanza tu m’insegni

by Lorenzo Regazzo & Jean-Christophe Spinosi (Ensemble Matheus)

Constancy you teach me
and want to keep hoping,
when those eyes proud and severe
don’t give to my pains a glance.
Although sometimes submerged in hope
my thoughts sigh and comfort me.

image

The Gift by Michael Forsberg