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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*Also you can pay a visit to my Personal Blog and the Other One.

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Anonymous (c.1700)

Mareta, Mareta Nom Faces Plorar

by Hesperion XXI

My PC exploded… That’s the reason that I’m not here…

Hope back soon. 

Love for everybody ♥.

Carl Philipp Emanuel Bach (1714-1788) (German)

Sinfonia in B minor Wq185 No.5

by Il Giardino Armonico

Lonely Room by Felven

William Byrd (1540-1623) (English)

Hugh Ashton’s Grownde/Tregian’s Ground, BK20 (Ground with 12 variations).

by Davitt Moroney


(…) The bass used in this ground is derived from one found in a set of consort variations entitled Hugh Aston’s Maske, a work by [Hugh] Aston (c.1485-1558) probably based on a pre-existent popular bass tune.
Byrd’s work probably dates from the late 1570s. It is perhaps his only composition to exploit a high G sharp, a note that did not exist on most keyboards of the time. The composer may therefore have written it for a special instrument or a special patron. Could this be why it is called Tregian’s Ground in the FVB? Indeed, only Nevell calls it Hugh Ashton’s Grownde. The two titles need not be incompatible since the piece could have been written by Byrd for a member of the Catholic Tregian family, but built on Hugh Aston’s bass.

Davitt Moroney (source)

Gioachino Rossini (1792-1868) (Italian)

Petite Messe Solennelle
I.- Kyrie & Christe

by by Chorus and Academy of St. Martin in the Fields (Sir Neville Marriner)

"Good God—behold completed this poor little Mass—is it indeed sacred music that I have just written, or merely some damned music. You know well, I was born for opera buffa. Little science, a little heart, that is all. So may you be blessed, and grant me Paradise!"

Stefano Landi (1587-1639) (Italian)

from Opera Sant’ Alessio
O Morte Gradita

by Philippe Jaroussky & Les Arts Florissants (William Christie, Directed by Benjamin Lazar)

For him who has suffered, death is repose…

Oh welcome Death,
I long for you, I await you,
Your path leads us from grief to delight
Out of the prison of mankind
You alone make smooth the passage of life.
Oh welcome Death

Oh sweet Death,
Consolation of the just,
You guide the soul’s ship into harbour.
With your key of ice
You unlock the gates to another world.
Oh sweet Death!

-Like a moving painting

Nicola Porpora (1686-1768) (Italian)

Salve Regina a 4 voci.

Capella S. Cecilia, Orchestra del Teatro del Giglio di Lucca (Gianfranco Cosmi)

*With the gregorian incipit.

Francisco Laporta Valor (1850 – 1914) (Spanish)

Rosa Mística

Let me share you my personal blog.

Six random facts:

• I like almost any kind glass bottles so much. I’m used to collect them but I threw them away when I realise that I don’t have a good idea to re-use them.

• 6 Years ago I thought I was transexual.

• I bite my nails.

• My favorite movie is The Sound of Music.

• I love milk (although I know is not good at my age).

• I want to draw professionally… But I don’t practice as if I would.

Tagged by beatusmusicus♥.

I tag madamescherzo, sergiointhelife, thisismythirdblog (although you was tagged before) andantefavori, arcadiainteriorana and gay-hopeless-romantic.

Alberto Ginastera (1916-1983) (Argentine)

Danzas Argentinas (Argentin Dances) Op.2
I.- Danza del Viejo Boyero (Dance of the Old Herdsman)

by Valentina Babor

"You should post nudes." • Anonymous.

You should send yours

Henry Purcell (1659-1695) (English)

A Prince of Glorious Race

by Camille Ruiz (Unpolite Funky Klub)

A prince of glorious race descended
At his happy Birth attended
With rosy, smiling hours, to show
He will golden days bestow.

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.


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)