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Stefano Landi (1587-1639) He was born in Rom. In 1595 he joined the Collegio Germanico in Rome as a boy soprano, and he may have studied with Asprilio Pacelli. Landi took minor orders in 1599 and began studying at the Seminario Romano in 1602. He is mentioned in the Seminary's records as being the composer and director of a Carnival pastoral in 1607; and in 1611 his name appears as an organist and a singer, though he was already maestro di cappella at S Maria della Consolazione in 1614. Agostino Agazzari was maestro di cappella at the Seminario Romano, and he may have been one of Landi's teachers as well. In 1618 he had moved to the north of Italy, and published a book of five-voice madrigals at Venice; apparently he had acquired a post as maestro di cappella at Padua. In addition he wrote his first opera in Padua, La morte d'Orfeo. Most likely it was used as part of the festivities for a wedding. His experience in Padua and Venice was essential for developing his style, since there he made contact with the work of the progressive Venetian School composers, whose music was generally avoided in conservative Rome. In 1620 Landi returned to Rome, where he spent the rest of his life, where his patrons included successively the Borghese family, Cardinal Maurizio of Savoy, and the Barberini family, who were to be his major employers throughout the late 1620s and 1630s, though he joined the papal choir in 1629 on half-salary. It was for the Barberini family that he wrote the work for which he is most famous, Sant' Alessio, in 1632. Throughout this period he was compositionally prolific, writing masses, arias, and responsories, mostly in the seconda pratica style of the early Baroque, a decision which was controversial with some of the more conservative musicians, who thought the prima pratica — the style of Palestrina — more appropriate for sacred music.

Curiously, Landi's secular music is more conservative than most of his sacred music, and his first book of madrigals, for five voices and basso continuo, is almost indistinguishable in style from many late 16th century collections, except for the basso continuo part. His other secular music consists of strophic airs, arias, and other songs for voice and basso continuo. Landi's masses, of which there are only two, are in the simple, 16th century style encouraged (and sometimes demanded) by the Counter-Reformation. However he uses the Venetian concertato style for some of his motets, as well as his Magnificat and Vespers psalm settings, probably as a result of the years he spent in northern Italy. By far his most famous composition, and one of the most significant operas of the early Baroque, is his setting of the life of fifth-century Saint Alexis, Il Sant' Alessio. Not only is it the first opera to be written on a historical subject, but it carefully describes the inner life of the saint, and attempts psychological characterization of a type new to opera. Most of the interspersed comic scenes, however, are anachronistically (and hilariously) drawn from contemporary life in 17th century Rome. The part of Sant'Alessio himself is extremely high, and was meant to be sung by a castrato. At the initial performance, half of the singers were from the papal choir, and there were several soprano parts sung by other castrati. The accompanying orchestra is up-to-date, dispensing with the archaic viols and using violins, cellos, harps, lutes, theorbos, and harpsichords. The opera includes introductory canzonas which function as overtures; indeed they are the first overtures in the history of opera. Dances and comic sections mix with serious arias, recitatives, and even a madrigalian lament, for an overall dramatic variety which was extremely effective, as attested by the frequent performances of the opera at the time. Sant'Alessio was one of the first staged dramatic works successfully to mix both the monodic and polyphonic styles.

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La morte d'Orfeo, tragicomedia pastorale (1619). Escena tercera del acto primero.

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Il Saint' Alessio, dramma musicale (Historia Sacra) (1632) Final.

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Última edición por Zelenka el 24 May 2014 10:35, editado 1 vez en total

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Helmut (Friedrich) Lachenmann (1935) Nació en Stuttgart. Terminada la Segunda Guerra Mundial y habiendo mostrado una temprana aptitud para la música, comenzó a cantar en el coro de su iglesia local cuando tenía once años y ya escribía sus propias composiciones durante su adolescencia. Estudió piano con Jürgen Uhde y composición y teoría musical con Johann Nepomuk David en la Stuttgarter Musikhochschule desde 1955 hasta 1958, siendo el primer estudiante privado de Luigi Nono en Venecia de 1958 a 1960. De Nono adquirió la convicción de que la música pretendería servir un mensaje de relevancia social. También trabajó durante un breve espacio de tiempo en el estudio de música electrónica de la Universidad de Gante en 1965, si bien seguidamente concentró todo su interés casi exclusivamente en la música puramente instrumental.

Lachenmann ha descrito sus composiciones como música concreta instrumental, lo cual implica un lenguaje musical que abarca la totalidad del mundo sonoro hecho accesible mediante técnicas interpretativas no convencionales. Según el compositor, es música en la que los eventos sonoros son elegidos y organizados de modo que la forma en que son generados sea tan importante, al menos, como las propias cualidades acústicas resultantes. En consecuencia, dichas cualidades, como el timbre, el volumen, etc., no producen sonidos for their own sake, sino que describen o denotan la situación concreta: escuchando, tú oyes la condiciones bajo las cuales se realiza una acción sonora o de ruido, escuchas qué materiales y energías son puestos en juego y qué resistencia encuentran. Su música deriva, por lo tanto, en primera instancia de los sonidos más básicos, los cuales, mediante procesos de amplificación, sirven de base para obras extensas. Sus interpretaciones requieren el concurso de un enorme número de ejecutantes, debido a la plétora de técnicas que Lachenmann ha ideado para los instrumentos de viento, metal y cuerda.

Sus obras más importantes incluyen el trabajo musical para teatro Das Mädchen mit den Schwefelhölzern (1990-96, basado en Hans Christian Andersen, Leonardo da Vinci y Gudrun Ensslin), las piezas orquestales Schwankungen am Rand (1974-75, para ocho instrumentos de metal, dos guitarras eléctricas, dos pianos, cuatro láminas metálicas y 34 instrumentos de cuerda), Accanto (1975-76, para clarinete, gran orquesta y cinta magnetofónica) y NUN (1997-99, para flauta, trombón, coro masculino y gran orquesta), los trabajos Mouvement (- vor der Erstarrung) (1982-84, para tres intérpretes ad hoc y catorce músicos) y "...zwei Gefühle...", Musik mit Leonardo (1992, un extracto de Das Mädchen mit den Schwefelhölzern, según Leonardo da Vinci, para dos narradores y 22 intérpretes) y tres cuartetos de cuerda (Gran Torso, 1971, revisado en 1976, 1988; Reigen seliger Geister, 1989; Grido, 2001), así como otros trabajos para orquesta, ensemble y cámara, y seis piezas para piano. Lachenmann ha impartido cursos regularmente en Darmstadt desde 1978 y ha sido profesor de composición en la Stuttgarter Musikhochschule desde 1981 hasta 1999. Es igualmente notable por sus abundantes artículos, ensayos y conferencias, muchos de los cuales han sido publicados en Musik als existentielle Erfahrung (La música como experiencia existencial) (Breitkopf & Härtel, Wiesbaden, 1996).

Das Mädchen mit den Schwefelhölzern, Musik mit Bildern (1988-1996). Comienzo.

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Última edición por Zelenka el 24 May 2014 10:38, editado 1 vez en total

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Graxxxx Zelenka
Il Saint' Alessio conozco esta obra, La morte d'Orfeo es una bellezaaaaa.
\:D/


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La obra de Lachenmann es impresionante, no te deja un momento de reposo. Una auténtica inyección de adrenalina. Espero que le guste a algún forero.


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delaforce escribió:
La obra de Lachenmann es impresionante, no te deja un momento de reposo. Una auténtica inyección de adrenalina. Espero que le guste a algún forero.

I like it.


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William Boyce (1711-1779) He was born in Maiden Lane in the City of London. William was the son John Boyce, a cabinet maker, and his wife Elizabeth. They had moved to Maiden Lane in the first half of 1711 shortly before William's birth. In February 1722 William Boyce's father was appointed Beadle to the Joiners' Company. The post carried with it accommodation for the Beadle's family in the Joiners' Hall. At the age of twelve William began his musical education when he became a chorister of St. Paul's Cathedral under the musical direction of Charles King. When William's voice broke he was accepted as a pupil to the composer Maurice Greene who was the Cathedral organist. At the age of 24 Boyce took up his first musical post as organist at Oxford Chapel, Vere Street, Cavendish Square, London. He was taught at this time by the German born composer John Pepusch who gave him his great love for church music of the past. Boyce taught the harpsichord at various nearby schools. About this time his hearing became gradually impaired. A tragedy that did not lessen his love for his musical studies. On 1736 he became composer to the Chapel Royal. In this post he composed some of his greatest anthems and church music. This was also the year in which Boyce composed the oratorio, David's Lamentation over Saul and Jonathan with words written by his friend John Lockman. In 1739 Boyce composed his Ode for St. Cecilia's Day to a text by his friend, the amateur poet John Lockman. In writing this Ode Boyce followed in the footsteps of his two chief teachers, Greene and Pepusch who also wrote music in St. Cecelia's honour. 1747 saw the only publication of any of his chamber music. This was his sonatas for two violins with 'cello or harpsichord. It confirmed his position as one of the leaders of English musical life.

In the summer of 1748 he married a lady named Hannah - her surname remains unknown. They started their married life in a house in Quality Court, Chancery Lane. Hannah presented her husband with a daughter and a son, William, fifteen years later. Their son went on to become famous in the music world as a double-bass player in the London orchestras. In 1749 a new organ was installed in the church of Allhallows the Great and Less in Thames Street. Boyce was chosen as organist. In the same year he wrote the music for an ode written by William Mason for the installation of the Duke of Newcastle as chancellor of the University of Cambridge. Boyce died at the age of 67 (of gout according to John Hawkins) and was buried under the centre of the dome of St. Paul's Cathedral on the morning of Tuesday 16th February. The combined choirs of St. Paul's, Westminster Abbey and the Chapel Royal sung at his funeral service, which included his anthem If we believe that Jesus died. In the arrangements drawn up for the service it states that, "After the morning service is ended, the Corpse is to be carried down to the vault during which time Mr. Jones will perform with the organ a solemn March composed by Dr. Boyce". This was the March from his Fourth Trio Sonata and was played by John Jones (1728-1796) the Cathedral organist. In the year following his death his wife published her husband's Fifteen Anthems and a Te Deum and Jubilate and in 1790 published a second volume.

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Peleus and Thetis, Masque (before 1740). Aria, To love and to langish. Aria, Armed with love.

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Última edición por Zelenka el 24 May 2014 10:41, editado 1 vez en total

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muy interesante! :D

el Boyce este es horrendo pero me gusta la musica :lol:

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Al lampo dell'armi quest'alma guerriera vendetta farà.


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Jean Julius Christian Sibelius (1865-1957) Sibelius is perhaps the most important composer associated with nationalism in music and one of the most influential in the development of the symphony and symphonic poem. Sibelius was born in southern Finland, the second of three children. His physician father left the family bankrupt, owing to his financial extravagance, a trait that, along with heavy drinking, he would pass on to Jean. Jean showed talent on the violin and at age nine composed his first work for it, Rain Drops. In 1895 Sibelius entered the University of Helsinki to study law, but after only a year found himself drawn back to music. He took up composition studies with Martin Wegelius and violin with Mitrofan Wasiliev, then Hermann Csillag. During this time he also became a close friend of Busoni. Though Sibelius auditioned for the Vienna Philharmonic Orchestra, he would come to realize he was not suited to a career as a violinist.

In 1889 Sibelius traveled to Berlin to study counterpoint with Albert Becker, where he also was exposed to new music, particularly that of Richard Strauss. In Vienna he studied with Karl Goldmark and then Robert Fuchs, the latter said to be his most effective teacher. Now Sibelius began pondering the composition of the Kullervo Symphony, based on the Kalevala legends. Sibelius returned to Finland, taught music, and in June 1892, married Aino Järnefelt, daughter of General Alexander Järnefelt, head of one of the most influential families in Finland. The premiere of Kullervo in 1893 created a veritable sensation, Sibelius thereafter being looked upon as the foremost Finnish composer. The Lemminkäinen suite, begun in 1895 and premiered in 1896, has come to be regarded as the most important music by Sibelius up to that time. In 1897 the Finnish Senate voted to pay Sibelius a short-term pension, which some years later became a lifetime conferral. The honor was in lieu of his loss of an important professorship in composition at the music school, the position going to Robert Kajanus. The year 1899 saw the premiere of Sibelius' First Symphony, which was a tremendous success, to be sure, but not quite of the magnitude of that of Finlandia (1899; rev. 1900).

In the next decade Sibelius would become an international figure in the concert world. Kajanus introduced several of the composer's works abroad; Sibelius himself was invited to Heidelberg and Berlin to conduct his music. In March 1901, the Second Symphony was received as a statement of independence for Finland, although Sibelius always discouraged attaching programmatic ideas to his music. His only concerto, for violin, came in 1903. The next year Sibelius built a villa outside of Helsinki, named "Ainola" after his wife, where he would live for his remaining 53 years. After a 1908 operation to remove a throat tumor, Sibelius was implored to abstain from alcohol and tobacco, a sanction he followed until 1915. It is generally believed that the darkening of mood in his music during these years owes something to the health crisis.

Sibelius made frequent trips to England, having visited first in 1905 at the urging of Granville Bantock. In 1914 he traveled to Norfolk, CT, where he conducted his newest work The Oceanides. Sibelius spent the war years in Finland working on his Fifth Symphony. Sibelius traveled to England for the last time in 1921. Three years later he completed his Seventh Symphony, and his last work was the incidental music for The Tempest (1925). For his last 30 years Sibelius lived a mostly quiet life, working only on revisions and being generally regarded as the greatest living composer of symphonies. In 1955 his 90th birthday was widely celebrated throughout the world with many performances of his music. Sibelius died of a cerebral hemorrhage in 1957.

Robert Cummings

Jungfrun i tornet ópera en un acto (1896). Fragmento.

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Última edición por Zelenka el 24 May 2014 10:44, editado 1 vez en total

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Francesco Bartolomeo Conti (1681- 1732) He was born in Florence. From 1701 until 1726 he was first associate theorbist, then principal theorbist at the Habsburg court in Vienna. He was also, from 1713, the court composer, succeeding Fux in this position. In this latter capacity, he was responsible for the single most important event of the year, namelt the opera for the carnival season. He relinquished his position of theorbist in 1726 on the grounds of ill-health, and had gone to Italy by 1729. He returned to Vienna in 1732 and produced two new dramatic works before his death in mid-year. Conti composed mostly dramatic works, both operas (including intermezzos; about thirty in all) and oratorios (about ten) to librettos by Pariati (Galatea vindicata, 1719; rev. 1724), Zeno (Griselda, 1725; the oratorio David, 1724) and others. He also composed chamber cantatas; Masses and other sacred works for voices with instruments; a few purely instrumental works, one for mandolin solo. Notwithstanding Conti's position as a theorbist, his compositions rarely make use of the instrument, even in the continuo ensemble.

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David, azione sacra per musica (1724). Aria, Contra un padre ingiusto e crudo. Aria; Non so, se al sussurrar magiche note.

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Última edición por Zelenka el 24 May 2014 11:03, editado 1 vez en total

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¿Qué tal por Siberia? :twisted:


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Y como va a andar por Siberia un asesinado? Ni en este foro se te quita :P


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Jakob Ludwig Felix Mendelssohn-Bartholdy (1809-1847) Nació en Hamburgo. Nieto del famoso filósofo judío Moses Mendelssohn, adoptó su segundo apellido, Bartholdy, cuando la familia recibió una herencia de un pariente con este apellido, aunque normalmente se le conoce por su primer apellido. En su infancia toda la familia se convirtió al protestantismo. Fue de genio precoz, de niño conoció a Goethe y recibió una cuidada educación. A los 9 años Mendelssohn debutó como pianista y a los 11 años interpretó su primera composición. Compuso la obertura Ein Sommernachtstraum cuando tenía 17 años. Tuvo como profesores al compositor y pianista checo Ignaz Moscheles y al compositor alemán Carl Zelter. A Mendelssohn se le atribuye el haber redescubierto la obra de Johann Sebastian Bach, al estrenar en 1829 su Pasión según san Mateo.

Como pianista y director realizó giras por Europa, sobre todo por Inglaterra, donde era muy admirado por la reina Victoria y el príncipe Alberto. Trabajó como director musical de la ciudad de Düsseldorf (1833-1835), director de la Gewandhaus de Leipzig (a partir de 1835) y director musical del rey Federico Guillermo IV de Prusia (a partir de 1841). En 1842 colaboró en la fundación del Conservatorio de Leipzig. La muerte de su hermana preferida, Fanny Mendelssohn Hensel, le afectó mucho y falleció dos meses después en Leipzig. A pesar de su incansable actividad como pianista, director y profesor, Mendelssohn fue un compositor prolífico. De sus 5 sinfonías destacan la Sinfonía italiana (1833) y la Sinfonía escocesa (1843). Su música coral y para órgano, de las más destacadas del siglo XIX, incluye los oratorios Paulus (1836) y Elías (1846) para coro y orquesta, la cantata Erste Walpurgisnacht (1832, revisada en 1843), y sus sonatas, preludios y fugas para órgano, que constituyen la aportación más importante al repertorio de órgano desde Johann Sebastian Bach. Destacan asimismo las Variations sérieuses (1841) para piano, oberturas para concierto, conciertos para violín (1844) y para piano (1831, 1837) y ocho volúmenes de Romanzas sin palabras para piano (1830-1845).

Su romanticismo se aprecia con claridad en el uso del color orquestal y en su tendencia hacia una música programática que describe lugares, sucesos o personas. Desde el punto de vista estructural Mendelssohn utiliza las formas musicales clásicas con un lirismo, una elegancia y un lenguaje armónico que le sitúa entre los compositores más conservadores de su época. En ocasiones al caracterizar el estilo de Mendelssohn suele insistirse en esta última circunstancia, su apego a la forma y a los valores musicales heredados.

epdlp

Die Hochzeit des Camacho, ópera en dos actos (1825). Fragmento del acto primero.

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Última edición por Zelenka el 24 May 2014 11:07, editado 1 vez en total

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Muchísimas gracias.
¿Está las fichas de Julius Benedict y Max Bruch previstas para un futuro próximo?


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Acaso están grabadas esas óperas? :shock:


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¡Que bien está este hilo! Aunque voy retrasadísima, leyéndolo a "salto de mata". Espero leerlo y disfrutarlo este verano. No lo vayáis a quitar \:D/


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