Download The Chamber Cantatas of Antonio Vivaldi by Michael Talbot PDF

By Michael Talbot

Vivaldi's chamber cantatas for solo voice, a few 40 in overall, are gradually gaining in acceptance: yet due to their rather small position within the oeuvre of a composer famed for his productiveness, and likewise as a result of the overall scholarly forget in their style, they're little mentioned within the literature. This booklet comprehensively explores their literary and musical heritage, their relation to the composer's biography, the chronology in their composition, and their musical features. every one cantata is mentioned separately, yet there's additionally a broader attention of features referring to them jointly, akin to functionality perform, topical allusion, and the conventions of Italian verse. the writer argues that whereas Vivalid's cantatas are usually not as leading edge as his concertos and operas, he produced numerous masterpieces within the style that rank along with his most sensible song. MICHAEL TALBOT is Emeritus Professor of tune on the college of Liverpool.

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By and large, however, Ryom’s verdicts on authenticity are accepted. The catalogue numbers are ordered not chronologically, as in Köchel numbers for Mozart or Deutsch numbers for Schubert, but according to genre and/or scoring. 41 The Table de concordances already contains one ‘late’ entry, the soprano cantata Prendea con man di latte, RV 753 (which later research has shown to be spurious); the last few years have seen the addition of two further soprano cantatas: Usignoletto bello, RV 796, and Tremori al braccio e lagrime al ciglio, RV 799.

39 RV numbers are divided into a main series, which in recent years has topped 800, and a supplement, or Anhang. In principle, the first contains authenticated works, while the second gathers up works that have been attributed to Vivaldi (in some source, at some point in history) but are reckoned spurious. It goes without saying that individual cases are contested, in the sense that any Vivaldi scholar (the present writer is no exception) might wish an item in one category to be transferred to the other.

It goes without saying that individual cases are contested, in the sense that any Vivaldi scholar (the present writer is no exception) might wish an item in one category to be transferred to the other. By and large, however, Ryom’s verdicts on authenticity are accepted. The catalogue numbers are ordered not chronologically, as in Köchel numbers for Mozart or Deutsch numbers for Schubert, but according to genre and/or scoring. 41 The Table de concordances already contains one ‘late’ entry, the soprano cantata Prendea con man di latte, RV 753 (which later research has shown to be spurious); the last few years have seen the addition of two further soprano cantatas: Usignoletto bello, RV 796, and Tremori al braccio e lagrime al ciglio, RV 799.

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