24 Italian Songs and Arias - Medium High Voice (Book only): - download pdf or read online

By Hal Leonard Corp.

ISBN-10: 0793510066

ISBN-13: 9780793510061

For good over a century, the G. Schirmer variation of 24 Italian Songs & Arias of the seventeenth and 18th Centuries has brought thousands of starting singers to severe Italian vocal literature. provided in available keys appropriate for all singers, it really is more likely to be the 1st book a voice instructor will ask a first-time pupil to buy. The vintage Parisotti realizations bring about wealthy, pleasurable accompaniments which permit singers natural musical leisure. For ease of perform, rigorously ready accompaniments also are to be had that have been recorded through John Keene, a brand new York-based live performance accompanist and vocal trainer who has played during the usa for radio and tv. informed on the college of Southern California, Keene has taught accompanying on the college point and collaborated with Gian Carlo Menotti and Thea Musgrave on productions in their operas.

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Extra resources for 24 Italian Songs and Arias - Medium High Voice (Book only): Medium High Voice (Schirmer's Library of Musical Classics)

Sample text

The Te Deum and Jubilate were not, in the event, performed at the Chapel Royal on the Thanksgiving Day but a week later: ‘Tuesday 11 December 1694. Sunday last was performed before their majesties in the chappel royal the same vocal and instrumental musick as was performed at St. Bride’s Church on St. ’43 This appears to have been the only occasion on which King William III heard orchestrally accompanied church music in his Chapel Royal. Unfortunately the deaths of Queen Mary and Henry Purcell within the following twelve months prevented this innovation from being followed up further within the Chapel.

From 1483 the clerks, some of them singers and some in priests’ orders, were called Gentlemen. In the Eltham Palace Ordinances of 1526 King Henry VIII reduced the travelling component of the Chapel, which had the compensatory effect of tying the full permanent establishment to the principal London palace. From 1603 the Dean was regularly selected from the ranks of the Bishops and, even though the Chapel had by that date become less nomadic than in medieval times and bishops were not inevitably tied to their diocesan seats, the divided duties of the Dean inevitably resulted in the gradual shifting of responsibility for the routine running of the Chapel onto the Sub-Dean.

15 The distribution of the performers may have been established by the double-choir ‘Gloria Patri’ to Nisi Dominus. 16 HG 38, pp. 85–9; see also Nisi Dominus, ibid. 128. 17 Ibid. 104. 1, fo. 66v) it appears that Handel wrote ‘Capella’ first and added ‘tutti’ as an afterthought. 18 Caldara held office at the Mantuan court until 1707, and became Prince Ruspoli’s maestro di cappella at Rome in Mar. 1709, at the end of Handel’s period of association with Ruspoli. Although Caldara may have been influenced by Handel, his style was formed earlier, largely under the influence of Legrenzi.

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24 Italian Songs and Arias - Medium High Voice (Book only): Medium High Voice (Schirmer's Library of Musical Classics) by Hal Leonard Corp.


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