Francesco Cavalli (1602-1676) - Messa concertata a 8 скачать в хорошем качестве

Francesco Cavalli (1602-1676) - Messa concertata a 8

Buon compleanno Francesco Cavalli! 🙏🏼🎭 Composer: Francesco Cavalli (1602-1676) Work: Messa concertata a 8 'Musiche sacre concernenti messa, e salmi concertati con istromenti, imni, antifone & sonate, a due, 3. 4. 5. 6. 8. 10. e 12. voci' (1656) Performers: I Concertanti; Roberto Solci (conductor) Messa concertata a 8 1. Kyrie 0:00 2. Gloria 6:45 3. Credo 21:59 4. Sanctus 35:19 5. Agnus Dei 38:49 Painting: Melchior Michael Steidl (1657-1727) - Musica HD image: https://flic.kr/p/2rWBBE7 Further info: https://www.amazon.com/dp/B0000288CN Listen free: https://open.spotify.com/album/2AhAAK... --- (Pietro, Pier) Francesco Cavalli [Caletti, Caletto, Bruni, Caletti-Bruni, Caletto Bruni] (Crema, 14 February 1602 - Venice, 14 January 1676) Italian composer, organist and singer. Born to Italian composer and organist Giovanni Battista Caletti (1577-c.1642), he attracted the attention of the Venetian governor of Crema, Federico Cavalli, who brought this remarkable boy soprano to Venice and placed him in the chapel choir at San Marco on 18 December 1616. Francesco adopted his patron’s surname. On 18 May 1620, he was appointed organist at the Church of San Giovanni e Paolo. He resigned on 4 November 1630. Apparently, he no longer needed the position because he had married Maria Sozomeno on 7 January 1630, the widow of a wealthy Venetian, Alvise Schiavina. In 1647, they rented a palazzo on the Grand Canal. She died in 1652, leaving no children but most of her property to him, and Cavalli remained in the house until his death. Her landholdings and dowry of 1,200 ducats allowed the composer to invest early in the nascent public operas of Venice, beginning on 14 April 1638, when he signed an agreement to produce operas at the first public opera house, Teatro San Cassiano. The first Cavalli opera, Le Nozze di Teti e di Peleo, opened on 24 January 1639. At San Marco, Claudio Monteverdi had been Cavalli’s maestro di cappella since the boy’s arrival in 1616. Whether Cavalli studied formally with the master is unknown, but it seems clear that Cavalli assisted with the composition of some details of Monteverdi’s final opera L’Incoronazione di Poppea (1642). Earlier, Cavalli had competed for the post of second organist at the basilica and was appointed on 23 January 1639. Although his salary rose from 140 ducats to the maximum of 200 by 1653, higher than the first organist, Massimiliano Neri, and in practice, he played the role of first organist, he was not officially appointed first organist until 11 January 1665, after Neri’s departure. By that point, Cavalli’s fame as an opera composer had been spread across Europe by traveling opera companies performing his works. Egisto provided Paris with one of its first experiences of music drama in 1646, and it may have also reached Vienna. From 1652, he attracted commissions from opera houses in other cities: Naples, Milan, and Florence. His 1648 opera Giasone became so popular that it remained in the traveling repertory until the end of the 17th century. Xerse and Erismena were also staples of Venetian opera, all characterized by faster, more complex, and more comic plots than were typical of the court and academic operas earlier in the century. In April or May 1660, Cavalli, who generally traveled little, went to Paris at the invitation of Cardinal Mazarin to compose Ercole Amante. Preparations for the spectacle delayed production, and in the interim, Cavalli’s 1654 opera Xerse was given in the Louvre with the title role changed from soprano to baritone, the original three acts redistributed to five, and with new entrées de ballet composed by Jean-Baptiste Lully. Cavalli returned to Venice in summer 1662. On 28 November 1668, he succeeded Giovanni Rovetta as maestro di cappella at San Marco and spent his last years concentrating on sacred music, publishing his Vesperi in 1675. He was buried in the church of San Lorenzo in Venice. As a composer, his more than 30 operas dominated the Venetian musical theater from 1639 to 1669 and defined more than anyone what is meant by “Venetian opera.” He also published collections of sacred music. Francesco Cavalli was the most performed, and perhaps the most representative, composer of opera in the quarter-century after Monteverdi and was a leading figure, as both composer and performer, in Venetian musical life.