Kyrie Und Gloria. Par LOTTI ANTONIO. Antonio Lottis Kyrie in g-Moll und Gloria in G-Dur sind in einer Partitur aus dem Besitz des Dresdner Kirchenmusikers Jan Dismas Zelenka unter dem Titel 'Missa Sapentiae' vereinigt. / Messe / Répertoire / Solistes SATB, Choeur SSATTB, Flûte Traversière, 2

Kyrie Und Gloria. Par LOTTI ANTONIO. Antonio Lottis Kyrie in g-Moll und Gloria in G-Dur sind in einer Partitur aus dem Besitz des Dresdner Kirchenmusikers Jan Dismas Zelenka unter dem Titel 'Missa Sapentiae' vereinigt. / Messe / Répertoire / Solistes SATB, Choeur SSATTB, Flûte Traversière, 2

Kyrie Und Gloria. Par LOTTI ANTONIO. Antonio Lottis Kyrie in g-Moll und Gloria in G-Dur sind in einer Partitur aus dem Besitz des Dresdner Kirchenmusikers Jan Dismas Zelenka unter dem Titel 'Missa Sapentiae' vereinigt. / Messe / Répertoire / Solistes SATB, Choeur SSATTB, Flûte Traversière, 2

Kyrie Und Gloria. Par LOTTI ANTONIO. Antonio Lottis Kyrie in g-Moll und Gloria in G-Dur sind in einer Partitur aus dem Besitz des Dresdner Kirchenmusikers Jan Dismas Zelenka unter dem Titel 'Missa Sapentiae' vereinigt. / Messe / Répertoire / Solistes SATB, Choeur SSATTB, Flûte Traversière, 2

Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). Par ANTONIO VIVALDI. 'With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed. '/ Répertoire / Chant et Orchestre

Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

(from Studentenmesse)-From the final portion from the Gloria of Lotti's Studentenmesse this is a beautiful example of his use of imitation and makes an excellent choice for contest or festival. Discovery Level 2.Available separately: 3-Part Mixed acappella and VoiceTrax CD. Performance Time: Approx. 1:00.

Tonalité : A-Moll -. Par LOTTI ANTONIO. Durch die Besetzung allein mit Frauenstimmen ist dies eine Messe, die auch bei den zum Teil dürftigen Verhältnissen der heutigen Kirchenchöre eine Aufführung ermöglicht. Die Anforderungen sind sowohl im Stimmumfang als auch bei der Gestaltung des Stückes für einigermaßen geübte Chorsänger sehr gut machbar. / Messe / Répertoire / Choeur TTB

Tonalité : G-Dur -. Par LOTTI ANTONIO. Kantaten - Langue : Latin/ Répertoire / Solo A, 2 Violons, Alto et Basse Continue

Tonalité : A-Moll -. Par LOTTI ANTONIO. Durch die Besetzung allein mit Frauenstimmen ist dies eine Messe, die auch bei den zum Teil dürftigen Verhältnissen der heutigen Kirchenchöre eine Aufführung ermöglicht. Die Anforderungen sind sowohl im Stimmumfang als auch bei der Gestaltung des Stückes für einigermaßen geübte Chorsänger sehr gut machbar. / Messe / Répertoire / Choeur SSA

Tonalité : G-Dur -. Par LOTTI ANTONIO. Kantaten - Langue : Latin/ Répertoire / Solo A, 2 Violons, Alto et Basse Continue

Tonalité : G-Dur -. Par LOTTI ANTONIO. Kantaten - Langue : Latin/ Répertoire / Solo A, 2 Violons, Alto et Basse Continue

Kyrie Und Gloria. Par LOTTI ANTONIO. Horn, Wolfgang (Arr. ) -/ Répertoire / Solistes SATB, Choeur SSATTB, Flûte Traversière, 2

Description Twenty-Four Italian Songs And Arias Of The 17th And 18th Centuries - Medium Low Voice (CD) A standard in teaching literature, now available with both accompaniment cassette or CD. Songlist Alma Del Core (La Constanza In Amor Vince L'Inganno) [Caldara, Antonio] Amarilli, Mia Bella [Caccini, Giulio] Caro Mio Ben [Giordani, Tommaso] Che Fiero Costume [Legrenzi, Giovanni] Come Raggio Di Sol [Caldara, Antonio] Danza, Danza, Fanciulla Gentile [Durante, Francesco] Gia Il Sole Dal Gange [Scarlatti, Alessandro] Lasciatemi Morire (Adriane's Lament) [Monteverdi, Claudio] Le Violette [Scarlatti, Alessandro] Nel Cor Piu Non Mi Sento (L'Amor Contrastato) [Paisiello, Giovanni] Nina [Pergolesi, Giovanni Battista] Nina [Pergolesi, Giovanni] Non Posso Disperar [De Luca, S.] O Cessate Di Piagarmi [Scarlatti, Alessandro] O Del Mio Dolce Ardor (Paride Ed Elena) [Gluck, Christoph Willibald] Per La Gloria D'adorarvi [Bononcini, Giovanni] Pieta, Signore [Stradella, Alessandro] Pur Dicesti, O Bocca Bella [Lotti, Antonio] Se Florindo E Fedele [Scarlatti, Alessandro] Se Tu M'ami, Se Sospiri [Pergolesi, Giovanni] Sebben, Crudele [Caldara, Antonio] Tu Lo Sai [Torelli, Giuseppe] Two Bourrees (Third Cello Suite] [Bach, Johann Sebastian] Vergin, Tutto Amor [Durante, Francesco] Vittoria, Mio Core! [Carissimi, Giacomo]