Antonio Caldara Cello Sonatas, Gaetano Nasillo

1. Sonata Ottava in Mi bemolle maggiore 0:00
2. Sonata Undecima in Sol minore 8:20
3. Sonata Sedicesima in Sol maggiore 17:50
4. Sonata Quarta in Re minore 25:22
5. Sonata Quattordicesima in La minore 33:05
6. Sonata Decimaquinta in La maggiore 42:26
7. Sonata Dodicesima in Re minore 51:49
8. Sonata Nona in Sol maggiore 1:01:23

BIOGRAFIA

OBRA:

Vocal secular:

Operas:
drammi per musica, in three acts, unless otherwise stated;
music lost unless otherwise stated
WFVienna, Teatro della Favorita
WGVienna, Hoftheater (Teatro Grande)

L’Argene (trattenimento per musica, 3, P.E. Badi), Venice, Accademia ai Saloni, aut. 1689, lib I-Bc
Il Tirsi [Act 2] (drama pastorale, 3, A. Zeno), Venice, S Salvatore, aut. 1696 lib Bc [Act 1 by A. Lotti, Act 3 by A. Ariosti]
La promessa serbata al primo (various authors), Venice, SS Giovanni e Paolo, spr. 1697, lib Bc
L’ingratitudine gastigata (F. Silvani), Venice, ?1698, D-MÜs
L’oracolo in sogno [Act 1] (Silvani), Mantua, Teatro di Mantova, 6 Dec 1699, lib I-Bc [Act 2 by A. Quintavalle, Act 3 by C.F. Pollarolo]
La Partenope (S. Stampiglia), ?Mantua, Teatro di Mantova, May 1701; rev., Genoa, S Agostino, carn. 1704, lib SA; rev., Venice, S Giovanni Grisostomo, 26 Dec 1707, lib Bci rev., Ferrara, Bonacossi, May 1709, lib Bc, collab. G. Boniventi [Caldara named in 1704 and 1709; other versions probably by Caldara]
Opera pastorale (3), Mantua, ? Teatro di Mantova, 1701, A-Wgm*; rev. as La costanza in amor vince l’inganno (drama pastorale), Rome, Palazzo Bonelli, 9 Feb 1711, Act 1 D-MÜs [2 copies; one with T. Albinoni: Vespetta e Pimpinone (int, first pt only of 3); other with Lisetto ed Astrobolo (int, first pt only; by ? F. Gasparini)], lib I-MAC
Farnace (L. Morari), Venice, S Angelo, 11 Nov 1703, lib Bc
Gli equivoci del sembiante (? D.F. Contini), Casale, Novo, 1703 (? carn.), lib Bc
Paride sull’Ida, overo Gl’amori di Paride con Enone (favola pastorale), Mantua, ? Teatro di Mantova, spr. 1704, lib Bc, collab. Quintavalle; rev., Milan, Regio e Ducale, 1707, lib Mb, collab. L. Genocchi
L’Arminio (A. Salvi), Genoa, S Agostino, carn. 1705, lib Bc
L’onestà nelli amori (? G.F. Bernini), Genoa, S Agostino, 1705, lib Mb
Il selvaggio eroe (tragicomedia eroico-pastorale, 5, G. Frigimelica Roberti), Venice, S Giovanni Grisostomo, 20 Nov 1707, arias D-MÜs, lib I-Bc
Il più bel nome (componimento da camera, 1, P. Pariati), Barcelona, Llotja de Mar, 2 Aug 1708, B-Bc
Sofonisba (Silvani), Venice, S Giovanni Grisostomo, 24 Nov 1708, arias D-MÜs, lib I-Bc
L’inimico generoso (? V. Grimani), Bologna, Malvezzi, 11 May 1709, A-Wn
Il nome più glorioso (componimento da camera, 1, Pariati), Barcelona, 4 Nov 1709, Wn
L’Atenaide [Act 2] (Zeno), ?Barcelona, Milan or Vienna, 1709, Wn [Act 1 by A.S. Fiorè, Act 3 by Gasparini]
L’Anagilda, overo La fede ne’ tradimenti (G. Gigli), Rome, Palazzo Bonelli, 4 Jan 1711, D-MÜs; perf. with Dorina e Grullo (int, 2, Gigli), MÜs
Giunio Bruto, overo La caduta de’ Tarquinii [Act 2], 1711 (? G. Sinibaldi), unperf., A-Wn [Act 1 by C.F. Cesarini, Act 3 by A. Scarlatti]
Tito e Berenice (C.S. Capece), Rome, Capranica, carn. 1714, lib I-Bc
L’Atenaide [Act 3] (Zeno), WG, 19 Nov 1714, A-Wn, D-W [Act 1 by M.A. Ziani, Act 2 by A. Negri, int and licenza by F. Conti]; as Teodosio ed Eudossa (os), Brunswick, 12 Sept 1716, lib W, collab. ? Fux and Gasparini; as Teodosio, Hamburg, ded. 14 Nov 1718, collab. ? Fux and Gasparini
La Dulcinea e cuoco (int, 3), composed Rome, sum. 1715, for perf. in Naples
Il giubilo della salza (festa, R.M. Rossi), Salzburg, 1716 (?sum.)
Il maggior grande (componimento per musica da camera, 1, Pariati), Vienna, court, 1 Oct 1716, MEIr
Pipa e Barlafuso (int, 3, F.R. Cantù), WG, 19 Nov 1716, A-Wn; perf. with Lotti and J.J. Fux: Il Constantino
Caio Marzio Coriolano (Pariati), WF, 28 Aug 1717, Wgm*, Wn
Il Tiridate, overo La verità nell’inganno (Silvani), Vienna, Hof (Teatrino), 11 Nov 1717, Wgm*, Wn [includes int Lisetta ed Astrobolo (3), attrib. Caldara]
Ifigenia in Aulide (Zeno), WG, 5 Nov 1718, Wgm*, Wn
Sirita (Zeno), WF, 21 Aug 1719, Wgm*, Wn
Dafne (dramma pastorale, 3, G. Biavi), Salzburg, 1719 (? 4 Oct), Wgm*; ed. in DTÖ, xci (1955)
Lucio Papirio dittatore (Zeno), WG, 4 Nov 1719, Wgm*, Wn
[Zaira], ? Vienna or Salzburg, ?1719, Wgm*
Apollo in cielo (componimento da camera, 1, Pariati), Vienna, court, 4 Nov 1720, Wn
Psiche (componimento da camera, 1, Zeno), Vienna, court, 19 Nov 1720, Wn, collab. Fux
Gli eccessi dell’infedeltà (?3, D. Lalli), Salzburg, 1720
L’inganno tradito dall’amore (A.M. Lucchini), Salzburg, Fürstbischöfliche Palast, 1720, Wgm*; perf. with Atomo huomo vecchio e Palancha giovine (int, 2, ?Lucchini), Wgm*
Il germanico Marte, Salzburg, 4 Oct 1721, Wgm*; perf. with Grespilla e Fanfarone (int, 3), Wgm*
Ormisda, re di Persia (Zeno), WG, 4 Nov 1721, Wgm*, Wn; 1 aria ed. in DTÖ, lxxxiv (1942)
Nitocri (Zeno), WF, 30 Aug 1722, Wgm*, Wn
Camaide, imperatore della China, overo Li figliuoli rivali del padre (Lalli), Salzburg, 1722 (? 4 Oct), Wgm*; perf. with La marchesina di Nanchin (int, 2, Lalli), Wgm*
Scipione nelle Spagne (Zeno), WG, 4 Nov 1722, Wgm*, Wn
La contesa de’ numi (servigio di camera, 2, G. Prescimono), Prague, Hradcin, 1 Oct 1723, Wgm*, Wn
La concordia de’ pianetti (componimento teatrale, 1, Pariati), Znojmo [outdoor perf.], 19 Nov 1723, Wn
Euristeo (Zeno), Vienna, court, 16 May 1724, Wn [sometimes incorrectly listed as Aglatido ed Ismene]
Andromaca (5, Zeno), WF, 28 Aug 1724, Wn, D-Bsb*; ? perf. with Madama ed il cuoco (int, 2, Trotti), A-Wn, ? attrib. Caldara
Gianguir, imperatore del Mogol (5, Zeno), WG, 4 Nov 1724, Wgm*, Wn; arias in Pharao und Joseph (Spl, J.S. Müller), Hamburg, Schauplatze, 6 Feb 1728, D-HVl
Il finto Policare (tragicommedia per musica, 3, Pariati), Salzburg, 1724, A-Wgm*
Semiramide in Ascalone (5, Zeno), WF [outdoor perf.], 28 Aug 1725, Wgm*, Wn
Astarto (Zeno and Pariati), Salzburg, 4 Oct 1725, Wgm*; perf. with Lidia ed Ircano (int, 2, ?Pariati), Wgm*
Il Venceslao (5, Zeno), WG, 4 Nov 1725, Wgm*, Wn
Amalasunta (N. Blinoni), ? Jaroměřice, Schloss Questenberg, aut.1726, Wgm* I due dittatori (5, Zeno), WG, 4 Nov 1726, Wgm*, Wn; ov. ed. in The Symphony 1720–1840, ser. B, ii (New York, 1983)
L’Etearco (?Stampiglia), Salzburg, 1726, S-St*
Don Chisciotte in corte della duchessa (opera serioridicola, 5, G.C. Pasquini, after M. de Cervantes), Vienna, Hof (Teatrino), 6 Feb 1727, A-Wgm*, Wn; ov. ed. in The Symphony 1720–1840, ser. B, ii (New York, 1983)
Imeneo (pastorale, 3, Zeno), WF [outdoor perf.], 28 Aug 1727, Wgm*, Wn
Ornospade (Zeno), WG, 4 Nov 1727, Wgm*, Wn
La verità nell’inganno, ossia Arsinoe (Silvani), Salzburg, 15 Nov 1727, Wgm*; perf. with Lisetta ed Astrobolo (int, 3, ?Silvani), Wgm* [different from 1717 settings]
La forza dell’amicizia, ovvero Pilade ed Oreste [Acts 2 and 3] (Pasquini), Graz [outdoor perf.], 17 Aug 1728, Wgm*, Wn [Act 1 by G. Reutter]; perf. with Alisca e Bleso (int, 2, ?Pasquini), Wgm*, Wn
Amor non ha legge (favola pastorale, 3, Blinoni), Jaroměřice, Schloss Questenberg, aut. 1728, Wgm*
Mitridate (5, Zeno), WG, 4 Nov 1728, Wgm*, Wn
I disingannati (commedia per musica, 3, Pasquini, after Molière: Le misanthrope), Vienna, Hof (Teatrino), 8 Feb 1729, Wgm*, Wn
Enone (pastorale, 5, Zeno), WF, 28 Aug 1734, Wgm*, Wn
Caio Fabbrizio (Zeno), WG, 13 Nov 1729, Wgm*, Wn
Sancio Pansa, governatore dell’isola Barattaria, completed 27 Jan 1730 (commedia per musica, 3, Pasquini, after Cervantes: Don Quixote); rev., Vienna, Hof (Teatrino), 27 Jan 1733, Wgm*, Wn
La pazienza di Socrate con due mogli [Act 1 scenes i–v and Act 3] (scherzo drammatico, 3, N. Minato), Vienna, Hof (Teatrino), 17 Jan 1731, Wgm*, Wn, collab. Reutter
Il Demetrio (P. Metastasio), WG, 4 Nov 1731, Wgm*, Wn
Livia (festa teatrale, 1, Pasquini), Vienna, ?WG, 19 Nov 1731, Wn
L’asilo d’amore (festa teatrale, 1, Metastasio), Linz [outdoor perf.], 28 Aug 1732, Wgm*, Wn
Adriano in Siria (Metastasio), WG, 9 Nov 1732, Wgm*, Wn; ov. ed. in The Symphony 1720–1840, ser. B, ii (New York, 1983)
L’olimpiade (Metastasio), WF [outdoor perf.], 30 Aug 1733, Wn; facs. in IOB, xxxii, 1979), D-Bsb*
Demofoonte (Metastasio), WG, 4 Nov 1733, A-Wgm*, Wn
La clemenza di Tito (Metastasio), WG, 4 Nov 1734, Wgm*, Wn; ov. ed. in The Symphony 1720–1840, ser. B, ii (New York, 1983)
Le cinesi (componimento drammatico, 1, Metastasio), Vienna, court, carn. 1735, Wgm* [preceded a ‘ballo cinese’ by Reutter]
Il natale di Minerva Tritonia (festa per musica, 1, Pasquini), WF [outdoor perf.], 28 Aug 1735, Wgm*, Wn; ov. ed. in The Symphony 1720–1840, ser. B, ii (New York, 1983)
Scipione Africano il maggiore (festa di camera, 1, Pasquini), Vienna, ?WG, 4 Nov 1735, Wgm*, Wn
Achille in Sciro (Metastasio), WG, 13 Feb 1736, Wn, D-Bsb*
Ciro riconosciuto (Metastasio), WF, 28 Aug 1736, A-Wgm*, Wn
Il Temistocle (Metastasio), WG, 4 Nov 1736, Wgm*, Wn
dramatic works possibly presented as operas
Chi s’arma di virtù (serenata, 2, A. Fezzoneo [J. Buonaccorsi]), Rome, Palazzo Bonelli [outdoor perf.], 27 Aug 1709, D-MÜs
Il trionfo d’amore e d’Imeneo (cant., F. Fozio), WF, 6 Oct 1722, A-Wgm*
Ghirlanda di fiori (?festa, 1), Vienna, 1726, Wgm*
[Melibeo e Tirsi] (servigio di camera, 2), ?Vienna, before 1728, Wgm*
Festa di camera per introduzione al ballo (‘Vieni o compagna’) (Pasquini), Vienna, Hof, carn. 1728, D-MEIr
La corona d’Imeneo (festa, 2, Pasquini), Vienna, ?Hof, 13 March 1728, A-Wgm*
Cantata pastorale eroica (‘Andiam sorella’), WF, 1729 (? 15 Oct), Wgm*, Wn
Dialogo tra la vera disciplina ed il genio (festa di camera, 1, Pasquini), WF, 15 Oct 1730, Wgm*; rev., 15 Oct 1735, Wn
Il natale d’Augusto (festa da camera, 1, ?Pasquini, after Ovid: Metamorphoses, book 15), WF, 1 Oct 1733, Wgm*, Wn
Il giuoco di quadriglio (cant.), Vienna, Hof, ?carn. 1734, Wgm*, Wn; ed. in DTÖ, lxxv, Jg, xxxix (1932/R)
Le lodi d’Augusto (festa di camera, 1, Pasquini), WF, 1 Oct 1734, Wgm*, Wn
Le grazie vendicate (festa di camera, 1, Metastasio), Vienna, ?WF, ?28 Aug 1735, Wgm*, Wn

Doubtful:
La libertà nelle catene (? D.A. Leonardi), Rome, Palazzo Zagarolo, 1690, lib I-Bu;
La selva illustrata del merito (Biavi), Salzburg, 4 Oct ?1717, lib A-KR

Other vocal:
[12] Cantate da camera a voce sola, op.3 (Venice, 1699)
Serenata: Il trionfo d’Amore, 4vv, insts, Rome, Palazzo Bonelli, 1709
13 madrigals (A.M. Lucchini), 4–5vv, 1731–2, 2 ed. in DTÖ, lxxv, Jg, xxxix (1932/R), 1 ed. in Cw, xxv (1933)
c500 canons, incl. 100 in One Hundred Cantici … collected by Sigr Borosini (London, 1747), 40 in Sixty Italian Rounds (London, 1840), 28 ed. F. Jöde (Wolfenbüttel, 1928), 35 ed. in DTÖ, lxxv, Jg, xxxix (1932/R), 18 ed. in Cw, xxv (1933)

Vocal religiosa:

Oratorios:
Il trionfo della continenza (?2 pts, B. Sandrinelli), Venice, 1697
Maddalena ai piedi di Cristo (L. Forni), Venice ?Fava, ?1698, Mantua, 1699, A-Wn
Il ricco epulone (Sandrinelli), Venice, Fava, 1698, D-MÜs
La frode della castità, Venice/?Mantua, c1700, MÜs
Le gelosie d’un amore utilmente crudele (G. Gabrielli), Venice/?Mantua, c1700, MÜs
Il trionfo della innocenza, ? Venice/?Mantua, c1700, MÜs
La castità al cimento (? P. Ottoboni), ?Rome, Lent 1705; rev., Rome, Palazzo Bonelli, 23 March 1710, A-Wn, D-MÜs
Il martirio di S Caterina (F. Forzoni Accolti), Rome, Palazzo della Cancelleria, Lent 1708, A-Wn
Sara in Egitto (pasticcio oratorio, D. Cavanese), Florence, 1708, collab. others, lib I-Fm; as L’onestà combattuta di Sara, Florence, 1708, lib D-Hs
Oratorio per S Francesca Romana, Rome, Palazzo Bonelli, 16 March 1710, B-Br, D-MÜs; ed. C. Gallico (Vienna, 1973)
Oratorio di S Stefano primo rè dell’Ungheria, composed 1712, perf. Rome, Palazzo Bonelli, 5 March 1713, MÜs
S Flavia Domitilla, Rome, Chiesa Nuova, Lent 1713, A-Wn
S Ferma (1st setting), composed 1713, perf. Rome, Palazzo Gaetani, 10 March 1715, Wgm*, D-MÜs
Oratorio per la SS Annunziata (3 pts), composed 1713, perf. Rome, Palazzo Gaetani, 24 March 1715, A-Wgm*, D-MÜs
Abisai, Rome, Palazzo Gaetani, 31 March 1715, MÜs
Jefte, Rome, Palazzo Gaetani, 7 April 1715, MÜs
La conversione di Clodoveo rè di Francia (C.S. Capece), Rome, Palazzo Gaetani, 14 April 1715, MÜs
La ribellione d’Assalonne, Rome, Palazzo Gaetani, 21 April 1715, MÜs
S Ferma (2nd setting), Vienna, Hofkapelle, 25 Feb 1717, A-Wgm*, Wn
Cristo condannato (Pariati), Vienna, Hofkapelle, ?25 March 1717, Wgm*, Wn
Il martirio di S Terenziano (G. Piselli), Vienna, Hofkapelle, 1718, Wgm*, Wn; ov. ed. in N
La caduta di Gerico (A. Gargieria), Vienna, Hofkapelle, 1719, Wgm*, Wn
Assalonne (G.A. Bergamori), Vienna, Hofkapelle, 23 Feb 1720, Wgm*, Wn
Giuseppe (Zeno), Vienna, Hofkapelle, 12 March 1722, Wgm*, Wn
Il rè del dolore (Pariati), Vienna, Hofkapelle, 31 March 1722, Wgm*, Wn; ed. V. Frazzi (Florence, 1957)
Ester (F. Fozio), Vienna, Hofkapelle, 25 Feb 1723, Wgm*, Wn; ov. ed., O. Biba as Sinfonia; tr, str, bc (Winterthur, 1981)
Morte e sepoltura di Cristo (Fozio), Vienna, Hofkapelle, 23 March 1724, Wgm, Wn; ov. ed. F.F. Polnauer as Sonata a 4, no.4 (Mainz, 1968); ov. ed. in N
Le profezie evangeliche di Isaia (Zeno), Vienna, Hofkapelle, 23 March 1725, Wn, D-Rp
Il trionfo della religione e dell’amore (festa sacra, 1, ‘G.D.B.’), Vienna, Stift Monserrat, 24 April 1725, A-Wgm*, Wn; ov. ed. W. Rainer as Sonata, C (Vienna, 1995)
Gioseffo, che interpreta i sogni (G.B. Neri), Vienna, 28 March 1726, Wgm* Wn; ov. ed. in N
S Giovanni Nepomuceno, ?Salzburg, Schloss Mirabel, 1726, Wgm*
Gioaz (Zeno), Vienna, 4 April 1726, Wn (facs. in IO, xii, 1986)
Il morto redivivo, ovvero S Antonio (C. Montalbano), Salzburg, 1726, Wgm*
Il Batista (Zeno), Vienna, Hofkapelle, 27 March 1727; Wgm, Wn; ov. ed. in N
Gionata (Zeno), Vienna, Hofkapelle, 4 March 1728, Wgm, Wn
Naboth (Zeno), Vienna, Hofkapelle, 31 March 1729, Wgm, Wn; ov. ed. in The Symphony 1720–1840, ser. B, ii (New York, 1983) and ed. in N; ov. ed. Polnauer as sonata a 4, no.3 (Mainz, 1968)
La Passione di Gesù Cristo (P. Metastasio), Vienna, Hofkapelle, 4 April 1730, Wgm*, Wn (facs. in IO, xi, 1986); ov. ed. in N
David umiliato (Zeno), Vienna, Hofkapelle, 12 March 1731, Wgm, Wn
S Elena al Calvario (Metastasio), Vienna, Hofkapelle, 20 March 1731, Wgm*, Wn; ov. ed. in N
Sedecia (Zeno), Vienna, Hofkapelle, 27 March 1732, Wgm*, Wn; ov. ed. in N; ov. ed. Polnauer as Sonata a 4, no.3 (Mainz, 1968)
La morte d’Abel figura di quella del nostro Redentore (Metastasio), Vienna, Hofkapelle, 8 April 1732, Wgm*, Wn; ov. ed. in N
Gerusalemme convertita (Zeno), Vienna, Hofkapelle, 31 March 1733; Wgm*, Wn; ov. ed. in N; ov. ed. Polnauer as Sonata a 4, no.6 (London, 1993)
S Pietro in Cesarea (Zeno), Vienna, Hofkapelle, 20 April 1734; Wgm*, Wn; ov. ed. in N
Gesù presentato nel tempio (Zeno), Vienna, Hofkapelle, ?5 April 1735; Wgm*, Wn; ov. ed. in N

Masses:
c.110 masses and mass sections, incl. 5 masses in Chorus musarum divino Apollini accinentium (Bamberg, 1748–9), no.5 ed. W. Fürlinger (Altötting, 1975), no.6 ed. Fürlinger (Stuttgart, 1964);
Missa dolorosa, ed. in DTÖ, xxvi, Jg.xiii/1 (1906/R);
Missa, D (facs. (Leipzig, 1987)), ed. J. Butz (Bad Godesberg, 1957);
Missa venerationis, ed. O. Drechsler (Berlin, 1962);
Missa, g, ed. Fürlinger (Augsburg, 1988)

[12] Motetti a 2 e 3 voci, op.4 (Bologna, 1715);
8 ed. in DTÖ, xxvi, Jg.xiii/1 (1906/R)

Numerous vespers, ants, motets, pss, hymns etc., incl. Confitebor tibi Domine, ed. B.W. Pritchard (Hilversum, 1973);
Crucifixus a 16, ed. in DTÖ, xxvi, Jg.xiii/1 (1906/R);
Dies irae, ed. I. Homolya (Kassel and Budapest, 1978);
Haec est regina virginum, ed. R. Ewerhart (Cologne, 1968);
Lauda anima mea, ed. J. Messner (Augsburg, 1927);
Laudate pueri, 1716, ed. Ewerhart (Cologne, 1959);
Laudate pueri, 1720, ed. Pritchard (Hilversum, 1980);
Magnificat, adapted J.S. Bach, ed. C. Wolff (Kassel, 1969);
Regina coeli laetare, ed. T. Pfeiffer (Düsseldorf, 1950);
Salve pater Salvatoris, ed. in DTÖ, ci–cii (1962);
Stabat mater, ed. in DTÖ, xxvi, Jg.xiii/1 (1906/R);
Te Deum, 1711, ed., W. Horn (Stuttgart, 1989);
Te Deum, 1724, ed. in DTÖ, xxvi, Jg.xiii/1 (1906/R);
Veni, dilecte quare, ed. Ewerhart (Cologne, 1960)

Christmas cants.:
Vaticini di pace (P. Gini), 4vv, Rome, Palazzo Bonelli, 1712;
Vo’ piangendo e sospirando (Gini), 3vv, Rome, Palazzo Apostolico, 1713;
Amarilli vezzosa, 3vv, Rome, Palazzo Gaetani, 1714;
cant., 2vv, Rome, Palazzo Gaetani, 1714:
cant., 5vv, Rome, Palazzo Gaetani, 1715

Other cants.:
Amici pastorelli, 3vv, Rome, Palazzo Bonelli, 1712;
Amor senza amore, 3vv, Rome, Palazzo Gaetani, 1715;
Il nome di Giove, 3vv, Vienna, Hof, 1731;
Sacre ministre, 3vv, Vienna, Hof, 1733;
c50 cants., 2vv, str, bc;
c250 cants., 1v, bc (or str, bc), incl. 10 ed. in DTÖ, lxxv, Jg, xxxix (1932/R), 3 ed. Pritchard (Exeter, 1996)

Instrumental:

[12] Suonate a 3 [da chiesa], 2 vn, vc, org, op.1 (Venice, 1693)
[12] Suonate da camera, 2 vn, bc, op.2 (Venice, 1699/R)
Sinfonia concertata, 2 vn, str, A-Wn; ed. Pritchard (Vienna, 1996)
Sinfonia, vc, str, D-WD
12 sinfonias, str, A-Wm [arrs. of orat sinfonias]; ed. L. Novak (Vienna, 1979–87)
9 sonatas, str (some with brass insts), Wn, KR [arrs. of op and orat sinfonias]; 2 ed. F.F. Polnauer (Mainz, 1968); 2 ed. Polnauer (New York, 1993); 1 ed. W. Rainer (Vienna, 1995)
8 sonatas, vn, bc, Wn; 6 ed. B.W. Pritchard (Vienna, 1989)
16 sonatas, vc, bc, D-WD*; ed. B.W. Pritchard (Vienna, 1996–7)
44 lezioni, vc, bc, A-Wn
22 sonatas, org, D-Bsb [adapted from sacred vocal works]; 9 ed. F. Di Lernia (Vienna, 1992)
Capriccio, arpeggio, proba organistica, kbd, D-Bsb;
capriccio ed. F. Torrefranca (Rome, 1944);
proba organistica ed. F. Commer (Berlin, c1866)

Pergolesi׃ Stabat mater, for soprano & alto ¦ Les Talens Lyriques

OBRA:

Vocal secular:

Conversione di San Guglielmo d’Acquittana (opera seria) (1731)
Salustia (opera seria) (1731-1732)
Lo Frate ‘nnamorato (opera buffa) (1732)
Il Prigionier superbo (opera seria) (1733)
La serva padrona (intermezzi) (1733)
Adriano in Siria (opera seria) (1734)
L’Olimpìade (opera seria) (1735)
Livietta e Tracollo (intermezzi)

Duets (spurious):
Deh t’accheta, C xix, by G. Sellitto;
Io mi rido;
Mo che te stregno, C xix, suppl.;
Se mi lasci, o mio contento, C xix, by G.M. Orlandini;
Tu non rispondi, C xix, by G.A. Giai;
Tu resterai mia cara, C xix;
Tu vuoi ch’io viva, C xix, by D. Terradellas;
Una povera fanciulla, C xix, by ?Orlandini

Arias:
spurious unless otherwise stated
Ah, che sento in mezzo al core, C xxii;
Ahi, che soffersi o Dio, C xxii;
Ah mi dividon l’anima, C xix, also attrib. G. Chinzer;
Amerò finchè il mio core, C xxii;
Basta così t’intendo, C xix, by R. di Capua;
Ben che s’ascondono, doubtful, B-Bc;
Bendato pargoletto, C xxii;
Cara tu ridi, C xxii;
Chi non crede, C xxii, by B. Galuppi;
Chi tento, doubtful, GB-Lcm;
Confusa, smarrita, C xix, by L. Vinci;
Con quel volto sì vezzoso, doubtful, Lbl;
Dio s’offende, e l’uom ne giace, doubtful;
È pur ver, C xxii, by A.M. Bononcini;
Empio amor, amor tiranno, C xxii, doubtful;
Il mio cor innamorato, doubtful, B-Bc;
Immagini dolenti, C xix, by G. Scarlatti;
Ingrata non sarò, C xxii;
Io non so dove mi sto, C xxii, by L. Leo
L’amato mio sposo, ed. in Il teatro illustrato, no.126 (Milan);
La ragion, gli affetti, doubtful, GB-Lbl;
Le luci vezzose del caro mio bene, doubtful;
Le souhaît, doubtful;
Madre, e tu, inquista sposa, doubtful;
Misero me, qual gelido tormento, acc. recit, C xix;
Nacqui agli affanni in seno, doubtful;
Non mi negar, ed. A. Parisotti, Arie antiche (Milan, 1930);
Non mi tradir mai più, C xxii, by A. Scarlatti;
Non so d’onde, C xix;
Non ti minaccio sdegno, C xix;
Non ti son padre, doubtful, Lbl;
Partò, qual pastorello, doubtful, B-Bc;
Pellegrino ch’infolto orror, doubtful;
Pensa bene, mi dicesti, C xxii;
Pensa, se avrò, mia cara, C xxii;
Per esser più vezzose, C xxii;
Per fuggirti io peno avrò, doubtful;
Piangerò tanto, C xxii;
Qual dolente pastorello, C xxii, by G. Lampugnani;
Quant’inganni insegna amore, C xxii
Saggio nocchiero, doubtful, Bc;
Se al labro mio non credi, ed. in Aus dem goldenen Zeitalter des Belcanto, ii (Mainz);
Se amor ti compose, C xxii, by F. Arresti;
Sentir d’un vago oggetto, C xxii;
Sentirsi il petto accendere, C xxii, by Lampugnani;
Se per te viva io sono, C xxii, by A.M. Bononcini;
Se tu m’ami, C xxii, by A. Parisotti;
Serbi l’intatta fede, C xix;
Si cangia in un momento, C xxii;
So ch’è fanciullo amore, C xix;
Talor se il vento freme, C xix, by Terradellas;
Tergi quel pianto, o cara, doubtful, Bc;
Tra fronda e fronda, doubtful;
Tre giorni son che Nina, C xxii, ? by V.L. Ciampi;
Tremende oscure atroci, doubtful, Bc;
Un caro e dolce sguardo, doubtful;
Un ciglio che sa piangere, C xxii;
Vado a morir ben mio, doubtful;
Vanne a seguire (Ingrato core), C xxii, by A.M. Bononcini;
Va tra le selve ircane, C xix;
Vorrei poter almeno, C xxii

Chamber cantatas and duets:
4 cantate da camera … di G.B. Pergolesi, raccolte di Gioacchino Bruno, op.2 (Naples, after 1736): Chi non ode e chi non vede (Segreto tormento), S, str, bc;
Dalsigre, ahi mia Dalsigre (Lontananza), S, bc, in GB-Lbl as Nigella, ah mia Nigella;
Luce degli occhi miei (L’addio), S, str, bc;
Nel chiuso centro (Orfeo), S, str, bc, before aut. 1735; all ed. in C x, B xvi

Cants.:
Della città vicino, S, str, bc, D-MÜs;
Questo è il piano, questo è il rio (Ritorno), A, str, bc, 24 April 1731, C xxii, B xvi

Cants. (doubtful):
A te torna il tuo Fileno, S, str;
Berenice che fai; Che farò, che;
Clori se mai rivolgi (Il canto del pastore), C x;
Contrasti crudeli; Ecco, Tirsi, quel mirto (Proposta) – Or responderti debbo (Risposta), C x;
In queste spiagge amene (Amor fedele), C x;
L’aura, il ruscello, il fonte;
Ove tu, ben mio, non sei, S, str;
Quest’è amor, quest’è fede, MÜs

Cant. (spurious):
Cor prigioniero, C xxii

Vocal religiosa:

Sacred dramas and oratorios:
Li prodigi della divina grazia nella conversione di S Guglielmo Duca d’Aquitania (dramma sacro, 3, I. Mancini), Naples, monastery of S Agnello Maggiore, sum. 1731, C iv, B ix
La fenice sul rogo, ovvero La morte di S Giuseppe (orat, 2), ? Naples, Oratorio dei Filippini, 1731, C i, B x

Spurious:
Septem verba a Christo in cruce moriente prolatae (orat), CH-Zz, vs ed. H. Scherchen as Die sieben Worte des Erlösers (Vienna, 1952);
Planctus animo poenitentis ad matrem dolorosam (orat), GB-Lbl;
Oratorio della Passione;
La morte d’Abel (orat), CH-Zz;
Il pentimento, GB-Lbl, Lcm;
La nascita del Redentore (orat), lost, said by Villarosa, probably mistakenly, to be in I-Nf

Liturgical:
Mass [Ky–Gl] (D):
version 1, S, A, SSATB, orch, ? sum. 1731, C xv/2, B xi;
version 2, SSATB, SSATB, 2 orch; version 3, S, A, SSATB, orch, incl. Qui tollis, Quoniam, from
Mass in F of 1734 and arr. of Cum Sancto spiritu from Sicut erat;
Mass [Ky–Gl] (F):
version 1, S, A, SSATB, orch, ? perf. Naples, S Maria della Stella, 31 Dec 1732, ? perf. Rome, S Lorenzo in Lucina, 16 May 1734, C xviii, B xii;
version 2, SSATB, SSATB, 2 orch, C vi;
version 3, solo vv, SSATB, SSATB, SSATB, SSATB, 2 orch;
version 4, new version of Ky

Confitebor, ps, solo vv, SSATB, orch, ? perf. Naples, S Maria della Stella, 31 Dec 1732, C viii, B xiii
Deus in adjutorium (Domine ad adjuvandum me), int, S, SSATB, orch, ? perf. Naples, S Maria della Stella, 31 Dec 1732, C xvii/1, B xiii
Dixit Dominus, ps (D), S, A, SSATB, SSATB, orch, ? perf. Naples, S Maria della Stella, 31 Dec 1732, C viii, B xiii
In coelestibus regnis, ant, A, str, org, C xvii/1, B xiii
In hac die quam decora, motet, S, A, T, B, SSA, TTB, 2 orch, C xvii/1 (inc.), B xv
Laudate pueri, ps, S, SSATB, orch, late work, C viii, B xiii; authentic except for alternative version of Quis sicut Dominus, C xiii, 252
Salve regina, ant, (a), S, str, org, C xv/1, B xv
Salve regina, ant, (c), S, str, org; composed at Pozzuoli, 1736, C xv/1, B xv
Stabat mater, seq, (f), S, A, str, org; composed at Pozzuoli, 1736, C xxvi, B xiv

Doubtful:
Aura sacratis amoris, S, orch, B-Bg;
Conturbat mentem, S, orch, D-Bsb,W;
De placido torrente, B-Bg;
Deus misereator nostri;
Dixit Dominus, ps (B ), SATB, orch, D-MÜs;
Dixit Dominus, ps (D), C viii;
Ecce pietatis signa, S, orch, I-Mc;
Ecce superbos hostes, S, orch, B-Bg;
In campo armato pugno, S, orch, D-Bsb;
Laetatus sum, C viii;
La Maddalena al sepolcro, S, I-Ac;
Miserere mei (a), D-SWl;
Miserere mei (B ), formerly Königsberg;
Miserere mei (C);
Miserere mei (d), GB-Lbl;
Miserere mei (F), F-Pn;
Miserere mei (g), B-Bc, F-Pn, GB-Lbl;
O salutaris hostia, T, B, bc, Lbl;
Peccator crudelis, I-Vnm;
Salve regina (f), C xv/1;
Sequentia olim tempore missae septem dolorum, D-LÜh;
Sol resplendet, GB-Ob;
Te ergo quaesimus, S, T, hpd, I-Rsc;
Tuba et timpano, S, orch, B-Bg;
Utique resonando, I-Nf

Spurious:
Mass [Ky–Gl] (F) (Vienna, 1805);
Missa Pergolesiana [Messa estense] (D), C xxiii;
Missa solemnis [Messa solenne] (C), C xxiii;
Requiem, C xvi;
Credo (C), Incarnatus (G), Sanctus (a), Sanctus (d), Agnus Dei (G), Agnus Dei (b), inc.: all C xxiii; Credo (D), SATB, str, org, C xix suppl.;
Agnus Dei (b), ed. R.F. Goldman (New York, 1949);
Adoro te devote, C xvii/1;
Ave verum, C xvii/1;
Beatus vir, C viii;
Dies irae, parody of Stabat mater, C xxvi;
Dixit Dominus (C), by L. Leo, C viii;
Dorme, benigne Jesu, by F. Durante, C xvii/1;
Mag, by Durante, C xvii/1;
Miserere (c), 2 settings, C xiii;
O sacrum convivium, C xvii/1;
Pro Jesu dum vivo, C xvii/1;
Quis sicut Dominus, C viii;
Salve regina (c), C xv/1;
Sanctum et terribile, C viii;
Siste superba fragor, C xvii/1;
Super flumina, C xvii/2; Vexilla regis, C xvii/1

Other vocal:
42 solfeggi, 2vv;
64 solfeggi, 3vv;
solfeggio, hpd acc.: all in B xviii
Venerabilis barba cappucinorum, Scherzo fatto ai Cappuccini di Possuoli, T, B, 1735, B xviii

Doubtful:
Per voi mi struggo in pianto, canon, 3vv, C xxii

Instrumental:

Conc. (B ), solo vn, 2 vn, va, bc, C xxi;
Conc. (C), 2 hpd, 2 vn, va, b;
Sonata (F), org, C xxi;
Sinfonia (F), vc, bc, C xxi;
Sonata (G), vn, bc, movt 2 as Sonata (A), hpd, C xxi: all in B xvii

Doubtful:
Piccola sinfonia (E ), 2 vn, va, b, I-Rsc;
Simphonia (B ), 2 vn, va, vc, US-R;
Simphonia (F), 2 vn, va, vc, R;
Sinfonia [di apertura] (G), 2 vn, va, bc, hns, C xix;
Symphonia (D), 2 vn, va, b, CZ-Pnm;
Trio (B ), 2 vn, bc, I-Nc, attrib. ‘Pergola’

Extremely doubtful:
2 concs. (D, G), fl, 2 vn, bc, C xxi;
Conc. a 5 (F), 3 vn, va, b, hns, org, C xxi;
Simphonia (C), 2 vn, va, tpts, timp, US-CA;
Sinfonia (D), 2 vn, va, b, hns, S-SK, L;
Sinfonia [d’apertura] (D), 2 vn, va, b, fls, obs, tpts, timp, C xix;
Sonatas nos.2 (C), 4 (G), 5 (C), 6 (B ), hpd, C xxi;
Sonata a 3 nos.13 (g), 14 (C), 2 vn, bc, C v

Spurious:
6 concerti armonici, concertinos, 4 vn, va, bc (The Hague, 1740), by U.W. van Wassenaer, C vii;
8 Lessons, hpd (London, 1771), no.2 in C xxi, nos.1, 5 by G.B. Martini;
A Second Set of 8 Lessons, hpd (London, 1778), nos.2, 7 in C xxi;
Propter magnam (G), org (London, 1831);
Sinfonia (B ), 2 vn, va, b, L, by J.G. Graun;
Sonata (G), hpd, C xxi, ? by D. Alberti;
12 Sonatas a 3, 2 vn, b (London, 1771), by D. Gallo, C v; Trio (B ), 2 vn, b, Skma, by F. Ruge;
Trio (F), 2 vn, b, Skma, Uu

BIOGRAFIA

Taverner　 «MIssa Gloria Tibi Trinitas»

John Taverner

Not a great deal is known about the life of John Taverner. He is thought to have been born around 1490 in Lincolnshire, and is first documented in 1525 as a lay clerk at the collegiate church of Tattershall, a musical establishment of some importance. Later that year he was recommended by Bishop Longland of Lincoln for the new post of Informator (choirmaster) at Cardinal College (now Christ Church), Oxford, founded by Cardinal Wolsey and lavishly endowed with a choir of sixteen choristers and twelve ‘clerkes skilled in polyphony’. After overcoming an initial reluctance to leave the security of Tattershall, he accepted this prestigious invitation in time for the formal opening of the College in October 1526. Its glory proved to be short-lived, however, and after Wolsey’s fall from power in 1529 its fortunes and finances soon began to decline. Taverner resigned the post in 1530. For the next seven years his whereabouts are unknown. Possibly he worked as a freelance musician in London, or perhaps he returned directly to Lincolnshire. From 1537 Taverner was in Boston, maybe employed as an agent for Thomas Cromwell, who had been commissioned by Henry VIII to carry out a survey and valuation of the lesser monasteries and friaries prior to their dissolution. There is no truth in the persistent claim that Taverner was a fanatical persecutor in carrying out these duties. The significance of the often-quoted note in the 1583 edition of Foxe’s Acts and Monuments that Taverner came ‘to repent him very much that he had made songs to popish ditties in the time of his blindness’ may well have been exaggerated; Foxe, an ardent Protestant, was writing some forty years after the composer’s death, and the term ‘popish ditties’ remains open to interpretation. On the contrary, there is documentary evidence that Taverner had genuine concern for the welfare of the monks and friars. The assumption that he ceased to compose after leaving Oxford is based on speculation, since a proportion of his output has probably been lost and what has survived is not always easy to date.

 Taverner died in 1545 and was buried beneath the famous ‘stump’ of Boston church.

As the undisputed master of his generation, Taverner witnessed and greatly contributed to the final phase in the development of the florid style that had dominated English sacred music since the death of John Dunstable in 1453. If the works of Taverner’s immediate precursor, William Cornysh (died 1523), represent the peak of sheer virtuosity, those of Taverner himself seem to proceed along a rather more serene path regulated as much by harmonic considerations as purely melodic ones.

 Compositor británico de principios de la época Tudor. Parece que creció en el condado de Lincoln (Inglaterra), formó parte del coro de la colegiata de Tattershall y a continuación trabajó en Londres (1514-1520), aunque estos datos no han podido ser confirmados. Se sabe que en 1525 cantaba en el coro de Tattershall y que al año siguiente fue nombrado maestro de coro del recién creado Cardinal College de Oxford (actualmente Christ Church). Allí fue encarcelado por hereje al defender la religión luterana. Posteriormente fue perdonado por el cardenal Wolsey «por no ser más que un músico». Cuando Wolsey perdió el favor de Enrique VIII, el Cardinal College entró en una fase de abandono y en 1530 Taverner se retiró a Boston, condado de Lincoln, para el resto de sus días. Aunque en Boston participó en actos reformistas en nombre de Thomas Cromwell, se cree que nunca abandonó la fe católica. La música de Taverner es el epítome del estilo florido inglés de transición entre la música gótica y la renacentista.  Su obra posterior es más sencilla y abre el camino a otros músicos como Thomas Tallis. Es autor de ocho misas, tres de las cuales son obras elaboradas a seis voces como la misa Gloria tibi trinitas, tres magnificat, antífonas votivas y responsos como Dum transisset sabbatum.

Misa Criolla y Navidad Nuestra Ariel Ramírez y Los Fronterizos Álbum Completo (1964)

Ariel Ramírez & Zamba Quipildor Misa Criolla Álbum Completo (1991)

En 1964 la compañía discográfica Philips dio a conocer el álbum Misa Criolla, resultando inmediatamente un éxito mundial. Esta obra fue realizada en base al texto castellano redactado por la Comisión de las Iglesias de América latina, después de que el Concilio Vaticano II dispusiera la realización de los oficios religiosos en los lenguajes vernáculos, abandonando el uso exclusivo del latín,​ Editada al año siguiente, Misa Criolla. Para tenor, coro mixto, percusión, instrumentos andinos y clave o piano, presenta un notable conjunto de inspiradas melodías originales de su autor, basadas en ritmos regionales de la tradición musical argentina e hispanoamericana. La interpretación está a cargo de un solista, un coro de voces mixtas, piano y un conjunto instrumental basado en medios sonoros ligados a la etnofonía americana en el que figuran charango, quena y siku, entre otros. Consta de cinco partes de la liturgia común:

• Kyrie baguala-vidala
• Gloria carnavalito-yaraví
• Credo chacarera trunca
• Sanctus carnaval cochabambino
• Agnus Dei estilo pampeano

Misa Criolla marcó la irrupción en el mundo de la música litúrgica argentina con un nivel artístico que le permitió ser admirada por sectores del público europeo, americano y de otras latitudes. El estreno público se realizó en la ciudad alemana de Stuttgart, el 9 de marzo de 1967, en la Mozart-Saal de Liederhalle, con la participación del hoy disuelto grupo Los Fronterizos, Ariel Ramírez, Chito Zeballos, Luis Amaya, Jaime Torres, Domingo Cura y el Coro Easo y Maitea con la dirección del Maestro Bastida.

1 Biografia de Ariel Ramirez

2 Obras:

• 1945: La tristecita (con María Elena Espiro, zamba)
• 1964: Navidad nuestra (con Félix Luna, villancicos)
• 1964: La peregrinación (con Félix Luna, huella)
• 1965: Los caudillos (con Félix Luna, cantata épica)
• 1960: Los inundados (con Guiche Aizenberg, canción litoraleña)
• 1969: Mujeres argentinas, donde se incluye «Alfonsina y el mar» y «Juana Azurduy» (con Félix Luna
• 1977: París, la libertad (con Félix Luna, canción)
• 1950: Agua y sol del Paraná (con Miguel Brascó, canción litoraleña)
• 1958: El nacimiento del charango
• 1972: Cantata sudamericana (con Félix Luna)
• 1972: Antiguo dueño de las flechas (indio toba) (con Félix Luna)
• 1975: Quince estudios para piano
• 1980: Tríptico mocoví (con Guiche Aizenberg)
• 1980: Misa por la paz y la justicia
• 1980: La hermanita perdida (con Atahualpa Yupanqui, aire de milonga dedicado a las islas Malvinas)