SKU: CA.2732149

ISBN M-007-25439-1. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

SKU: CA.2732103

ISBN M-007-24052-3. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

SKU: CA.2732114

ISBN M-007-25438-4. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

SKU: CA.2732105

ISBN M-007-24053-0. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

SKU: CA.2732112

ISBN M-007-25436-0. Latin.

The best-known setting of the Requiem Mass before Mozart's unfinished work is by the celebrated opera composer Niccolo Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli's time as Kapellmeister at the court of the Wurttemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in the solo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli's composition, the Appendix contains settings by another composer from his circle, Nicola Sala. * The best-known setting of the Requiem Mass before Mozart * First critical edition * Effective choral movements with numerous suspended dissonances and solo/tutti alternation * Scored for small instrumental forces of strings and organ.

SKU: HL.50487209

ISBN 9790080125298. Bach (23 x 30,2 cm) inches. Niccolo Jommelli; Gyorgy Balla; Henrik Prohle.

Territorial restrictions may apply. Please ask before ordering.

SKU: CA.4041812

ISBN 9790007067175. Language: Latin.

After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and part available separately - see item CA.4041800.

SKU: CA.4041811

ISBN 9790007067168. Language: Latin.

After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and part available separately - see item CA.4041800.

SKU: CA.4041813

ISBN 9790007067182. Language: Latin.

After musical training in Naples Niccolo Jommelli began to make his name as an opera composer from the end of the 1730ies onwards. From 1750 until 1753 he was assistant director of music at St. Peter's, Rome, and responsible for the music at the Cappella Giulia - years which were decisive for Jommelli's sacred music. During those years he also composed the three-movement setting of the Whitsun hymn Veni Creator Spiritus for solo soprano, mixed-voice choir, string orchestra and continuo. It is marked by the maturity of the writing for the solo voice, modelled on the example of composers such as Johann Adolf Hasse, and by stylistic hallmarks of Jommelli's music, such as his relatively simple yet highly effective choral writing. Score and part available separately - see item CA.4041800.

SKU: UT.LB-19

ISBN 9788881094875. 5.90 x 8.26 inches.

Antonio Eximeno (Valencia, 1729 - Roma, 1808) - filosofo, matematico, letterato, musicologo - godette in vita di una breve ma intensa notorieta per la sua polemica contro la tradizione teorica del <>. In questa polemica ebbe, tra gli altri, un antagonista di grande prestigio, il francescano Giovanni Battista Martini; ma raccolse anche il consenso di Niccolo Jommelli ed altri autorevoli teorici e compositori italiani, e adesioni significative anche in Francia e in Inghilterra, dal Journal des Scavans alla Monthly Review. Poi, cambiati in un rapido giro di anni il clima culturale e il gusto musicale, le questioni affrontate da Eximeno persero di attualita e la sua polemica fu dimenticata.
La notevole fortuna editoriale che e stata riservata in anni recenti al primo trattato musicale di Eximeno va accreditata in Italia ad alcuni studiosi della scuola di Enrico Fubini, e lo stesso Fubini ha riservato attenzione al filosofo valenciano nei propri studi di estetica musicale. Tuttavia egli ritiene rilevanti in Eximeno solo le considerazioni sull'identita originaria di linguaggio e musica esaurendone il contributo estetico in una sostanziale acquiescenza alle teorie di Rousseau e anzi indicando il filosofo valenciano come <>. Da noi - a parte i contributi di Gino Stefani - questa indicazione di Fubini ha polarizzato gli studi e le scelte editoriali su un tema che in realta ha un'importanza marginale nella vastissima opera estetica di Eximeno, cosi come marginale e anche fortemente polemico e il suo rapporto con Rousseau. Di nuovo un pregiudizio critico vizia l'interpretazione. L'inconfessato ontologismo che sottende l'approccio estetico di Fubini ai problemi della musica anche nel caso di Eximeno lo induce a escludere dall'indagine la molteplicita di elementi e di interessi che confluiscono nella filosofia musicale del filosofo valenciano e dettano le sue riflessioni sulla poetica.
A questa riduzione chirurgica il presente studio cerchera di opporre una considerazione piu ampia, anche se necessariamente non esaustiva, dei temi e dei testi eximeniani, nella convinzione che nella vicenda teorica di Eximeno, ben al di la dell'angusta problematica isolata da Fubini, si esprima la reazione a una crisi di valori non solo estetici, senza comprendere la quale il giudizio sul suo pensiero estetico non ha fondamento.

SKU: CU.EC8530