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

The classic Biblical text Surely He has borne our griefs was set by Antonio Lotti. In this edition Thomas Juneau provides a new English translation and other editorial helps.

Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). 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 Fo 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.

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.

Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The Dixit Dominus RV 595 shares a key and some further characteristics with the better-known setting of the same psalm RV 594 but differs from it markedly: first in being scored for an undivided ensemble (i.e. not ?in due cori?): second in belonging to Vivaldi?s first period of sacred music composition around 1715 rather than to a later period. There are stylistic parallels too with Vivaldi?s two Gloria settings RV 588 and RV 589. Three of the eleven movements making up RV 595 use borrowed material which in two instances is taken from movements by unknown composers in Vivaldi?s own collection and in one instance (heavily disguised) from a published madrigal(1705) by Antonio Lotti. The borrowings are absorbed extremely well into the fabric of the setting and do not disrupt its well-unified character. Among the high points of RV 595 are its opening pair of moments ? the first bustling and the second poignantly reflective ? and the fourth movement ?Tecum principium? where two obbligato cellos enter into dialogue with two sopranos. This Dixit Dominus preserved uniquely in Prague ranks among Vivaldi?s finest large-scale sacred vocal compositions. The Introduction and Critical Commentary for this vocal score are based on the Critical Edition by Michael Talbot published in 1993.

Written by Lotti around 1730 this motet was originally written for four voices. Russell Robinson's thoughtful 3-part arrangement attempts to maintain the harmonic textures melodic lines and text of the original work whilemaking it more accessible for young voices. Available separately: 3-part mixed opt. accompaniment; PianoTrax CD. Duration: da. 1:36.

for Low Flute Quartet or Choir. Par LOTTI ANTONIO. Antonio Lotti originally composed this Miserere Mei around 1730, scored for four voices. Frequently only performed as the opening 27 measures, the entire work has been arranged here for low flute quartet or choir by Cathi Marro. The text of the setting, from Psalm 50, is typically the final psalm sung at Tenebrae, an ancient Good Friday service. / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes Basses

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