 | Respighi, Ottorino - Villanella di Ignoto for Oboe, Harp & Strings Suite No. 1 Mvt. 3 Vents & Orchestre Cordes |
VoirPDF : Villanella di Ignoto (Suite No. 1 Mvt. 3) for Oboe, Harp & Strings (15 pages - 434.86 Ko)118x⬇ MP3 : Villanella di Ignoto (Suite No. 1 Mvt. 3) for Oboe, Harp & Strings 22x⬇ 247x
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| Compositeur : | Respighi, Ottorino (1879 - 1936) | ||||
| Instrumentation : | Vents & Orchestre Cordes1 autre version | ||||
| Genre : | Classique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1917 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 20 Sep 2019 Ottorino Respighi (9 July 1879, Bologna, Italy - 18 April 1936) was an Italian composer. He was taught piano and violin in Bologna by his father. He then enrolled at the Liceo Musicale in Bologna, where he studied violin and viola with Federico Sarti, composition with Giuseppe Martucci, and historical studies with Luigi Torchi, a scholar of early music. A year after receiving his diploma in violin in 1899, Respighi went to Russia to be the principal violist in the orchestra of the Russian Imperial Theatre in St. Petersburg during its season of Italian opera. While there, he studied composition for five months with Rimsky-Korsakov. In 1932, Respighi was elected to the Royal Academy of Italy. Composing numerous chamber, vocal, and orchestral works, as well as operas and ballets, he was an enthusiastic scholar of Italian music of the 16th, 17th, and 18th centuries. Preferring to keep clear of musical traits of the Classical Period, Respighi combined pre-classical melodic styles and musical forms, such as dance suites, with typical late-19th-century romantic harmonies and textures. Respighi was also a scholar of early music, editing the works of Claudio Monteverdi and Tomaso Antonio Vitali, as well as transcribing works by many Renaissance and early Baroque composers. He also delighted in arranging obscure early music for modern performance. The originals of these older works were, in Respighi’s time, seldom if ever heard, and his efforts brought this rich period of music back to life for many listeners. As Respighi and a group of nine fellow composers stated in a manifesto, countering the claims of the more dissonant sounds then becoming commonplace in the concert hail: “A logical chain binds the past and the future the romanticism of yesterday will again be the romanticism of tomorrow.” His three suites of Ancient Airs and Dances are based on Italian and French lute music, mostly from the early seventeenth century, to accompany dancers and singers. It seeks to capture the spirit of the Renaissance era that employed such instruments as the lute, shawm, dulcian, sackbut, recorder, crumhorn, cornetto, and serpent, but with the addition of the rich, colorful sounds available to the late Romantic orchestra with its huge array of modern wind, string, and percussion instruments. Suite No. 1 opens with the Balletto detto “Il Conte Orlando,” published in 1599 by the composer Simone Molinaro (c. 1570-1633). The first section grows from a gentle opening to a stirring climax. A quieter interlude based on the same theme follows, then the opening panel is repeated. Vincenzo Galilei (c. 1520-1591) (an amateur composer and lute player best known as the father of Galileo) composed the following Gagliarda. This type of dance, also known as a galliard, was executed with exaggerated leaps. This is a bold, strongly accented number with richer scoring than the preceding Balletto. Respighi uses a sweet anonymous Italian tune as the contrasting middle section. The composer of the third section, Villanella, is unknown. A villanella was a street song, derived from an earlier Spanish vocal form that came to popularity in Naples. It flourished side by side with, and in contrast to, the more refined madrigal. The finale, Passo mezzo e Mascherada, combines two contrasting forms, both a dance and an air, through a pair of anonymous melodies. The name of the opening, fast-paced passo mezzo remains obscure. It might mean step-and-a-half, referring to the pattern of the dance it accompanied. Respighi alternates it with a mascherada, a type of villanella designed to be sung and played at a masked ball or by street players during Carnival season. It often contained an element of caricature. This flowing, melodic mascherada/villanella isn’t as gloomy as the one heard in the third movement. The passo mezzo keeps interrupting it, gleefully and vivaciously. Eventually, the passo mezzo carries the day. Source: Windrep (https://www.windrep.org/Ottorino_Respighi). Although originally scored for Orchestra, I created this Interpretation of the Villanella di Ignoto from Antiche danze et arie per liuto (Suite No. 1 Mvt. 3) for Oboe, Concert (Pedal) Harp & Strings (2 Violins, Viola, Cello & Bass). Partition centrale : | Antiche danze et arie per liuto, Suite No.1 (6 partitions) | | |||
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