Six Italian Arias, vol. 1 by Maurice Greene Soprano Voice - Sheet Music

By Maurice Greene

Greene’s seven chamber arias – today, we would call them ‘concert arias’ – include a set of six that appears to have been custom-written for Faustina Bordoni, the great Venetian diva, during her visits to London in 1726–28, since (among other things) they all showcase her ‘trademark’ note: the E in the top space of the treble clef that particularly thrilled opera-goers. The obbligato violin part for all of them was probably written for the violinist and composer Mauro D’Alay, her constant companion and reputed lover. All six works are substantial and full of character and expression as well as melodiousness and contrapuntal finesse. They show a composer at the peak of his inspiration and ambition.

Print edition
$18.36
$22.95
You save: $4.59 ~ 20%

WELCOME20 activated

Ships in 4 to 6 weeks
Special order item, ships once received from publisher.
Quantity save 5% on 2 or more
1
Get a 10% discount with SMP Plus subscription

Details

Instrument:
Soprano Voice Basso Continuo
Genres:
Baroque Period
Composers:
Maurice Greene
Publishers:
Edition HH Music Publishers
ISBN:
9790708146049
Format:
Score Set of Parts Score and Parts
Item types:
Physical
Musical forms:
Aria
Artist:
Maurice Greene
Usages:
School and Community
Size:
8.27 x 11.69 inches
Shipping Weight:
0.43 pounds

Soprano voice, violin & basso continuo

SKU: HH.HH390-FSP

Composed by Maurice Greene. Edited by Michael Talbot. Sopano, Violin & Basso Continuo. Baroque. Full score and parts. Edition HH Music Publishers #HH390-FSP. Published by Edition HH Music Publishers (HH.HH390-FSP).

ISBN 9790708146049. 8.27 x 11.69 inches.

Greene’s seven chamber arias – today, we would call them ‘concert arias’ – include a set of six that appears to have been custom-written for Faustina Bordoni, the great Venetian diva, during her visits to London in 1726–28, since (among other things) they all showcase her ‘trademark’ note: the E in the top space of the treble clef that particularly thrilled opera-goers. The obbligato violin part for all of them was probably written for the violinist and composer Mauro D’Alay, her constant companion and reputed lover. All six works are substantial and full of character and expression as well as melodiousness and contrapuntal finesse. They show a composer at the peak of his inspiration and ambition.