22537653
Ls gelosia
22537653
22537653
22537653
Copyright Material for Preview Only - Sheet Music Plus
Alto voice, strings & basso continuo
SKU: HH.HH567-FSP
Composed by Baldassare Galuppi. Edited by Fabrizio Ammetto; Alvise De Piero. Baroque. Full score and parts. Duration c.12:00. Edition HH Music Publishers #HH567-FSP. Published by Edition HH Music Publishers (HH.HH567-FSP).
ISBN 9790708185826. 8.27 x 11.69 inches.
Galuppi’s cantata La gelosia for alto/contralto and strings – based on a poetry by Pietro Metastasio – has come down to us in the form of a non-autograph score, dated 1782, preserved in Paris at the Bibliothèque Nationale de France. The cantata comprises two recitatives and two arias: the recitatives are noteworthy for their frequent use of accompanied rather than simple (secco) recitative, evidently for the purpose of reinforcing the dramatic dimension of the action. The arias, both very beautiful and highly typical of Galuppi’s style, are distinguished by the quality of their melodic design and the resourcefulness of their orchestral accompaniment. In this edition – which includes score and separate parts – the errors present in the source are corrected and the historical-musical context relating to the text of the cantata is reconstructed, as far as possible, with particular reference to the Galuppi’s setting. A sample realization of the basso continuo is also provided.
Alto voice, strings & basso continuo
SKU: HH.HH567-FSP
Composed by Baldassare Galuppi. Edited by Fabrizio Ammetto; Alvise De Piero. Baroque. Full score and parts. Duration c.12:00. Edition HH Music Publishers #HH567-FSP. Published by Edition HH Music Publishers (HH.HH567-FSP).
ISBN 9790708185826. 8.27 x 11.69 inches.
Galuppi’s cantata La gelosia for alto/contralto and strings – based on a poetry by Pietro Metastasio – has come down to us in the form of a non-autograph score, dated 1782, preserved in Paris at the Bibliothèque Nationale de France. The cantata comprises two recitatives and two arias: the recitatives are noteworthy for their frequent use of accompanied rather than simple (secco) recitative, evidently for the purpose of reinforcing the dramatic dimension of the action. The arias, both very beautiful and highly typical of Galuppi’s style, are distinguished by the quality of their melodic design and the resourcefulness of their orchestral accompaniment. In this edition – which includes score and separate parts – the errors present in the source are corrected and the historical-musical context relating to the text of the cantata is reconstructed, as far as possible, with particular reference to the Galuppi’s setting. A sample realization of the basso continuo is also provided.
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