I thought it fit to end where be began, with the legend of Orpheus. The part of Orfeo is intended to sound like a castrato. The two voice parts either females or male falsettists were conceived as vocal fractions with an instrumental quality to them. The piece is dedicated to my composition professor in Milan, Dr.
It is believed to contain the vast Possente spirto of recordings with works by Landini, but has not yet been scoured for completeness.
It also has undergone only minimal consistency checks regarding the various alternate spellings and corrupted titles given on recordings. It should prove informative nonetheless.
Discographic material has been collected with substantial help, as always, from Pierre-F. Works list merged with discography: McComb Biography Francesco Landini c. Landini's own father, Jacopo del Casentino c.
Landini's humanist orientation manifested itself in his writings on ethics and William of Ockham's new logic, as well as in his multifaceted work in music.
The nature of the surname attributed to Landini sometimes Landino is a matter of some debate, as he is named only as Francesco in musical sources. His place of birth may have been Fiesole, and it seems he may have spent some time in Venice before In any case, the center of Italian music in the Ars Nova style moved from Venice to Florence during the period, a period during which Landini was the most prominent of an accomplished group of composers.
He can be connected directly to both Lorenzo da Firenze d. It is believed that Landini may have held the post of organist at San Lorenzo as long as from until his death, and he was certainly buried there.
One concrete reference to his activity occured inwhen he was called upon to plan the new organ for Florence Cathedral. Perhaps in keeping with his humanist orientation, Landini's surviving music is entirely secular.
Landini may have written motets, but none are securely attributed, and at most one survives intact. Aside from these works and one French virelai, his surviving music is entirely in Italian, and almost entirely in the ballata form he apparently pioneered.
Fully songs are securely attributed to Landini ballate! Some texts are almost certainly by Landini, and while some are known to be by others, most of the texts he set may have been his own.
Landini is the best-represented composer in the Squarcialupi Codex, the most important single source for Trecento secular polyphony, while the unnamed manuscript Florence Biblioteca nazionale 26 was apparently compiled at least partially under his direction.
Landini wrote about one quarter of the surviving Italian Ars Nova secular music. Landini's music is known for its progressive tonal layout and clearly defined parts. There is often a logical formal design to Landini's settings, and one characteristic cadence of the period has been named for him.
Although it did not remain in fashion for long, Landini's music was used as a model by Italian Ars Subtilior composers, who sometimes added new parts. It did not survive the Franco-Flemish Renaissance; the use of the madrigal form by Landini and other composers of his era is not connected to the flowering of that genre in the 16th century.
Since they were rediscovered in modern times, however, several of Landini's songs especially the two-part ballata Ecco la primavera have remained popular. Landini's clear melodic vision and expressivity serve to assure his music's place in the Ars Nova repertory.The libretto of the opera Macbeth by the composer Giuseppe Verdi in Italian with translation in English.
Work Title L’Orfeo Alt ernative. Title Favola in musica Composer Monteverdi, Claudio: Opus/Catalogue Number Op./Cat.
No.: SV I-Catalogue Number I-Cat. No.: ICM 69 Movements/Sections Mov'ts/Sec's: prologue, 5 acts. After a sombre ritornello Orpheus takes courage and begins his renowned Possente spirto (“Powerful spirit”) to charm Charon into allowing him safe conduct.
It is the showpiece of Monteverdi’s opera: the composer has Orpheus pour all the power of his song into his appeal in a tour–de–force performance of ornamentation and passaggi. L'Orfeo (SV ) (Italian pronunciation: [lorˈfɛːo]), sometimes called La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro srmvision.com is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice.
Lyrics for Possente spirto by Claudio Monteverdi Claudio Monteverdi ("Powerful Spirit") from "L'Orfeo" Time: 17th century opera Based on: Plot line: Orpheus tries to save his wife Eurydice for underworld but ends up looking back at her.
_____ is a musical feature Monteverdi uses to suggest the divine power of Orfeo's singing as he charms Charon the boatman in the aria "Possente spirto." Instrumental flourishes between vocal lines Orfeo's song, "Vi ricorda, oboschi ombrosi," is closest to being an example of __________.