{"title":"CARL MARIA VON WEBER","authors":"","doi":"10.2307/j.ctv9b2wqr.69","DOIUrl":"https://doi.org/10.2307/j.ctv9b2wqr.69","url":null,"abstract":"","PeriodicalId":389981,"journal":{"name":"The Classical Music Lover's Companion to Orchestral Music","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116497611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Antonio Vivaldi, S. S. Donald, Renzo Giordano, Opere Sacre
PREFACE This edition of Antonio Vivaldi's Gloria (RV 589) was prepared from a vocal score edited by Clayton J. Westermann, originally published by Edwin F. Kalmus & Co. in 1968. Mr. Westermann's source was the Raccolta Renzo Giordano, Opere Sacre, Tome 1. ff 90-129r from the Biblioteca Nazionale in Turin. According to Mr. Westermann's preface, " The full score, orchestra parts and vocal score are faithfully represented as in Vivaldi's original notation. " Because of this, the 1968 vocal score is considered to be an " urtext " or scientific edition and has therefore been interpreted to be in the public domain in Canada by the copyright reviewers at the International Music Score Library Project (www.imslp.org). Accordingly, I have set out to create a crisp new imprint suitable for sharing and reproducing. Some changes to the piano reduction have been made for clarity or to better reflect the orchestral parts. Included in this edition is the oboe solo for " Domine Deus ". Items marked in brackets [ ] including trills, dynamics, and missing figured bass are editorial. Editorial slurs in " Laudamus te " are marked with a dotted line. Editorial marks are taken from several different print editions (including Mr. Westermann's) and recordings to represent common performance practice. A treble clef has been substituted for the original soprano, alto and tenor clefs. Antonio Vivaldi (1678-1741) set the Gloria text a number of times. A catalogue of his works lists three separate pieces, one of which is now lost. Vivaldi almost certainly composed this Gloria (and the others) for the girls at Ospedale della Pietà, a home for abandoned children in Venice in the early 18 th century. Rediscovered in late 1920's, this work has become the most popular of Vivaldi's vocal works and is part of the standard oratorio repertoire. The text for this piece comes from the ancient Christian hymn Gloria in excelsis Deo. The hymn begins with the angel's song from Luke 2:14 and is written in the style of psalmi idiotic (private psalms – songs written by individuals in imitation of those found in scripture). It has been sung at Masses since the second century, though its current format and translation into Latin was developed in the fourth century.
本版安东尼奥·维瓦尔第的格洛丽亚(RV 589)是由克莱顿·j·韦斯特曼编辑的声乐乐谱准备的，最初由埃德温·f·卡尔穆斯公司于1968年出版。韦斯特曼先生的资料来源是《圣堂》第1卷的《罗库尔塔·伦佐·佐丹奴》。ff 90-129r来自都灵国家图书馆。根据韦斯特曼的序言，“全谱、管弦乐部分和声乐配乐都忠实地呈现在维瓦尔第的原始乐谱中。”正因为如此，1968年的声乐配乐被认为是一个“非文本”或科学版本，因此被国际乐谱图书馆项目(www.imslp.org)的版权审稿人解释为在加拿大的公共领域。因此，我已经着手创造一个适合分享和复制的清晰的新印记。为了清晰或更好地反映管弦乐部分，对钢琴的缩减做了一些改变。包括在这个版本是双簧管独奏“上帝的主宰”。括号[]中标注的项目，包括颤音，动态和缺失的低音是编辑的。《Laudamus te》中的社论污言秽语用虚线标出。编辑标记取自几个不同的印刷版(包括韦斯特曼先生的)和录音，以代表常见的表演实践。高音谱号取代了原来的女高音、女低音和男高音谱号。安东尼奥·维瓦尔第(Antonio Vivaldi, 1678-1741)多次设置了格洛丽亚文本。他的作品目录列出了三件独立的作品，其中一件现在已经丢失。几乎可以肯定，维瓦尔第是为18世纪早期威尼斯被遗弃儿童之家Ospedale della piet的女孩们创作了这首歌(以及其他几首)。这部作品在20世纪20年代后期被重新发现，成为维瓦尔第最受欢迎的声乐作品，是标准清唱剧曲目的一部分。这首曲子的歌词来自古代基督教赞美诗《格洛里亚》。赞美诗以路加福音2:14中天使的歌声开始，并以诗篇的风格写成(私人诗篇-模仿圣经中发现的个人歌曲)。自公元2世纪以来，人们一直在弥撒中唱这首歌，尽管它现在的形式和拉丁语翻译是在公元4世纪发展起来的。
{"title":"ANTONIO VIVALDI","authors":"Antonio Vivaldi, S. S. Donald, Renzo Giordano, Opere Sacre","doi":"10.2307/j.ctv9b2wqr.66","DOIUrl":"https://doi.org/10.2307/j.ctv9b2wqr.66","url":null,"abstract":"PREFACE This edition of Antonio Vivaldi's Gloria (RV 589) was prepared from a vocal score edited by Clayton J. Westermann, originally published by Edwin F. Kalmus & Co. in 1968. Mr. Westermann's source was the Raccolta Renzo Giordano, Opere Sacre, Tome 1. ff 90-129r from the Biblioteca Nazionale in Turin. According to Mr. Westermann's preface, \" The full score, orchestra parts and vocal score are faithfully represented as in Vivaldi's original notation. \" Because of this, the 1968 vocal score is considered to be an \" urtext \" or scientific edition and has therefore been interpreted to be in the public domain in Canada by the copyright reviewers at the International Music Score Library Project (www.imslp.org). Accordingly, I have set out to create a crisp new imprint suitable for sharing and reproducing. Some changes to the piano reduction have been made for clarity or to better reflect the orchestral parts. Included in this edition is the oboe solo for \" Domine Deus \". Items marked in brackets [ ] including trills, dynamics, and missing figured bass are editorial. Editorial slurs in \" Laudamus te \" are marked with a dotted line. Editorial marks are taken from several different print editions (including Mr. Westermann's) and recordings to represent common performance practice. A treble clef has been substituted for the original soprano, alto and tenor clefs. Antonio Vivaldi (1678-1741) set the Gloria text a number of times. A catalogue of his works lists three separate pieces, one of which is now lost. Vivaldi almost certainly composed this Gloria (and the others) for the girls at Ospedale della Pietà, a home for abandoned children in Venice in the early 18 th century. Rediscovered in late 1920's, this work has become the most popular of Vivaldi's vocal works and is part of the standard oratorio repertoire. The text for this piece comes from the ancient Christian hymn Gloria in excelsis Deo. The hymn begins with the angel's song from Luke 2:14 and is written in the style of psalmi idiotic (private psalms – songs written by individuals in imitation of those found in scripture). It has been sung at Masses since the second century, though its current format and translation into Latin was developed in the fourth century.","PeriodicalId":389981,"journal":{"name":"The Classical Music Lover's Companion to Orchestral Music","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114466358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gabriel Fauré","authors":"Edward R. Phillips","doi":"10.4324/9780203906712","DOIUrl":"https://doi.org/10.4324/9780203906712","url":null,"abstract":"","PeriodicalId":389981,"journal":{"name":"The Classical Music Lover's Companion to Orchestral Music","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121570674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"MANUEL DE FALLA","authors":"E. Baker","doi":"10.2307/j.ctv9b2wqr.25","DOIUrl":"https://doi.org/10.2307/j.ctv9b2wqr.25","url":null,"abstract":"","PeriodicalId":389981,"journal":{"name":"The Classical Music Lover's Companion to Orchestral Music","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132789138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Endnotes","authors":"","doi":"10.2307/j.ctv9b2wqr.71","DOIUrl":"https://doi.org/10.2307/j.ctv9b2wqr.71","url":null,"abstract":"","PeriodicalId":389981,"journal":{"name":"The Classical Music Lover's Companion to Orchestral Music","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133919858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：