Art & Music: Canaletto - Music of His Time
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Canaletto (1697-1768) Music of His Time More than fifteen hundred years ago the ancestors of the Venetians calculated that the only way to avoid marauding...
Canaletto
(1697-1768)
Music of His Time
More than fifteen hundred years ago the ancestors of the Venetians calculated that
the only way to avoid marauding newcomers from the east was to abandon the
mainland entirely and surround themselves with water. So they settled on a small
patch of mud, which in due course they turned into one of the great miracles of the
world. In the heyday of the Most Serene Republic of Venice, as she liked to call
herself, her traders were the richest, the canniest, the most enterprising in the
eastern Mediterranean. Their empire came not from military prowess (though they
were never afraid to fight) but through deals, concessions and percentages, all
underpinned by a banking system of rock-like solidity.
Given all the money coming in, what were the Venetians to do with it? The
answer was simple: glorify the republic. While the rest of Europe consumed its
energies with local squabbles and dynastic feuding, Venice rose slowly from its
marshes to become the most beautiful city in the world. Most of it the Venetians
built themselves; some prize items came from looting, such as the four great bronze
horses that used to stand above the doorway of St Mark's. These were shipped back
from Constantinople in 1204, with other priceless treasures, after the Fourth
Crusade had veered wildly from its original objective and turned into a demolition
job on the Byzantine Empire. (The original horses, now safely stowed inside the
basilica, have been replaced by copies.)
But all of that was a long time ago. With the discovery of sea routes to the east
round Africa, Venice had become an irrelevance in trading terms. In the age of
Bach and Handel, rather than supplying the rest of Europe with goods, her function
was to entertain it. The city became an irresistible lure for rich travellers wanting
new and exotic experiences. Like any successful prostitute, Venice was ready to be
all things to all men - a work of art to the connoisseur, a stage set for trysting lovers,
a sensuous paradise for the aficionado of pleasure. Romantic intrigue was at its
height in winter, at Carnival time, 'in which masks, banquets, festive assemblies,
plays, and musical dramas are conjoined, so that entire nights are consumed in an
ecstasy of delicious entertainments,' as one visitor wrote in 1681.
Music was everywhere. Charles Burney, in 1770, was astonished at what he heard
going on around him:
If two of the common people walk together arm in arm, they are always singing,
and seem to converse in song; if there is company on the water, in a gondola, it is
the same; a mere melody, unaccompanied with a second part, is not to be heard in
this city.
Concerto Grosso in F major, Op. 6, No. 2 (more info)
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I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo andante - 4:00
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II. Allegro - 1:44
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III. Grave - Andante largo - - 1:53
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IV. Allegro - 2:08
Oboe Concerto in D minor, Op. 9, No. 2 (more info)
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Oboe Concerto in B flat major, Op. 9, No. 2: II. Adagio - 5:22
Violin Concerto in B flat major, Op. 4, No. 1, RV 383a (more info)
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I. Allegro - 3:12
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II. Largo - 2:43
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III. Allegro - 2:21
Ode for the Birthday of Queen Anne, HWV 74, "Eternal Source of Light Divine" (more info)
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Ode for the Birthday of Queen Anne, HWV 74: Eternal Source of Light Divine - 3:29
Tito Manlio, RV 778 (more info)
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Tito Manlio, RV 778: Combatta un gentil cor - 4:35
Rinaldo, HWV 7 (more info)
Performed by:
Berlin Radio Symphony Orchestra
London Baroque
Moscow Chamber Orchestra
Capella Istropolitana
Carl Philipp Emanuel Bach Chamber Orchestra
Handel Festival Orchestra
Budapest Camerata
Teatro la Fenice Orchestra
Mostly Mozart Orchestra
Capella Leopoldina
Composed by:
George Frideric Handel
Conducted by:
Hartmut Haenchen
Christophe Rousset
Laszlo Kovacs
Kevin Mallon
Charles Medlam
Gerard Schwarz
Alexander Weimann
Daniel Taylor
Constantine Orbelian
John Fisher
Howard Arman
Holger Speck
Heinz Fricke
Ewa Mallas-Godlewska, soprano
Cecilia Gasdia, soprano
Caterina Calvi, contralto
Cosetta Tosetti, soprano
Laura Whalen, soprano
Kimberley Barber, mezzo-soprano
Jennifer Ens Modolo, mezzo-soprano
Sean Watson, baritone
Nicole Bower, soprano
Catherine Affleck, soprano
Melinda Delorme, mezzo-soprano
Lenard Whiting, tenor
Nicolau De Figueiredo, harpsichord
Yosemeh Adjei, alto
Suzie Le Blanc, soprano
Sara Mingardo,
Niklas Eklund, trumpet
Maria Bayo, soprano
Natale de Carolis, baritone
Susanne Ryden, soprano
Carlo Colombara, bass
Constantine Orbelian, piano
Skip Sempe, harpsichord
Ingrid Kertesi, soprano
David DQ Lee,
Yannick Nezet-Seguin,
Christine Weidinger, soprano
Veronica Cangemi, soprano
Marion Newman, mezzo-soprano
Marilyn Horne, mezzo-soprano
Ernesto Palacio,
Deborah York, soprano
Giles Tomkins, bass-baritone
Karina Gauvin, soprano
Barbara Hannigan, soprano
Reinhold Friedrich, trumpet
Sandrine Piau, soprano
Ewa Podles, contralto
Claire Guimond, flute
Derek Lee Ragin, alto
Arleen Auger, soprano
Jochen Kowalski, counter-tenor
Axel Kohler, counter-tenor
Stephen Stubbs, lute
Lydia Vierlinger, alto
Jorg Zwicker, cello
Felix Wilde, trumpet
Friedhelm May, timpani
Jeroen Berwaerts, trumpet
Mizuhio Yoshii, oboe
Annette Schutz, oboe
Adam Rixer, trumpet
Susanne Sonntag, bassoon
Rinaldo Alessandrini, harpsichord
Recording date: 8-13 July 1996
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Lascia ch’io pianga - 3:37
Symphony No. 8 in G major, Op. 33: III. Allegretto grazioso - Molto vivace (more info)
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I. Ouverture - 6:17
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V. Gigue - 2:49
Oboe Concerto in D minor (more info)
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Oboe Concerto in D minor: II. Adagio - 4:10
Concerto for Oboe and Bassoon in G major, RV 545 (more info)
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I. Andante molto - 3:22
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II. Largo - 2:44
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III. Allegro molto - 3:11
Oboe Concerto in B flat major, Wq. 164, H. 466 (more info)
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Oboe Concerto in B flat major, Wq. 164, H. 466: III. Allegro moderato - 5:47
Alceste (more info)
Performed by:
Drottningholm Court Theatre Orchestra
London Philharmonic Orchestra
Geraint Jones Orchestra
Composed by:
Christoph Willibald Gluck
Conducted by:
Arnold Ostman
David Parry
Geraint Jones
Kirsten Flagstad, soprano
Christine Brewer, soprano
Justin Lavender, tenor
Jonas Degerfeldt, tenor
Miriam Treichl, soprano
Lars Martinsson, baritone
Raoul Jobin, tenor
Adam Giertz, treble
Emelie Clausen, treble
Mattias Nilsson, baritone
Johan Lilja, bass
Thomas Hemsley,
Alexander Young,
Teresa Ringholz, soprano
Marion Lowe, soprano
Joan Clark, vocals
Rosemary Thayer, vocals
James Atkins, bass
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Act I, Scene 5: Recitative: Ove son che ascoltai? (Alceste) - 2:46
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Act I, Scene 5: Aria: Ombre, larve, compagne di morte (Alceste) - 3:45
Mitridate, re di Ponto, K. 87: Overture (more info)
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Allegro - 2:15
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Andante grazioso - 1:57
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Presto - 1:24