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November 07 2011

02mydafsoup-01
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Passacaglia by Alessandro Piccinini 1566-1638

yt-video uploaded by BaroqueMusicOnly on Dec 21, 2010

// Alessandro Piccinini (December 30, 1566 -- ca. 1638), was an Italian lutenist and composer.

Piccinini was born in Bologna into a musical family: his father Leonardo Maria Piccinini taught lute playing to Alessandro as well as his brothers Girolamo (d. 1615) and Filippo (d. 1648). He held appointments at the Este court in Ferrara (from 1582 to 1597) and with Cardinal Pietro Aldobrandini, papal legate at Bologna and Ferrara. Piccinini died around 1638, probably in Bologna.

He is best known for his two volumes of lute music: Intavolatura di Liuto et di Chitarrone, libro primo (Bologna, 1623) and Intavolaturo di Liuto (Bologna, 1639), the latter published posthumusly by his son Leonardo Maria Piccinini. The 1623 collection is of particular importance because of Piccinini's lengthy preface, which includes a detailed manual on performance, as well as claims to have invented the archlute (Piccinini also made important modifications to the chitarrone). Piccinini concentrated on toccatas, courantes and galliards, as well as different kinds of variations. No other works by Piccinini are known; his music for La selva sin amor, the first opera performed in Spain, composed by his brother Filippo Piccinini is lost.

Passacaglias for lute have been composed by figures such as Alessandro Piccinini, G. H. Kapsberger, Sylvius Leopold Weiss, Esaias Reusner, Count Logy, Robert de Visée, Jacob Bittner, Philipp Franz Lesage De Richee, Gleitsmann, Dufaut, Gallot, Denis Gaultier, Ennemond Gaultier, and Roman Turovsky-Savchuk, a passacaglia for bandura by Julian Kytasty, and for baroque guitar by Paulo Galvão, Santiago de Murcia, Francisco Guerau, Gaspar Sanz, and Marcello Vitale. //

quote from the yt-video text

April 26 2011

02mydafsoup-01

Ordinary finds - Mal Waldron: For Every Man, There’s a Woman - from...

Mal Waldron: For Every Man, There’s a Woman - from Mal / 3 Sounds (Recorded in Hackensack, NJ; Jan 31, 1958)

Personnel: Mal Waldron — piano; Art Farmer — trumpet; Eric Dixon — flute;  Calo Scott — cello; Julian Euell — bass; Elvin Jones — drums; Elaine Waldron — vocal

(via jessiethejazz)

April 13 2011

02mydafsoup-01

yt-account: 400KJV


Georg Friedrich Händel
JEPHTHA
(1752)
An Oratorio; or Sacred Drama
Words by Thomas Morell

(no information about this interpretation is available - it seems to be recorded in the late 50ies - may be that David Willcocks is the conductor. The whole oratorium from this recording is online on youtube)


The interpretation as such is imho inspite of the relative weak recording quality absolute stunning - on Youtube its the first time I have had the chance to listen to it.

The chosen successional parts 45-53 have a duration of ~35 min.



(The libretto may be also followed on the video screen.)

------------------------------------------------

ACT TWO


[...]

Scene 3

 
[...]

44. Quartet Zebul
Oh, spare your daughter,

Storgè
Spare my child,

Hamor
My love!

Jephtha
Recorded stands my vow in Heav'n above.

Storgè
Recall the impious vow, ere 'tis too late.

Jephtha
I'll hear no more, her doom is fix'd as fate!

Hamor, Zebul, Storgè
And think not Heav'n delights
In Moloch's horrid rites.

Scene 4

Enter Iphis.

45. Accompagnato

Iphis
Such news flies swift. I've heard the mournful cause
Of all your sorrows. Of my father's vow
Heav'n spoke its approbation by success.
Jephtha has triumph'd, Israel is free.
For joys so vast too little is the price
Of one poor life. But oh, accept it, Heav'n,
A grateful victim, and thy blessing still
Pour on my country, friends, and dearest father!

46. Air

Iphis
Happy they! This vital breath
With content I shall resign,
And not murmur or repine,
Sinking in the arms of death.
Happy they. . . da capo

47. Accompagnato

Jephtha
Deeper, and deeper still, thy goodness, child,
Pierceth a father's bleeding heart, and checks
The cruel sentence on my falt'ring tongue.
Oh, let me whisper it to the raging winds,
Or howling deserts; for the ears of men
It is too shocking. Yet have I not vow'd?
And can I think the great Jehovah sleeps,
Like Chemosh and such fabled deities?
Ah no; Heav'n heard my thoughts, and wrote them down;
It must be so. 'Tis this that racks my brain,
And pours into my breast a thousand pangs
That lash me into madness. Horrid thought!
My only daughter, so dear a child,
Doom'd by a father! Yes, the vow is past,
And Gilead hath triumph'd o'er his foes.
Therefore, tomorrow's dawn... I can no more.

48. Chorus

How dark, O Lord, are Thy decrees,
All hid from mortal sight,
All our joys to sorrow turning,
And our triumphs into mourning,
As the night succeeds the day.
No certain bliss,
No solid peace,
We mortals know
On earth below,
Yet on this maxim still obey:
"Whatever is, is right."

 

ACT THREE

 

Scene 1

Jephtha, Iphis, Priests and Chorus.

49. Accompagnato

Jephtha
Hide thou thy hated beams, O sun, in clouds
And darkness, deep as is a father's woe;
A father, off'ring up his only child
In vow'd return for victory and peace.

50. Air

Jephtha
Waft her, angels, through the skies,
Far above yon azure plain,
Glorious there, like you, to rise,
There, like you, for ever reign.
Waft her. . . da capo

51. Recitative

Iphis
Ye sacred priests, whose hands ne'er yet were stain'd
With human blood, why are ye thus afraid
To execute my father's will? The call of Heav'n
With humble resignation I obey.

52. Air

Iphis
Farewell, ye limpid springs and floods,
Ye flow'ry meads and leafy woods;
Farewell, thou busy world where reign
Short hours of joy and years of pain.
Brighter scenes I seek above
In the realms of peace and love.

53. Chorus of Priests

Doubtful fear and rev'rent awe
Strike us, Lord, while here we bow,
Check'd by Thy all-sacred law,
Yet commanded by the vow.
Hear our pray'r in this distress,
And Thy determin'd will declare.


[...]

  
-----------------------------------------------------------------------

complete libretto from Handel's Sacred Drama or Oratorio Jephta
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