dimarts, 23 de febrer de 2016

GIORDANI, Tomasso (c.1730-1806) - Sonate per chitarra e basso

Jan van Os - Still life of peonies, a cocks comb and morning glories with a pineapple, ear of corn, melons, grapes, plums and raspberries
Obra de Jan van Os (1744-1808), pintor holandès (1)



- Recordatori de Tomasso Giordani -
En el dia de la commemoració del seu 210è aniversari de decés



Parlem de Pintura...

Jan van Os (Middelharnis, 23 de febrer de 1744 - Den Haag, 7 de febrer de 1808) va ser un pintor holandès, membre de la reconeguda família d'artistes Van Os. Es va formar inicialment amb Aert Schouman a l'Haia, ciutat on va viure la resta de la seva vida. El 1773, va treballar a la confraria de pintors i el 1775, es va casar amb Susanna de La Croix (1755-1789), pintora i filla del retratista Pieter Frederik de La Croix. Jan van Os es va fer conegut pels seus bodegons de fruites, flors i animals si bé en els seus inicis havia explorat la pintura de paisatges marítims. El seu estil va ser hereu del seu col·lega Jan van Huysum. Els seus fills Pieter van Os, Maria Margaretha van Os i Georgius Jacobus Johannes van Os van ser, juntament amb el seu net Pieter Frederik van Os, pintors. Va morir a La Haia el febrer de 1808.

Font: En català: No disponible En castellano: Jan van Os (1744-1808) In english: Jan van Os (1744-1808) - Altres: Jan van Os (1744-1808)



Parlem de Música...

Tomasso Giordani (Napoli, c.1730 - Dublin, 24 de febrer de 1806) va ser un compositor italià, actiu principalment a Anglaterra. Membre d'una família de cantants, es va formar amb el seu pare i a partir del 1745 va iniciar una gira, amb la seva família, arreu d'Europa. Poc després van viatjar a Anglaterra, territori on Tomasso es va iniciar com a compositor, escrivint la música de La comediante fatta cantatrice (1756). A partir del 1764 va residir a Dublin ciutat on va començar a fer-se un nom en el món de l'òpera, consolidant-se amb les obres Don Fulminone, The Enchanter i The Maid of the Mill. A l'entorn del 1770 va viatjar a Londres on va romandre actiu, durant 13 anys, al Italian Opera i al King's Theatre. També va compondre nombroses cançons i obra de cambra pel Vauxhall Pleasure Gardens. A l'estiu de 1783 va tornar a Dublin on va realitzar diversos concerts i on va treballar al Smock Alley sota la direcció de Richard Daly. El 1787 va ser nomenat director musical de Crow Street, un càrrec que va mantenir la resta de la seva vida fins el 1806, l'any de la seva mort.

OBRA:

Vocal secular:

Stage:
La comediante fatta cantatrice (comic op), LCG, 12 Jan 1756
Don Fulminone, or The Lover with Two Mistresses (comic op), DBSA, 7 Jan 1765
The Enchanter, or Love and Magic (comic op), DBSA, 17 Jan 1765
The Maid of the Mill (comic op, 3, I. Bickerstaff, after S. Richardson, J. Fletcher and W. Rowley), DBSA, 26 March 1765
Love in Disguise (comic op, H. Lucas), DBSA, 24 April 1766
L'eroe cinese (os, 3, P. Metastasio), DBSA, 7 May 1766
Phyllis at Court (comic op, 2, R. Lloyd after C.-S. Favart), DBCS, 25 Feb 1767
The Elopement (pantomime), LDL, 26 Dec 1767
Il padre e il figlio rivali (comic op), LKH, 6 Feb 1770
Acis and Galatea (cant., G. Farranio), London, New Rooms, Tottenham Street, 1777
Il re pastore (os, 3, Metastasio), LKH, 30 May 1778
Il bacio (comic op, 2, C.F. Badini), LKH, 9 April 1782
Gibraltar (comic op, R. Houlton), DBEOH, 18 Dec 1783
The Haunted Castle (afterpiece, W.C. Oulton), DBEOH, 18 Dec 1783
The Enchantress, or The Happy Island (musical entertainment, A.M. Edwards), DBEOH, 31 Dec 1783
The Happy Disguise (comic op, Oulton), DBEOH, 7 Jan 1784
Genius of Ireland (masque), DBEOH, 9 Feb 1784
The Dying Indian (musical entertainment), DBEOH, 11 March 1784
Orfeo ed Euridice (burlesque op, Houlton), DBEOH, 14 June 1784
The Hypochondriac (afterpiece, A. Franklin), DBSA, 4 Jan 1785
The Island of Saints, or The Institution of the Shamrock (pantomime, Messink), DBSA, 27 Jan 1785
Calypso, or Love and Enchantment (serio-comic op, Houlton), DBSA, early April 1785
Perseverance, or The Third Time the Best (musical interlude, 2, Oulton), DBCS, 12 March 1789
The Distressed Knight, or The Enchanted Lady (comic op), DBCS, 12 Feb 1791
The Ward of the Castle (comic op, 2, Mrs Burke), LCG, 24 Oct 1793
The Cottage Festival, or A Day in Wales (comic op, L. MacNally), DBCS, 28 Nov 1796

Collaborations:
L'omaggio (pastoral, 3), LKH, 5 June 1781, with G.B. Bianchi, V. Rauzzini;
The Contract (comic op, 2, R. Houlton), DBSA, 14 May 1782, with P. Cogan and I.A. Stevenson;
To Arms, or The British Recruit (musical interlude, 1, T. Hurlstone), LCG, 3 May 1793, with W. Shield and Stevenson

Adaptations (mostly new accs. or new ovs., songs and finales. Orig. composer named if substantial part of his music retained):
Gli amanti gelosi, DBSA, 23 Nov 1764, most music by B. Galuppi;
The Beggar's Opera, DBSA, 2 Jan 1765;
J.A. Hasse: Artaserse, LKH, 25 April 1772, collab. M. Vento;
Hasse: Antigono, LKH, 8 March 1774, collab. Vento and T. Traetta;
A. Sacchini: Armida, LKH, 8 Nov 1774;
G. Paisiello: Le due contesse, LKH, 4 Nov 1777;
J. Hook: The Lady of the Manor, DBEOH, 25 March 1784;
T.A. Arne: Love in a Village, DBSA, 30 Oct 1784;
Shield: Robin Hood, or Sherwood Forest, DBSA, 13 Dec 1784;
S. Arnold: Gretna Green, DBSA, 7 Jan 1785;
Shield: Fontainbleau, or Our Way in France, DBSA, 29 Jan 1785;
Arne, after H. Purcell [Weldon]: The Tempest, DBCS, 26 Nov 1789;
Arnold: The Battle of Hexham, DBCS, early Dec 1789;
S. Storace: The Haunted Tower, DBCS, 18 Feb 1790;
Storace: The Siege of Belgrade, or The Turkish Overthrow, DBCS, 14 Dec 1791

Numerous songs and ovs. in pasticcios and comic ops (many written specially), incl.:
Le vicende della sorte (1770);
Il trionfo d'amore (1773);
La marchesa giardiniera (1775);
La frascatana (1776);
Il geloso in cimento (1777);
La vera costanza (1778);
Alessandro nelle Indie (1779);
L'Arcifanano (1780);
Il barone di Torre Forte (1781);
Ezio (1781);
The Silver Tankard (Arnold, 1781);
I viaggiatori felici (1781);
Silla (1783);
Love in a Village (1791);
Inkle and Yarico (1791)

Songs in plays, incl.:
The Way to Keep Him (comedy, 3, A. Murphy), LDL, 24 Jan 1760;
The Critic (farce, 3, R.B. Sheridan), LDL, 29 Oct 1779;
The Musical Lady (farce, Williams, after G. Colman the elder), DBEOH, 4 March 1784

Other vocal:
all printed works published in London
op.
6 Six duettini italiens (c1773)
11 Six Canzonets, 1v, pf/hp (1775)
13 Six Italian Canzonets, 1, 2vv, pf/hp (1775 or 1776)
15 Eight English Canzonets, 2vv, pf/hp/hpd (1776)
16 Six English Canzonets, 1v, pf/hp (1777)
20 At the Close of the Day: the Hermit, a favourite English Ballad, 1v, pf/hp (1778)
22 A Fourth Sett of English Canzonetts, 1v, pf/hp (c1780)
28 Six English Canzonets, 1v, pf/hp (1781)
Six Favorite Songs The Words taken from the Reliques of Ancient English Poetry (c1785)
Six Canzonets, 1v, pf (1795)

Occasional works (music lost unless pubd):
Isaac (orat, Metastasio), Dublin, Fishamble Street Music Hall, March 1767;
The Castle Ode (G.E. Howard), Dublin, Rotunda, 1 Aug 1769;
Cant. for the farewell of A. Heinel, London, 1773;
Elliott's Wreath, or Gibraltar Preserved (cant., R. Houlton), Dublin, Rotunda, 26 Sept 1783;
Ode on the Prince of Wales attaining his Majority (Houlton), Dublin, Rotunda, Sept 1783, ov. arr. pf (London, n.d.);
Ode on the Passions (W. Collins), Dublin, Theatre Royal, Crow Street, 21 March 1789;
TeD for the Recovery of George III, Dublin, Francis Street Chapel, April 1789;
Ky and Gl, Dublin, 24 March 1792
Collections of favourite songs and cants. sung at Vauxhall (1772–9);
other songs pubd singly and in 18th-century anthologies;
canzonets etc., GB-Lbl

Instrumental:

op.
A Select Ov. in 8 parts, D (c1767) [ov. to The Elopement]
[1] Sei quintetti, hpd, 2 vn, va, vc (1771), 3 ed. in RRMCE, xxv (1987)
2 Six Quartettos, 4 for str qt, 2 for fl, vn, va, vc (1772)
3 Six Chamber Concerto's, fl, 2 vn, bc (c1773)
4 Six Sonatas … dedicated to Mrs Hobart, hpd/pf/org, vn (c1773)
5 Six Sonatas, hpd, vn (c1773)
7 Six Duets, 2 fl (before Sept 1775)
8 Sei quartetti, str qt (c1775)
9 Six Easy Solos, fl, bc (1774)
10 VI Sonatas, hpd/pf/org (1775)
12 Six Trios, fl, va, vc (1775)
14 Six Concerto's, pf/hpd, 2 vn, bc (1776)
Cadences for the Use of Young Practitioners, hpd/pf/org (1777)
17 Six quatuor, hpd, fl, vn, b (1778)
Six Trios … selected from the Favorite Songs in the Italian Operas, fl, vn, bc (1779)
A Second Set of Six Sonatas, 2 fl/(fl, vn) (c1779)
18 Six Duettos, 2 vc (c1780)
19 Six Concertos, fl, 2 vn, bc (c1780)
21 Six Duettos, 4 for vn, vc, 2 for 2 vn (c1780)
23 A second Sett of Six Concertos, hpd/pf, 2 vn, bc (1779)
24 Six Sonatas, hpd/pf, vn/fl (c1779)
A First Sett of three Duetts, hpd/pf (c1780)
A Second Sett of three Duetts, hpd/pf (c1780)
Fourteen Preludes in all the Different Keys, hpd/pf (c1780)
A Favourite Overture in 8 parts, E  (c1780)
Six Solos, gui, hpd, and one Trio, gui, vn, b (c1780)
Six Marches, Six Quick steps and Two Concertos Militaire, hpd/pf (1780)
25 Twelve Progressive Lessons … composed for the Improvement of Young Practitioners, hpd/pf/org (1780)
27 Six Sonatas, hpd/pf, vn (1781)
30 Three Sonatas, pf/hpd, fl/vn, b viol/va (1782)
A Duetto, pf/hpd (1783)
Six Sonatinas, pf/hpd, vn (1783)
Six Progressive Lessons, hpd/pf (1784)
Four Favorite Duettinos, hpd/pf (1784)
31 Three Sonatas, pf/hpd, vn, vc (c1785)
32a Three Favourite Sonatas, hpd/pf, vn (1786), spurious [1st pubd as J. Schobert, op.20]
32b Six Grand Lessons, hpd/pf, vn (c1785)
33a Three Concertos … Third Set, hpd/pf, 2 vn, bc (1786)
33b Fourteen Preludes or Capricio's and Eight Cadences, pf/hpd/hp/org (c1785)
34 Three Sonatas, hpd/pf, vn (1788)
A Third Set of Six Duetts, 2 fl (before 1789)
Countess of Antrim's Minuet (Dublin, after c1790)
Lady Letitia MacDonell's Minuett (Dublin, after c1790)
35 Six Sonatas, pf, vn (1794)

Arrs. of various pieces pubd, incl.:
Haydn's Quartet's and Symphonies, arr. pf 4 hands (c1775);
favourite fl concs., vn concs. and op ovs.;
music for 2 hpd, D-Dl, cited by Eitner attrib. Giuseppe Giordano

Font: En català: No disponible En castellano: Tomasso Giordani (c.1730-1806) In english: Tomasso Giordani (c.1730-1806) - Altres: Tomasso Giordani (c.1730-1806)



Parlem en veu pròpia o en veu d'altri...

Over the course of its millennium-long history, the guitar has successfully adapted itself to the most diverse historical situations and to the changing needs of peoples and traditions, taking on new forms and, even more importantly, new and particular tunings. Toward the second half of the eighteenth century in Anglo-Saxon countries (but also French-speaking areas), we find the so-called English guitar (in French, guitare anglaise or pandore), an instrument which marked the final evolution of the now obsolete cittern. It had ten strings distributed in six courses (the first three of which were doubled), and the tuning (beginning at the top) was G-G, E-E, C-C, G, E, C. This tuning was thus an open C Major. (“Open” signifies a kind of tuning which produces a clear tonality without stopping any strings with the left hand. It has been in use practically forever with various plucked string instruments and is still found in North American folk music). This instrument should not be confused with the contemporary guitar referred to by its Italian name (better know today as the chitarra barocca or baroque guitar), since the latter employed a different tuning both in terms of the number of courses and the pitches themselves). The repertoire of the English guitar – not particularly rich, to tell the truth – includes the contributions of Felice Giardini (1716–1796), Rudolf Straube (1717–c. 1785) and the two authors presented on this recording: Francesco Geminiani and Tommaso Giordani.

TACTUS (source/font: aquí)

Gaudiu i compartiu! 



Informació addicional... 

INTERPRETS: Giampaolo Bandini (guitar); Federico Ferri (cello); Daniele Proni (harpsichord)
TACTUS: Sonate per chitarra e basso
CPDL: No disponible
SPOTIFY: Sonate per chitarra e basso



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

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