Ottavio Dantone antonio vivaldi 1678-1741 Il Giustino RV 717 Dramma per musica

Ottavio Dantone antonio vivaldi 1678-1741 Il Giustino RV 717 Dramma per musica in tre atti Libretto di Niccolò Beregan Teatro Capranica, Rome, Carnival 1724 Edizione di Reinhard Strohm Edizione critica dell'Istituto Italiano A. Vivaldi della Fondazione G. Cini di Venezia e Casa Ricordi, Milano Variazioni scritte da Ottavio Dantone Delphine Galou contralto GIUSTINO Emőke Baráth soprano ARIANNA Silke Gäng contralto ANASTASIO Verónica Cangemi soprano LEOCASTA Emiliano Gonzalez Toro tenore VITALIANO Arianna Vendittelli soprano AMANZIO Alessandro Giangrande alto ANDRONICO / tenore POLIDARTE Rahel Maas soprano FORTUNA Accademia Bizantina Ottavio Dantone direttore vivaldi edition vol.58 opere teatrali Il est rare qu’une collection de manuscrits ayant appartenu à un compositeur du XVIIIe siècle et/ou à ses copistes soit parvenue intacte jusqu’à nous. Plus la renommée du compositeur était grande, plus il était probable que l’on se hâterait, immédiatement après sa mort, de tirer profit de la vente de ses manuscrits. Et cependant, une suite de hasards heureux a permis à la Bibliothèque nationale de Turin d’acquérir, en 1930 – et après de multiples change- ments de propriétaires au cours des siècles –, la collection personnelle de manuscrits autographes du grand compo- siteur vénitien Antonio Vivaldi. Sans cet événement for- tuit, nous n’aurions aujourd’hui qu’une image très incom- plète de cet homme qui fut sans doute le compositeur italien le plus important du XVIIIe siècle. Connu en tant que Fonds Foà et Giordano, du nom des donateurs qui en rendirent possible l’acquisition, cet ensemble de partitions contient à peu près quatre cent cinquante compositions de Vivaldi : des centaines de con- certos pour divers instruments et beaucoup de musique vocale, aussi bien profane que sacrée. À peu d’exceptions près, il constitue la seule source que nous possédions pour sa musique sacrée et ses opéras – et, jusqu’à une date récente, la grande majorité de ces ouvrages demeurait inconnue du public moderne. Conçue par le musicologue italien Alberto Basso au début de ce siècle, l'Édition Vivaldi a entrepris l’ambitieux projet d’enregistrer ce fonds musical dans son intégralité. Nous comptons désormais plus de cinquante titres parus, tous méthodiquement classés par genre et confiés à quelques-uns des plus éminents spécialistes actuels dans le domaine de l’interprétation historique. La restitution sonore de ces partitions a considérablement accru notre connaissance et notre compréhension de la musique d’Antonio Vivaldi, et a contribué à mettre en lumière son influence et son rôle décisif dans l’histoire de la musique occidentale. Sans parler, bien sûr, de l’impact considérable que peuvent avoir ces plus de cent heures d’écoute grâce auxquelles des ouvrages de tout premier plan sont désor- mais rendus accessibles au public mélomane. Faire revivre des manuscrits musicaux est une entre- prise complexe, de l’établissement d’une édition moderne aux choix interprétatifs, aux répétitions et aux représentations. La représentation, toutefois, parce qu’elle est unique, demeure éphémère. C’est par le biais de l’enregistrement qu’il nous est possible de créer des documents durables qui témoigneront pour toujours de la beauté de cette musique. Ainsi, nous apportons une con- clusion à l’étonnante aventure des manuscrits de Vivaldi et des voyages qui les ont menés de Venise à Turin, en passant par Gênes, et aujourd’hui dans le monde entier. Fruit de la collaboration et de la passion partagée de nom- breux érudits et musiciens enthousiastes, l'Édition Vivaldi, aujourd’hui accomplie aux deux tiers, est désormais en route vers son achèvement. Profonde gratitude et vive reconnaissance vont au musi- cologue Alberto Basso, concepteur et fer de lance de ce projet, ainsi qu’à l'Istituto per I Beni Musicali in Piemonte, dont il est le fondateur. Avec le soutien généreux de la Compagnia di San Paolo, de la Fondazione CRT et de la Région Piémont, ils ont permis d’assurer l’existence de l'Édition Vivaldi depuis plus d’une décennie. Sans leur aide, ce projet ne serait jamais devenu réalité. L'Édition Vivaldi Susan Orlando, directrice artistique Rarely has a collection of music manuscripts in the hand of an eighteenth-century composer and/or his scribes come down to us intact. The greater the fame of the composer, the more likely it was that the manuscripts would be hast- ily sold off for profit upon his death. Yet serendipity would have it that in 1930, following multiple ownership over the centuries, the Italian National Library in Turin purchased the personal collection of autograph manuscripts by the great Venetian composer Antonio Vivaldi. Without this fortuitous incident, we would forever have had only a very partial picture of a man who was arguably the most signifi- cant Italian composer of the eighteenth century. Known as the Foà and Giordano collection, after the donors who made the purchase possible, this assemblage of music scores contains nearly 450 works by Vivaldi: hundreds of concertos for various instruments and much vocal music, both secular and sacred. With few excep- tions, it is the only source we have of his sacred music and operas, and until recently much of this music had never been heard by today’s public. Conceived by the Italian musicologist Alberto Basso at the beginning of this century, the ambitious Vivaldi Edition project set out to record this archive of music in its entirety. We now look back over more than fifty released titles, all neatly categorised by genre and performed by many of the most notable specialists in historical per- formance practice today. Creating an aural rendering of this collection has significantly increased our knowledge and appreciation of Antonio Vivaldi and clarified his influ- ence and decisive role in the history of Western music. Moreover, one must not underestimate the impact of more than one hundred hours of first-class works being made accessible to the music-loving public. Bringing music manuscripts to life is a complex process, from the creation of a modern performing edition to interpretational decisions, rehearsals and performances. Yet, while performances are unique, they remain ephem- eral. It is in the recording of this music that we are able to create lasting documents that will for evermore bear witness to its beauty. In so doing, we are also conclud- ing the remarkable tale of Vivaldi’s personal collection of music manuscripts and its travels from Venice to Turin via Genoa and now out into the world at large. A collabora- tion and shared passion among numerous scholars, musi- cians and enthusiasts, the Vivaldi Edition, now two-thirds accomplished, forges ahead to completion. Deep gratitude and recognition go to the musicologist Alberto Basso, who conceived and spearheaded this proj- ect, and the Istituto per I Beni Musicali in Piemonte of which he is the founder. Together with the Compagnia di San Paolo, Fondazione CRT and the Regione Piemonte, they generously funded the Vivaldi Edition for over a decade, and without their aid this project would never have become a reality. Susan Orlando, artistic director Fr En The Vivaldi Edition Rarely has a collection of music manuscripts in the hand of an eighteenth-century composer and/or his scribes come down to us intact. The greater the fame of the composer, the more likely it was that the manuscripts would be hast- ily sold off for profit upon his death. Yet serendipity would have it that in 1930, following multiple ownership over the centuries, the Italian National Library in Turin purchased the personal collection of autograph manuscripts by the great Venetian composer Antonio Vivaldi. Without this fortuitous incident, we would forever have had only a very partial picture of a man who was arguably the most signifi- cant Italian composer of the eighteenth century. Known as the Foà and Giordano collection, after the donors who made the purchase possible, this assemblage of music scores contains nearly 450 works by Vivaldi: hundreds of concertos for various instruments and much vocal music, both secular and sacred. With few excep- tions, it is the only source we have of his sacred music and operas, and until recently much of this music had never been heard by today’s public. Conceived by the Italian musicologist Alberto Basso at the beginning of this century, the ambitious Vivaldi Edition project set out to record this archive of music in its entirety. We now look back over more than fifty released titles, all neatly categorised by genre and performed by many of the most notable specialists in historical per- formance practice today. Creating an aural rendering of this collection has significantly increased our knowledge and appreciation of Antonio Vivaldi and clarified his influ- ence and decisive role in the history of Western music. Moreover, one must not underestimate the impact of more than one hundred hours of first-class works being made accessible to the music-loving public. Bringing music manuscripts to life is a complex process, from the creation of a modern performing edition to interpretational decisions, rehearsals and performances. Yet, while performances are unique, they remain ephem- eral. It is in the recording of this music that we are able to create lasting documents that will for evermore bear witness to its beauty. In so doing, we are also conclud- ing the remarkable tale of Vivaldi’s personal collection of music manuscripts and its travels from Venice to Turin via Genoa and now uploads/s3/ vivaldi-x27-s-quot-il-giustino-quot.pdf

• Détails
• Publié le Nov 29, 2022
• Catégorie Creative Arts / Ar...
• Langue French
• Taille du fichier 4.9287MB