Download 12 Études op. 25 by Frédéric Chopin, ed. Alfred Cortot PDF

By Frédéric Chopin, ed. Alfred Cortot

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58 See Marco Salvaroni in NG. 59 This theme is also featured in the prologue to Cavalli’s La Calisto. On the sources of this allegory, see Brown, “Introduction,” pp. xxviii-xxxii. 38 The Baroque Libretto 60 “Torneo,” in NG. On opera at the Viennese Court, see Herbert Seifert, Die Oper am Wiener Kaiserhof im 17 Jahrhundert (Tutzing: Schneider, 1985). 61 “Dance,” in NG. 62 Rosand, Opera in Seventeenth-Century Venice, p. 55. ” 63 Alm, “Winged feet,” 249-250. 87-88. 65 A theoretical foundation for this principle is found in Giovanni Battista Doni’s Trattato della musica scenica (1630s).

Zeno clarifies that the doctrinal content of the earlier stage–in the narrative voice of the first period and in the explicatory recitatives and choral passages of the second period–can and should be entrusted to style rather than characters or structure. The recitatives and arias of patriarchs, apostles and prophets, characters from whom the audience naturally expects authoritative teachings, should be based on a very limited vocabulary and type of phrasing, drawn directly from Scripture, from the writings of the Fathers, and from the recognized theological authorities of the Church.

But even these reflections on the oratorio libretto are at best modest, when compared 30 The Baroque Libretto with the attention attracted by all the other literary genres in the flurry of critical activity inaugurated by the Accademia dell’Arcadia. Prior to that, throughout the seventeenth century, the oratorio poet did not come into any kind of prominence for his work in this field, which remained sheltered from the outside world and narrowly focussed on its message of conversion and spiritual fulfilment.

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