"and Berliner Philharmonie. It was the first ever Baroque Ensemble in Residence at Wigmore Hall in the 16–17 concert season Arcangelo has performed with soloists including Iestyn Davies MBE (counter tenor), Christiane Karg (soprano), Matthew Rose (bass), Vilde Frang (violin), Alina Ibragimova (violin), Tim Mead (counter tenor), Nicolas Altstaedt (cello), Christopher Purves (baritone), Anna Prohaska (soprano), and Louise Alder (soprano) Its ranks are cast from both the UK and continental Europe, and include young emerging musicians who are invited to the group as part of their artistic and career development. Arcangelo (ensemble) Arcangelo is a UK-based early music ensemble founded"
"Fantasia Concertante on a Theme of Corelli Fantasia Concertante on a Theme of Corelli, also known as the Corelli Fantasia, is a work for string orchestra by the British composer Michael Tippett. It was commissioned by the 1953 Edinburgh Festival to commemorate the 300th anniversary of the birth of the Italian composer Arcangelo Corelli, and given its first performance on 29 August 1953, in the Usher Hall, by the BBC Symphony Orchestra conducted by Tippett. Integrating 17th century influences, especially those outside of the orchestral tradition, can be traced back to his days at the Royal College of Music, and"
"italiana. la afinacion italiana está indicada para los intrumentos en el libro el cual contiene algunas canciones. el manuscrito original se encuentra en la Österreichische Nationalbibliothek en Austria El trabajo al parecer fue escrito para cittern Un instrumento de cuerda muy similar al laúd, con una espalda aplanada y cuerdas de alambre, utilizado en la Europa del siglo XVI y XVII http://test.kotta.info/ http://www.kil.hu/kiadvanyok/index.php?mid=14e663204965df&f_from=0&f_to=10&pmid=14e663210c3c77 http://test.kotta.info/hu/product/5757/VIRCHI-PAOLO-Saltarelli-Canzoni-e-Fantasie http://search.onb.ac.at/primo_library/libweb/action/search.do?dscnt=0&vl%281UI0%29=contains&tab=default_tab&srt=rank&ct=search&mode=Basic&dum=true&tb=t&indx=1&vid=ONB&fn=search&search=1&vl%28freeText0%29=virchi Paolo Virchi Paolo Virchi (also known as ""Targhetta""; 1551 – 2 May 1610) was an Italian composer and instrumentalist. He was born in Brescia, and his father was Girolamo Virchi, an instrument maker. He joined"
"but restricting it to cello and/or double bass if only strings are involved. Harps, lutes, and other handheld instruments are more typical of early 17th-century music. Sometimes instruments are specified by the composer: in ""L'Orfeo"" (1607) Monteverdi calls for an exceptionally varied instrumentation, with multiple harpsichords and lutes with a bass violin in the pastoral scenes followed by lamenting to the accompaniment of ""organo di legno"" and ""chitarrone"", while Charon stands watch to the sound of a regal. The keyboard (or other chord-playing instrument) player ""realizes"" a continuo part by playing, in addition to the notated bass line, notes above"
"Giovanni Bassano was a virtuoso early player of the cornett, and Giovanni Gabrieli wrote much of his polychoral music with Bassano in mind. Heinrich Schütz also used the instrument extensively, especially in his earlier work; he had studied in Venice with Gabrieli and was acquainted with Bassano's playing. The cornett was, like almost all Renaissance and Baroque instruments, made in a complete family; the different sizes being the high cornettino, the cornett (or curved cornett), the tenor cornett (or lizard) and the rare bass cornett. The serpent largely supplanted the bass cornett in the 17th century. Other versions include the"
"the Gradual, Offertory, Elevation and Communion as well as the Introit and Deo Gratias"" and ""were also used as a substitute for antiphons during Vespers"", they were not ""written with an explicitly liturgical function, such as, for instance, a Requiem Mass. Symphonic works written in the sonata da chiesa were more often performed as concert pieces for entertainment. One of the greatest exponents of the sonata da chiesa was the Ravennate Arcangelo Corelli (1653–1713). Among his finest compositions are ""6 Sonata da Chiesa, Op.1""; dedicated to queen Christina of Sweden, who lived in Rome. The first 8 of his ""12"
"music. The recorder, modern B, C, or D trumpet, oboe, and soprano saxophone have all been used as substitutes for the cornett in modern performances. Extant cornetts at The Metropolitan Museum of Art Cornett The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the trumpet-like cornet. The sound of the cornett is produced by lip vibrations against a cup mouthpiece. A cornett consists of a"
"Giuseppe Torelli Giuseppe Torelli (22 April 1658, Verona – 8 February 1709, Bologna) was an Italian violist, violinist, teacher, and composer. Torelli is most remembered for contributing to the development of the instrumental concerto , especially concerti grossi and the solo concerto, for strings and continuo, as well as being the most prolific Baroque composer for trumpets . Torelli was born in Verona. It is not known with whom he studied violin though it has been speculated that he was a pupil of Leonardo Brugnoli or Bartolomeo Laurenti, but it is certain that he studied composition with Giacomo Antonio Perti"
"Arpeggione The arpeggione is a six-stringed musical instrument, fretted and tuned like a guitar, but bowed like a cello, and thus similar to the bass viola da gamba. So it had another name, the guitar violoncello. The body shape of the instrument is, however, more similar to a medieval fiddle than either the guitar or the bass viol. The instrument was essentially a bass viol with a guitar-type tuning, ""E""–""A""–""d""–""g""–""b""–""e' ."" The arpeggione was especially suited to playing runs in thirds, double stops and arpeggios. It enjoyed a brief vogue, perhaps a decade, after its invention around 1823, by the"
"famous example being Corelli's ""Opus"" 1 and 3 trio sonatas which have partbooks for 1st and 2nd violin, 'violone o arciliuto' and a continuo part for organ, a simplified version of the 'violone o arciliuto' book. The violone o arciliuto book has just as many figures to tell the player what chords to play as the organ partbook, which suggests the archlute player would be adding chords above the bass where possible. The archlute was used in Handel's operas and like repertoire; ""Giulio Cesare"" (1724) has continuo parts labelled both ""arciliuto"" and tiorba. Perhaps one player would play both instruments."
"Francesco Corselli Francesco Corselli (Piacenza, April 19, 1705 - April 3, 1778 in Madrid) was an Italian composer of the pre-classical period. Francesco Corselli (Courcelle) was born April 19, 1705 in Piacenza, Italy from French parents. He was the director of music for the funerals of Francesco Farnese in Parma in 1724, and Antonio Farnese in 1731, and Kapellmeister at the Church of Santa Maria della Steccata, 1727-1731, and simultaneously at the court of Parma, 1727-33. From this period date his first works: the operas ""La Venere placata"" (1731, at the Teatro San Samuele in Venice) and ""Nino"" (1732, at"
"at the Royal Chapel. Corselli died in Madrid April 3, 1778. Recordings Francesco Corselli Francesco Corselli (Piacenza, April 19, 1705 - April 3, 1778 in Madrid) was an Italian composer of the pre-classical period. Francesco Corselli (Courcelle) was born April 19, 1705 in Piacenza, Italy from French parents. He was the director of music for the funerals of Francesco Farnese in Parma in 1724, and Antonio Farnese in 1731, and Kapellmeister at the Church of Santa Maria della Steccata, 1727-1731, and simultaneously at the court of Parma, 1727-33. From this period date his first works: the operas ""La Venere placata"""
"the character of a suite, being introduced by a prelude and incorporating popular dance forms. (See also Sonata for a discussion about sonatas ""da camera"" and ""da chiesa"".) These distinctions blurred over time. Corelli composed 48 trio sonatas, 12 violin and continuo sonatas, and 12 concerti grossi. Six sets of twelve compositions, published between 1888 and 1891 by Chrysander, are authentically ascribed to Corelli, together with a few other works. Corelli's ""concertino"" group consisted of two violins and a cello, with a string section as ""ripieno"" group. Both were accompanied by a ""basso continuo"" with some combination of harpsichord, organ,"
"on the basso continuo line. However, recent scholarship has revealed the diversity of instruments used for the ""basso continuo"" line in Corelli's milieu, including theorbo, guitar and organ. An ambiguity on the title page of Corelli's set of sonatas has led many to conclude that the continuo would have been either a harpsichord or cello, rather than both as was previously assumed. Sonata da camera Sonata da camera is literally translated to mean 'chamber sonata' and is used to describe a group of instrumental pieces set into three or four different movements, beginning with a prelude, or small sonata, acting"
"Carlo Annibale Tononi Carlo Annibale Tononi (1675–1730) was a luthier who trained and worked with his father in the Tononi family workshop in Bologna, Italy until his father, Johannes Tononi, died in 1713. After his father's death, Tononi moved to the more important center of music in Italy--Venice. In the late 17th century, Bologna was a great centre for art and especially of string playing, being Arcangelo Corelli's home town. By early 18th century, Venice had become a more important cultural centre (for music and Lutherie/ Instrument Making). Carlo Tononi moved to Venice between 1713-1716, where he became one of"
"of ""L'Orfeo"" three instruments are no longer used in modern society. These instruments are as followed: The Double Harp, The Cornetto, and the Regal. The Cornetto was a woodwind that was comparable to a trumpet. The Double harp was a string instrument that is similar to a modern-day harp. The Regal was a keyboard similar to a modern-day piano or organ. These instruments were used almost as characters in the play. Particularly the Regal was used in many scenes depicting Hades to symbolize death and mirroring the music of a modern-day funeral procession. In his ""personaggi"" listed in the 1609"
"Cornett The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the trumpet-like cornet. The sound of the cornett is produced by lip vibrations against a cup mouthpiece. A cornett consists of a conical wooden pipe covered in leather, is about long, and has finger holes and a small horn or ivory mouthpiece. The ordinary treble cornett is made by splitting a length of wood and"
"solo concerts for various instruments. Stylistically, his works range from the strict pattern of Corelli's church sonatas to the galant work of Durante. Nicola Fiorenza Nicola (Nicolò) Fiorenza (born after 1700 in Naples; died 13 April 1764, Naples) was an Italian violinist and composer of the Neapolitan Baroque period. Reliable biographical information concerning Fiorenza is extremely scarce, thus little is known about his schooling. Fiorenza was educated at the Conservatory of S. Maria di Loreto, presumably also by Francesco Barbella. In 1726 Fiorenza was a cellist in the Neapolitan Royal Chapel (Court) orchestra, replacing Francesco Alborea who had moved to"
"this one is the one on which future composers based their symphonies and concerti. This structure may not be Corelli's own, however he, along with Antonio Vivaldi, certainly helped bring it into orchestral music. Concerto grosso in D major, Op. 6, No. 4 (Corelli) Concerto grosso in D major, Op. 6, No. 4, is a composition by Arcangelo Corelli, and was published as the fourth concerto in his ""Twelve Concerti Grossi"", Op. 6 in 1714. This concerto grosso is the second most notable of the twelve, after No. 8, the famous ""Christmas Concerto"". No. 4 is mainly notable for its"
"song tradition extends through many holidays throughout the year. Instrumentation is an integral part of all facets of Italian folk music. There are several instruments that retain older forms even while newer models have become widespread elsewhere in Europe. Many Italian instruments are tied to certain rituals or occasions, such as the ""zampogna"" bagpipe, typically heard only at Christmas. Italian folk instruments can be divided into string, wind and percussion categories. Common instruments include the ""organetto"", an accordion most closely associated with the saltarello; the diatonic button ""organetto"" is most common in central Italy, while chromatic accordions prevail in the"
"The aria ""Ho un non so che"", which she had sung as Mary Magdalene anticipating the resurrection, appears entirely unadapted for her to sing in ""Agrippina"", though in a different context. The violins at the first performance of ""La resurrezione"" were led by the famous violinist Arcangelo Corelli (who also conducted the work). Iit was most likely Ernst Christian Hesse who played the demanding viola da gamba solo part. Other catalogues of Handel's music have referred to the work as HG xxxix; and HHA i/3. La resurrezione La resurrezione (HWV 47) is a sacred oratorio by George Frideric Handel, set"
"than lyrical melodic lines. Unusually for the time, Castello often specifies the instruments for each part, calling for cornetti, violins, sackbuts (Baroque trombone) and dulcians. That these works were still being reprinted in the 1650s attests to Castello's influence. Modern editions of the complete sonatas are published by Ut Orpheus Edizione. Dario Castello Dario Castello (c. 1590 – c. 1658) was an Italian composer and instrumentalist from the early Baroque period who worked and published in Venice. It is unclear whether he played the cornetto or the dulcian. As a composer, he was a late member of the Venetian School"
"have sonatas for other combinations of instruments. In the works of Arcangelo Corelli and his contemporaries, two broad classes of sonata were established, and were first described by Sébastien de Brossard in his ""Dictionaire de musique"" (third edition, Amsterdam, ca. 1710): the sonata da chiesa (that is, suitable for use in church), which was the type ""rightly known as ""Sonatas"""", and the sonata da camera (proper for use at court), which consists of a prelude followed by a succession of dances, all in the same key. Although the four, five, or six movements of the sonata da chiesa are also"
"added for heroic scenes. Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of the concerto grosso. Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Dynamics were ""terraced"","
"structured as a ""concerto da chiesa"", in this case expanded from a typical four movement structure to six. Movements: Each relatively short movement provides multiple tempi and a range of major and minor suspensions. The concerto is generally no longer than fifteen minutes, ending with Corelli's famous ""Pastorale ad libitum"", a peaceful 12/8 finale in the pastorale form. Christmas Concerto (Corelli) Concerto grosso in G minor, Op. 6, No. 8 by Arcangelo Corelli, known commonly as the Christmas Concerto, was commissioned by Cardinal Pietro Ottoboni and published posthumously in 1714 as part of Corelli's ""Twelve concerti grossi, Op. 6"". The"
"illuminated manuscript is pictured). Gherardello da Firenze Gherardello da Firenze (also Niccolò di Francesco or Ghirardellus de Florentia) ( 1320–1325 – 1362 or 1363) was an Italian composer of the ""Trecento"". He was one of the first composers of the period sometimes known as the ""Italian ars nova"". Gherardello was a member of a musical family, and both his brother Jacopo and his son Giovanni were also composers; however, none of their music survives. He was probably born in or near Florence, and spent most of his life there. In 1343 he appears in the records of the cathedral of"
"Italian term, ""spinetta ovale"". Evidently, 17th-century Italian used the term ""spinetta"" more loosely than 21st-century English uses ""spinet."". The following reference materials were used in preparing this article. Oval spinet The oval spinet is a type of harpsichord invented in the late 17th century by Bartolomeo Cristofori, the Italian instrument maker who later achieved fame for inventing the piano. The oval spinet was unusual for its shape, the arrangement of its strings, and for its mechanism for changing registration. The two oval spinets built by Cristofori survive today. One, built in 1690, is kept in the Museo degli strumenti musicali,"
"Camillo Cortellini Camillo Cortellini (24 January 156112/13 February 1630) was an Italian composer, singer, and violinist. Cortellini was born in Bologna, and was the son of the composer Gaspare ""the viola"" Cortellini. In following his father's profession Camillo was nicknamed ""violino."" His first musical education was received from his father who was employed at the Concerto Palatino. He then was taught by Alfonso Ganass]. On 26 February 1577, Cortellini succeeded his father in the Concerto della Signoria. In the same month, Cortellini was also admitted as the second soprano Cornett player for the group Concerto Palatino where he would later"
"Enrico Martinelli Enrico Martinelli (24. November 1852 – 8 April 1922) was an Italian trumpet player, teacher and composer. Enrico was born in Modena, the son of to Ludovico Martinelli, a local barber, and Maria Rinaldi, a tailoress, and the first child of seven. At the age of ten he started to play the trumpet, first under Girolamo Altinieri, the conductor of the national army band in Modena and later with Gaetano Ferrari. At the age of 15 he became a member of the City Guard Band and one year later also started to play in the orchestra of the"
"of instruments, mostly plucked fretted strings including the chitarrone, often with a pipe organ to provide sustained tone. Later, in the operas of Vivaldi and Händel, the accompaniment was standardised as a harpsichord and a bass viol or violoncello. When the harpsichord was gradually phased out over the late 18th century, and mostly disappeared in the early 19th century, many opera-houses did not replace it with the fortepiano, a hammered-string keyboard invented in 1700. Instead the violoncello was left to carry on alone or with reinforcement from a double bass. A 1919 recording of Rossini's ""Barber of Seville"", issued by"
"almost a hundred years these secular songs for multiple singers were distributed all over Europe. Composers of madrigals included Jacques Arcadelt, at the beginning of the age, Cipriano de Rore, in the middle of the century, and Luca Marenzio, Philippe de Monte, Carlo Gesualdo, and Claudio Monteverdi at the end of the era. Italy was also a centre of innovation in instrumental music. By the early 16th century keyboard improvisation came to be greatly valued, and numerous composers of virtuoso keyboard music appeared. Many familiar instruments were invented and perfected in late Renaissance Italy, such as the violin, the earliest"
"and composition. Gasparo Ghiretti Gasparo Ghiretti was an Italian composer and violinist who served as chamber musician to Ferdinand, Duke of Parma in the last part of the 1700s. In his position he served as master teacher to a number of talented musicians, including composer and Duke's chapel-master Ferdinando Paer, Ferdinando Orlandi (1774 - 1848), Angelo Maria Benincori (1779 - 1821) and most famously to a young Nicolo Paganini. In this last relationship, Paganini studied under Ghiretti for several months and possibly as long as two years. With Paganini and others he often focused on harmony and counterpoint, as well"
"Luca Pianca (the founder of Il Giardino Armonico), who predominantly play archlutes, and Paolo Cherici, Massimo Lonardi, Luciano Contini, Paul O'Dette, Jakob Lindberg and Nigel North who use archlutes extensively. Archlute The archlute (Spanish ""archilaúd"", Italian ""arciliuto"", German ""Erzlaute"", Russian ""Архилютня"") is a European plucked string instrument developed around 1600 as a compromise between the very large theorbo, the size and re-entrant tuning of which made for difficulties in the performance of solo music, and the Renaissance tenor lute, which lacked the bass range of the theorbo. Essentially a tenor lute with the theorbo's neck-extension, the archlute lacks the power"