https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 Antonio Cesti (1623 - 1669). Quanto sete per mi pigri, o momenti!: cantata for soprano and basso continuo https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6328 Wed 24 Jul 2013 23:00:38 AEST ]]> Louis Couperin and friends https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:6355 Wed 24 Jul 2013 22:59:11 AEST ]]> Venere, Adone, e Amore: serenatas and cantatas by Alessandro Scarlatti https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:4204 Wed 24 Jul 2013 22:19:17 AEST ]]> Alessandro Scarlatti (1660 - 1725). Lucretia Romana: cantata for soprano and basso continuo https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:4202 Wed 24 Jul 2013 22:19:16 AEST ]]> Domenico Scarlatti and his cantabile sonatas https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:3570 Wed 11 Apr 2018 16:00:37 AEST ]]> Introducing the online Early Music Directory of Australia https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:3890 Wed 11 Apr 2018 12:02:56 AEST ]]> Thomas Roseingrave: complete keyboard music (book review) https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:4513 Wed 11 Apr 2018 11:55:17 AEST ]]> Musicology waiting for performance: some persistent problems in reviving the Italian cantata repertoire https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:7299 and WLSCM. I argue that performers have been the major protagonists in the recovery of the cantata genre in modern times. Three questions are considered. First, why have Alessandro Scarlatti’s cantatas not received a comprehensive edition, whereas other repertoires from this period (e.g. Vivaldi’s concerti) have been edited and performed many times? Second, is there a viable alternative to the complete edition as a means of disseminating this repertoire? Finally, I consider the role of repeat performances, and interpretations of a specific work by different performers, in creating a concept of the cantata repertoire.]]> Wed 11 Apr 2018 11:07:23 AEST ]]> Performing proportion: crux awareness in Scarlatti interpretation https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:5893 Wed 11 Apr 2018 10:37:36 AEST ]]> Alessandro Scarlatti's Venus in transit from Naples to Rome: the two versions of the Serenata Venere, Adone & Amore, Naples 1696 and Rome 1706 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:3069 Sat 24 Mar 2018 11:11:42 AEDT ]]> Night and dreams: text, texture, and night themes in cantatas by Alessandro Scarlatti https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:2462 Sat 24 Mar 2018 08:27:47 AEDT ]]> From hailstones to hallelujah: the first Handel commemoration https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15568 Sat 24 Mar 2018 08:26:00 AEDT ]]> Nicola Porpora and the cantabile cello https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:14994 Sat 24 Mar 2018 08:22:22 AEDT ]]> Scarlatti father and son: a musical relationship https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:10188 Sat 24 Mar 2018 08:12:30 AEDT ]]> Explorations around bass parts and key schemes: recording the cantatas of Alessandro Scarlatti https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16448 Sat 24 Mar 2018 07:56:02 AEDT ]]> Rhythmic inequality (letter) https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:5644 Sat 24 Mar 2018 07:44:05 AEDT ]]> 'Choice things of value': the mysterious genesis and character of the VI concertos in seven parts attributed to Alessandro Scarlatti https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:27702 VI Concertos in Seven Parts published by Benjamin Cooke under Alessandro Scarlatti's name in 1740 have long been suspected of being either arrangements or works by a different composer. Close study of the sources, some of which have only recently come to light, shows them to be arrangements of sonate a quattro, four composed by Alessandro Scarlatti and two by his younger brother Francesco. The unacknowledged compiler and arranger of the set was almost certainly Charles Avison, who in addition made a significant compositional intervention. The publication of the concertos formed part of a pioneering strategy on Cooke's part whereby he acquired, and under the protection of a royal privilege engraved, significant works in manuscript owned (but not composed) by individual musicians within his circle. Among the latter was John Christopher Pepusch, whose role in the first publication of Domenico Scarlatti's sonatas k31-42 is described for the first time.]]> Sat 24 Mar 2018 07:40:10 AEDT ]]> 'Senza cimbalo al tavolino': Alessandro Scarlatti and his 4 Sonate a quattro https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:26419 Sat 24 Mar 2018 07:27:57 AEDT ]]> Alessandro Scarlatti and the Roman copies of his Neapolitan compositions: a source study of the serenata Venere, Adone, et Amore (1696) https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:4887 Sat 24 Mar 2018 07:22:01 AEDT ]]> Alessandro Scarlatti: Venere, Adone, et Amore: original version, Naples 1696 and revised version, Rome 1706 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:4886 Sat 24 Mar 2018 07:22:00 AEDT ]]> Serenata in flux: the two versions of Venere, Adone, et Amore by Alessandro Scarlatti https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25190 Sat 24 Mar 2018 07:14:03 AEDT ]]> Birthday tribute or cantata contest: Alessandro Scarlatti's 'A Voi Che L'Accendeste' https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:24177 Sat 24 Mar 2018 07:09:49 AEDT ]]> Alessandro Scarlatti, Four Sonate a Quattro: two violins, viola and violoncello https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:31649 Mon 26 Feb 2018 10:17:02 AEDT ]]> A voi che l'accendeste: for solo voice and continuo https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:32779 A voi che l’accendeste, a cantata per musica, form an intriguing cluster of works in the late seventeenth-century Italian solo cantata repertoire. The most notable of the settings is that by Alessandro Scarlatti, of which six manuscript sources are currently known—two more than the next most numerous, by the Bolognese composer Giacomo Perti. Scarlatti’s setting arguably touches the profound vein of Paglia’s text with a richness and originality surpassing that of his contemporaries: the survival of Scarlatti’s work in six sources, including one copied by the French collector Sébastien de Brossard, points to the high regard in which it was held. However, each of the settings shows skill, imagination, and in several cases, some intriguing links with the setting of Alessandro Scarlatti, suggesting that they were not composed entirely in isolation from each other.]]> Mon 23 Sep 2019 10:42:59 AEST ]]> Alessandro Scarlatti (1660 - 1725). L'Orfeo: cantata for voice (S), two violins, and basso continuo https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:10851 Mon 23 Jul 2018 15:44:20 AEST ]]> Alessandro Scarlatti: solo serenatas https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15627 Mon 17 Nov 2014 17:03:50 AEDT ]]> Sunday Live: Recital of Italian Baroque Music https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16690 Fri 13 Apr 2018 14:48:26 AEST ]]> Collaboration and the Italian solo cantata https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:16674 Fri 13 Apr 2018 13:25:36 AEST ]]> Concert for a New Era: Monody by Claudio Saracini (1624); Vivaldi, Sonata for flute, bassoon, and basso continuo https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:31654 Fri 13 Apr 2018 13:12:59 AEST ]]>