luigi capotorti (2 risultati)

Condizione: BUONO USATO. IED. ITALIANO Brossura in cartonato flessibile, copertina ben tenuta, leggermente annerita da polvere e lisa ai margini, illustrata da figura a colori. Buono lo stato di conservazione interno, carte velate da tonalità brunita, più intensa ai tagli, integri e puliti. Numero pagine 74.

manuscript music for tenor and small orchestra (parts for 2 violin, 2 oboe, 2 horn, 2 viola, one cello), pages 12 and 13, slightly larger format but same hand, 5 examples of whole or near-whole pages pasted together, for 3 of which the amended music is written on the page, the remaining two are blank, the music continuing thereafter, several crossed through groups of bars and text alterations, page 5 slightly soiled with repaired tear at fore-corner, page 7 with short repaired tear at upper margin, several off-setting marks from the closed pages paste dabs, pp. 35, oblong folio, modern half calf with marbled boards, cover with gilt-lettered label, good. Having graduated from the Conservatorio di Sant Onofrio where he studied under Piccinni among others, Luigi Capotorti composed his first opera which was such a success that he was commissioned to compose another for the birthday of Queen Maria Carolina in 1799. Seven further operas followed, including Marco Curzio, in 1813, in honour of Napoleon who had installed his brother-in-law as King of Naples in 1808. Capotorti also wrote sacred music in his role as maestro di capella at several prominent Neapolitan churches, and having fallen out of favour with the new King of Naples, Ferdinand IV, he retreated to San Severo where he continued to write sacred music and romanze, often setting the texts of Giuseppe Saverio Poli This work, in a light operatic style, opens in G major with an instrumental introduction and recitatif, and continues in A major with the full-blown Rondo, the strings and woodwind providing an animated accompaniment with arpeggio figures and dotted rhythms. The form itself is a loose rondo - the opening tenor melody, returning after the largely dominant middle section, repeating its first iteration for only a few bars before new material is introduced leading to the final section, punctuated by a fanfare-like arpeggio figure which the tenor repeats to its conclusion. The text remains unidentified, possibly the work of Saverio Poli. No published version traced.