MARC Record from marc_columbia

LEADER: 05729cam a2200601Ia 4500
001 15120654
005 20220403000131.0
006 m o d
007 cr cnu---unuuu
008 170713s2016 enk ob 001 0 eng d
035 $a(OCoLC)ocn993591323
035 $a(NNC)15120654
040 $aYDX$beng$epn$cYDX$dOCLCO$dTYFRS$dOCLCO$dN$T$dOCLCF$dYDX$dOCLCQ$dOCLCA$dUWO$dOCLCQ$dUKAHL$dK6U$dOCLCO
020 $a9781351575171$q(electronic bk.)
020 $a1351575171$q(electronic bk.)
020 $z9780754657941$q(hardcover ;$qalk. paper)
020 $z0754657949$q(hardcover ;$qalk. paper)
035 $a(OCoLC)993591323
043 $ae-it---
050 4 $aML2400$b.A87 2016
072 7 $aMUS$x042000$2bisacsh
072 7 $aMUS$x052000$2bisacsh
072 7 $aMUS$x037110$2bisacsh
082 04 $a782.48094522$223
049 $aZCUA
245 00 $aAspects of the secular cantata in late Baroque Italy /$cedited by Michael Talbot.
260 $aLondon :$bRoutledge,$c2016.
300 $a1 online resource
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
588 0 $aOnline resource; title from PDF title page (EBSCO, viewed August 11, 2017).
520 $a"As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'. However, scholarly interest is currently lagging behind musical practice: incredibly, there has been no general study of the Baroque cantata since Eugen Schmitz's handbook of 1914, and although many academic theses have examined microscopically the cantatas of individual composers, there has been little opportunity to view these against the broader canvas of the genre as a whole. The contributors in this volume choose aspects of the cantata relevant to their special interests in order to say new things about the works, whether historical, analytical, bibliographical, discographical or performance-based. The prime focus is on Italian-born composers working between 1650 and 1750 (thus not Handel), but the opportunity is also taken in one chapter (by Graham Sadler) to compare the French cantata tradition with its Italian parent in association with a startling new claim regarding the intended instrumentation. Many key figures are considered, among them Tomaso Albinoni, Giovanni Bononcini, Giovanni Legrenzi, Benedetto Marcello, Alessandro Scarlatti, Alessandro Stradella, Leonardo Vinci and Antonio Vivaldi. The poetic texts of the cantatas, all too often treated as being of little intrinsic interest, are given their due weight. Space is also found for discussions of the history of Baroque solo cantatas on disc and of the realization of the continuo in cantata arias - a topic more complex and contentious than may at first be apparent. The book aims to stimulate interest in, and to win converts to, this genre, which in its day equalled the instrumental sonata in importance, and in which more than a few composers invested a major part of their creativity."--Provided by publisher.
505 00 $tChapter 1 The When and How of Arioso in Stradella's Cantatas /$rCarolyn Gianturco --$tchapter 2 A Lost Volume of Cantatas and Serenatas from the 'Original Stradella Collection' --$tchapter 3 Narration, Mimesis and the Question of Genre: Dramatic Approaches in Giovanni Legrenzi's Solo Cantatas, Oppages 12 and 14 --$tchapter 4 A Tale of Two Cities: Cantata Publication in Bologna and Venice, c.1650 -1700 --$tchapter 5 'Al tavolino medesimo del Compositor della Musica': Notes on Text and Context in Alessandro Scarlatti's cantate da camera --$tchapter 6 Bononcini's 'agreable and easie style, and those fine inventions in his basses (to which he was led by an instrument upon which he excells)' --$tchapter 7 The 'Humble' and 'Sublime' Genres, the Pastoral and Heroic Styles: Rhetorical Metamorphoses in Benedetto Marcello's Cantatas --$tchapter 8 Investigations into the Cantata in Naples During the First Half of the Eighteenth Century: The Cantatas by Leonardo Vinci Contained in a 'Neapolitan' Manuscript --$tchapter 9 The Orchestral French Cantata (1706-30): Performance, Edition and Classification of a Neglected Repertory --$tchapter 10 Patterns and Strategies of Modulation in Cantata Recitatives /$rMichael Talbot --$tchapter 11 'Imitando l'Arietta, o altro allegro, cantato di fresco': Keyboard Realization in Italian Continuo Arias --$tchapter 12 The Revival of the Italian Chamber Cantata on Disc: Models and Trends.
650 0 $aCantatas, Secular$xHistory and criticism.
650 0 $aMusic$zItaly$y17th century$xHistory and criticism.
650 0 $aMusic$zItaly$y18th century$xHistory and criticism.
650 6 $aCantates$xHistoire et critique.
650 6 $aMusique$zItalie$y17e siècle$xHistoire et critique.
650 6 $aMusique$zItalie$y18e siècle$xHistoire et critique.
650 7 $aMUSIC$xInstruction & Study$xVoice.$2bisacsh
650 7 $aMUSIC$xLyrics.$2bisacsh
650 7 $aMUSIC$xPrinted Music$xVocal.$2bisacsh
650 7 $aCantatas, Secular.$2fast$0(OCoLC)fst00846101
650 7 $aMusic.$2fast$0(OCoLC)fst01030269
651 7 $aItaly.$2fast$0(OCoLC)fst01204565
648 7 $a1600-1799$2fast
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aTalbot, Mike$q(Michael)
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15120654$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS