Méthode de chant du Conservatoire de Musique
- Type:
- boek
- Titel:
- Méthode de chant du Conservatoire de Musique
- Jaar:
- 1803
- URL:
- https://gallica.bnf.fr/view3if/ga/ark:/12148/bpt6k991280n IIIF
- Onderwerp:
- Conservatoire de Paris (France)
19th Century (1801-1900)
Music education
Method
Singer
Singing
Paris (France)
ad lib bezetting
ademhalen
appoggiatura
artikulatie
Bach, J.Chr
boekprijs
Bononcini
cadens
cello
Cherubini
Cimarosa
Nardini
notatieproblemen
Corelli, A
cresc./decresc
oud-nieuw
oude muziek vroeger
Ozi
diminuties
Perez
dubbelslag
Piccinni
dynamiek
emoties
portamento
publiek
solmisatie
fondscatalogus
Frans-Italiaans
frasering
Galuppi, B
Tartini
Gasparini
tekstuitspraak
Geminiani
tempo
tempo van triller
Terradellas
Gluck
goût
harp
Hasse
Vinci, L
hoorn
Italiaanse invloed in Frankrijk
Jomelli
klarinet
klavecimbel_19e eeuw
zuiverheid
recitatief
recitatief en appoggiatura
ribattutta
lamento
Latilla, G
Sacchini
lengte van appoggiatura
Leo, L
Sarti
Scarlatti, A
Locatelli, P
serpent
messa di voce
Anfossi
authenticiteit
concertante sinfonie
haute-contre
hoofdnoottriller
Maio, F
Pergolesi
Porpora
stembreuk
stemomvang
stemregister
stemsoorten
toevoegen van triller etc
Traetta
triller en dynamiek
triller etc
voix mixte - Taal:
- Frans
- Uitgever:
- Paris Conservatoire de musique 1803-4
- Plaatsnummer:
- ORPH.KTS1 C1.40 26E10 (Orpheus Instituut)
- Paginering:
- [vii]-290-[2] pages
- Nota:
- Largely the work of Bernardo Mengozzi, a member of the commission for preparing the Méthod de chant (cf. Avertissement)
Contains many musical examples by various composers, ranging in length from a few measures of recitative to complete solfèges and arias in vocal score.The recitatives are by Sacchini (p. 68), Glu[c]k (p. 68-69), and Piccinni (p. 69-70).The solfèges are by P.P. Colonna (p. 86-87), Bononcini (p. 88-89), Benedetto Marcello (p. 90-91), Hasse (p. 92-94), Galuppi (p. 95-97), Porpora (p. 98-99), A. Scarlatti (p. 100-01), Caffaro [i.e. Cafaro] (p. 102-105), L. Vinci (p. 106-107), L. Leo (p. 108-109), Traetta (p. 110-113), N. Conforto (p. 114-115), D. Alberti (p. 116-117), Jom[m]elli (p. 118-123), Gasparini (p. 124-125), G. Latilla (p. 126-128), Piccinni (p. 129-132), Pergolese (p. 132-133), Manna (p. 134-135), N. Sala (p. 136-138), F. Maio [i.e. Gian Francesco Majo?] (p. 138-143), Costanzi (p. 144-145), Terradellas (p. 146-148), Perez (p. 148-50), M. Vento (p. 150-153), Cimarosa (p. 154-159), G.C. [i.e. Johann Christian] Bach (p. 159-162; this is "Chiari fonti" from the Bach/Guglielmi arrangement of Gluck's Orfeo, without its orchestral introduction and coda; Terry p. 234, no. 2), Sacchini (p. 162-165), Anfossi (p. 165-168), and Sarti (p. 168-172).The "Choix d'airs de différens caractères" are by Hasse (p. 174-178), L. Leo (p. 178-179 and 188-191), A. Hasse (p. 180-182), Jom[m]elli (p. 182-187, 220-227, 228-232, 236-241, and 254-257), P. Caffaro [i.e. Cafaro] (p. 192-195), N. Piccinni (p. 195-199 and 208-212), A. Sacchini (p. 200-203, 213-219, 232-235, and 268-273), G. [i.e. Johann Christian] Bach (p. 204-207; "La sorte mia spietata," Terry, p. 251, no. 4 (mistranscribed)), S. Sarti (p. 242-247), D. Cimarosa (p. 248-253 and 286-290), J. Maio [i.e. Gian Fancesco Majo or Giuseppe de Majo] (p. 258-263 and 280-285), B. Galuppi (p. 264-267), and T. Traetta (p. 274-279). - Permalink:
- https://www.cageweb.be/catalog/orp01:000004114