Oh come scorrono tardi i momenti Cavatina ... Cantata dal Sigr. Crescentini. [Copyist manuscript full score]. Ca. 1801
Oblong folio (229 x 298 mm). Sewn. [i] (title), 28 pp. Notated in blank ink on 12-stave rastrum-ruled paper, with watermark of a bunch of grapes and name PARITDON.
Scored for soprano accompanied by obbligato violin, first and second violins, solo flute, oboes, solo bassoon, horns, violas, and cellos.
The final page of music, in a different hand, is the working out of a three-voice canon; each voice is notated on its own stave, labeled "1", "2", and "3", with a treble clef indicated for the uppermost stave (but more likely soprano clef". The text is "mort'e l'amabile mia solitaria canora passera canora passera" on the uppermost stave, and "Deh compiangetela in voci flebili" on the lower two staves. The canon appears to be a modified version of a piece by Padre Martini (1736-1784), "No. 1 Canone á 3 all'Unisno.," published in "Cinquantadue canoni" in Venice in ca. 1785.
With occasional well-concealed copyist cancellations.
With small oval handstamp of the Glasgow Society of Musicians and "141" in contemporary manuscript to lower inner corner of title; "30" in contemporary manuscript to upper center of title.
Title slightly soiled; occasional staining, primarily to blank outer and lower margins of music. Drawn from the opera "Le due giornate di Parigi," to a libretto by Foppa after J.N. Bouilly's Les deux journées, first performed in Milan at La Scala on 18 August 1801, featuring celebrated castrato Girolamo Crescentini (1762-1846).
Mayr, a German composer, teacher and writer on music, "was a leading figure in the development of opera seria in the last decade of the 18th century and the first two decades of the 19th." Scott L. Balthazar in Grove Music Online
Crescentini was an Italian soprano castrato and composer. "After his studies in Bologna under Lorenzo Gibelli he made his début in 1776, in Fano, in female roles, then in Pisa (1777) and Rome (1778–9). In 1781 he played, for the first time, the role of primo uomo in Treviso. He sang in Naples (1787–9) and in the most important Italian theatres, in London (1785) and from 1798 to 1803 in Lisbon, where he was also manager of the Teatro de S Carlos. He sang in the first performances of Catone in Utica by Paisiello (1789, Naples), Amleto by Andreozzi (1792, Padua) and Gli Orazi ed i Curiazi by Cimarosa (1796, Venice). In 1805 he was in Vienna and from 1806 to 1812 in Paris at Napoleon I’s court as singing teacher to the royal family. When he returned to Italy he was appointed singing teacher at the Bologna Conservatory and from 1825 at the Real Collegio di Musica, Naples. His style can be placed in the general return to patetico at the end of the 18th century and his ornamentation was never immoderate. Stendhal said that no composer could have written the infinitely small nuances that formed the perfection of Crescentini’s singing in his aria ‘Ombra adorata aspetta’, inserted into Zingarelli’s Giulietta e Romeo. Isabella Colbran was among his pupils.
Besides his operatic arias he composed didactic and vocal chamber works, which were famous throughout the 19th century. His vocalizzi were reprinted (by Ricordi and Lucca) up to the last decade of the century, and were used extensively by singing teachers in conservatories throughout Italy. He was a member of the Accademia di S Cecilia (Rome) and the Accademia Filarmonica of Bologna." Nicola Lucarelli in Grove Music Online.
Scored for soprano accompanied by obbligato violin, first and second violins, solo flute, oboes, solo bassoon, horns, violas, and cellos.
The final page of music, in a different hand, is the working out of a three-voice canon; each voice is notated on its own stave, labeled "1", "2", and "3", with a treble clef indicated for the uppermost stave (but more likely soprano clef". The text is "mort'e l'amabile mia solitaria canora passera canora passera" on the uppermost stave, and "Deh compiangetela in voci flebili" on the lower two staves. The canon appears to be a modified version of a piece by Padre Martini (1736-1784), "No. 1 Canone á 3 all'Unisno.," published in "Cinquantadue canoni" in Venice in ca. 1785.
With occasional well-concealed copyist cancellations.
With small oval handstamp of the Glasgow Society of Musicians and "141" in contemporary manuscript to lower inner corner of title; "30" in contemporary manuscript to upper center of title.
Title slightly soiled; occasional staining, primarily to blank outer and lower margins of music. Drawn from the opera "Le due giornate di Parigi," to a libretto by Foppa after J.N. Bouilly's Les deux journées, first performed in Milan at La Scala on 18 August 1801, featuring celebrated castrato Girolamo Crescentini (1762-1846).
Mayr, a German composer, teacher and writer on music, "was a leading figure in the development of opera seria in the last decade of the 18th century and the first two decades of the 19th." Scott L. Balthazar in Grove Music Online
Crescentini was an Italian soprano castrato and composer. "After his studies in Bologna under Lorenzo Gibelli he made his début in 1776, in Fano, in female roles, then in Pisa (1777) and Rome (1778–9). In 1781 he played, for the first time, the role of primo uomo in Treviso. He sang in Naples (1787–9) and in the most important Italian theatres, in London (1785) and from 1798 to 1803 in Lisbon, where he was also manager of the Teatro de S Carlos. He sang in the first performances of Catone in Utica by Paisiello (1789, Naples), Amleto by Andreozzi (1792, Padua) and Gli Orazi ed i Curiazi by Cimarosa (1796, Venice). In 1805 he was in Vienna and from 1806 to 1812 in Paris at Napoleon I’s court as singing teacher to the royal family. When he returned to Italy he was appointed singing teacher at the Bologna Conservatory and from 1825 at the Real Collegio di Musica, Naples. His style can be placed in the general return to patetico at the end of the 18th century and his ornamentation was never immoderate. Stendhal said that no composer could have written the infinitely small nuances that formed the perfection of Crescentini’s singing in his aria ‘Ombra adorata aspetta’, inserted into Zingarelli’s Giulietta e Romeo. Isabella Colbran was among his pupils.
Besides his operatic arias he composed didactic and vocal chamber works, which were famous throughout the 19th century. His vocalizzi were reprinted (by Ricordi and Lucca) up to the last decade of the century, and were used extensively by singing teachers in conservatories throughout Italy. He was a member of the Accademia di S Cecilia (Rome) and the Accademia Filarmonica of Bologna." Nicola Lucarelli in Grove Music Online.