The Famous Salve Regina. [Score]
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- SIGNED
- London: Printed for & Sould[!] by I: Walsh Musicall[!] Instrument maker in Ordinary to His Majesty at the Goldon Harp & Hoboy in Catheri, 1740
London: Printed for & Sould[!] by I: Walsh Musicall[!] Instrument maker in Ordinary to His Majesty at the Goldon Harp & Hoboy in Catherine Street near Summerset[!] house in ye Strand, 1740. PERGOLESI, Giovanni Battista 1710-1736. 1f. (recto title, verso blank), [i] (blank), 14, [i] (blank) pp.
With elaborate passepartout title by I. Collins incorporating a lute, guitar, violin, viola da gamba, tromba marina, harp, bassoon, tambourine, trumpet, two winged cherub instrumentalists playing trumpet and lute, and a harpsichord viewed from its keyboard with an open book of music containing a passage for a solo instrument and continuo.
First Edition. Smith and Humphries 817, p. 184. BUC p. 452. RISM H2238 and HH2238 (4 copies in the U.S., at Harvard, Yale, the University of Pennsylvania, and the Library of Congress).
"For several decades [Hasse] was the most widely admired composer of opera seria in Italy and German-speaking lands. His finest operas, written between the mid-1720s and the late 1760s, represent a highly systematized, rational style; they were handsomely produced and sung at leading theatres. ... Copies of the Salve regina in A, sung by Farinelli in London and published there in 1740, indicate that it was composed for an Incurabili soloist in 1736." Sven Hansell in Grove Music Online
Bound with:
PERGOLESI, Giovanni Battista Pergolesi
[Stabat Mater]. London: I: Walsh [1749]. 1f. (recto title, verso blank), [i] (blank), 2-26 pp. With same passepartout title as above with title in contemporary manuscript (with one word cancelled below titling).
First Edition. Paymer 77. Smith and Humphries, 1195, p. 267 ("Stabat Mater. Compos'd by Sigr. Pergolesi"). BUC p. 771. RISM P1348 and PP1348.
Pergolesi "was a leading figure in the rise of Italian comic opera in the 18th century. ... The 'Stabat mater' for two solo voices and strings, his most famous work, was evidently written in competition with Alessandro Scarlatti's 'Stabat mater' for the same voices and instruments. A comparison between the works shows Pergolesi's new approach to the concertante vocal movement and his development of the 'church aria', as well as the earliest application to sacred music of the style of expressive sensibility. The work stirred considerable controversy at home and abroad for its religious propriety and musical style. Padre Martini's traditional views towards counterpoint incited some to criticize Pergolesi's setting, while others found it 'galant', expressive and new." Helmut Hucke, and Dale E. Monson in Grove Music Online
With "N Curzon" in contemporary manuscript to head of both titles (most probably Nathaniel Curzon 1726-1804, First Baron Scarsdale) and attractive engraved armorial bookplate of the Curzpn family to front pastedown incorporating a shield, crown, two female figures, and the motto "Recte et Suaviter."
Folio. Contemporary dark tan calf-backed marbled boards with dark red leather title labels gilt to both boards, raised bands on spine. Engraved.
Binding slightly worn, rubbed, and bumped. Minor to moderate browning and foxing; occasional small stains and soiling.
With elaborate passepartout title by I. Collins incorporating a lute, guitar, violin, viola da gamba, tromba marina, harp, bassoon, tambourine, trumpet, two winged cherub instrumentalists playing trumpet and lute, and a harpsichord viewed from its keyboard with an open book of music containing a passage for a solo instrument and continuo.
First Edition. Smith and Humphries 817, p. 184. BUC p. 452. RISM H2238 and HH2238 (4 copies in the U.S., at Harvard, Yale, the University of Pennsylvania, and the Library of Congress).
"For several decades [Hasse] was the most widely admired composer of opera seria in Italy and German-speaking lands. His finest operas, written between the mid-1720s and the late 1760s, represent a highly systematized, rational style; they were handsomely produced and sung at leading theatres. ... Copies of the Salve regina in A, sung by Farinelli in London and published there in 1740, indicate that it was composed for an Incurabili soloist in 1736." Sven Hansell in Grove Music Online
Bound with:
PERGOLESI, Giovanni Battista Pergolesi
[Stabat Mater]. London: I: Walsh [1749]. 1f. (recto title, verso blank), [i] (blank), 2-26 pp. With same passepartout title as above with title in contemporary manuscript (with one word cancelled below titling).
First Edition. Paymer 77. Smith and Humphries, 1195, p. 267 ("Stabat Mater. Compos'd by Sigr. Pergolesi"). BUC p. 771. RISM P1348 and PP1348.
Pergolesi "was a leading figure in the rise of Italian comic opera in the 18th century. ... The 'Stabat mater' for two solo voices and strings, his most famous work, was evidently written in competition with Alessandro Scarlatti's 'Stabat mater' for the same voices and instruments. A comparison between the works shows Pergolesi's new approach to the concertante vocal movement and his development of the 'church aria', as well as the earliest application to sacred music of the style of expressive sensibility. The work stirred considerable controversy at home and abroad for its religious propriety and musical style. Padre Martini's traditional views towards counterpoint incited some to criticize Pergolesi's setting, while others found it 'galant', expressive and new." Helmut Hucke, and Dale E. Monson in Grove Music Online
With "N Curzon" in contemporary manuscript to head of both titles (most probably Nathaniel Curzon 1726-1804, First Baron Scarsdale) and attractive engraved armorial bookplate of the Curzpn family to front pastedown incorporating a shield, crown, two female figures, and the motto "Recte et Suaviter."
Folio. Contemporary dark tan calf-backed marbled boards with dark red leather title labels gilt to both boards, raised bands on spine. Engraved.
Binding slightly worn, rubbed, and bumped. Minor to moderate browning and foxing; occasional small stains and soiling.