Stamp of the Academy of Arcadia
George Frederic Handel, “Disseratevi, o porte d’Averno” from La resurrezione HWV 47 (1708), performed by Il Giardino Armonico, conducted by Giovanni Antonini; Julia Lezhneva (soprano):
Example 11.1 (mm. 11-17 begins at 3:47)
La resurrezione (complete) performed by Collegium 1704 and Václav Luks (conductor):
Alessandro Scarlatti, “E come bella“ from Bella dama di nome santa (1706), performed by Le stagioni (Anna Reinhold, mezzo soprano), with Tiam Goudarzi (flute), Emmanuelle Duvin and Jeffrey Giron (vioins), Paolo Zanzu (harpsichord)
Example 11.2: (mm. 6-10 begins at 3:26)
Handel, “O numi eterni” from La Lucrezia, performed by ensemble La Fiamma, Philippe Riga (harpsichord and conductor) and Katarina Van Droogenbroeck (mezzo-soprano):
Handel, “Gia nel seno comincia a compir,” from La Lucrezia, performed by Harry Bicket and Lorraine Hunt Lieberson:
Arcangelo Corelli, Concerto Grosso in F Major, Op. 6, No. 6 (1714) – 2nd movement (Allegro), performed by Musica Amphion, conducted by Pieter-Jan Belder:
Example 11.3 (mm. 1-8 begins at 56:41)
Plan of Bosco Parrasio, headquarters of the Accademia degli Arcadi in Rome, from Giovanni Maria Crescimbeni, Storia dell’Accademia degli Arcadi istituita in Roma (1690, reprinted London, 1804)
Figure 11.2
Additional Digital Resources
- The (Alessandro) Scarlatti Project This website exists to share the music of Alessandro Scarlatti and his contemporaries through editions, recordings, and discussion. It is based largely on the research of Rosalind Halton, Kate Eckersley, and James Sanderson. All of us are performer/researchers dedicated to turning manuscripts of long forgotten music into experiences of music and poetry interwoven.
- Eighteenth-Century Rome and the Grand Tour. Explore the city of Rome in the eighteenth century through this imaginative, interactive website. “Giuseppe Vasi’s Grand Tour presents an innovative geo-database (geographic database) and website that references the work of two 18th century masters of Roman topography: Giambattista Nolli (1701-1756), who published the first accurate map of Rome (La Pianta Grande di Roma, 1748); and his contemporary Giuseppe Vasi (1710-1782), whose comprehensive documentation of the city and its monuments, especially in Delle Magnificenze di Roma antica e moderna, published from 1747-1761, establishes him as one of Rome’s great topographers. Both Nolli and Vasi excelled at describing Rome in geo-spatial terms, one through scientific measurements and the ichnographic plan, the other through careful observation within a pictorial tradition that relied on mathematical perspective.”
- Watch a film explaining the beginning of The Grand Tour from the series by Jason Way produced by the Jordan Schnitzer Museum of Art for the exhibition “Giuseppe Vasi’s Rome – Lasting Impressions from the Age of the Grand Tour” (Sep 24th 2010 – Jan 2nd 2011). Part 4 is entitled The Grand Tour:
Global Resources for Chapter 11
Further Reading
Allsop, Peter. Arcangelo Corelli: New Orpheus of Our Times. Oxford: Oxford University Press, 1999. http://www.worldcat.org/oclc/39108567
Burrows, Donald. Handel. Master Musicians series. Oxford: Oxford University Press, 2012. http://www.worldcat.org/oclc/649420399
Dixon, Susan M. Between the Real and the Ideal: The Accademia degli Arcadi and Its Garden in Eighteenth-Century Rome. Newark, DE.: University of Delaware Press, 2006. http://www.worldcat.org/oclc/68786643
Dubowy, Norbert. “‘Al tavolino medesimo del Compositor della musica’: Notes on the Text and Context in Alessandro Scarlatti’s cantate da camera.” In Aspects of the Secular Cantata in Late Baroque Italy, ed. Michael Talbot. Farnham, Surrey, and Burlington, VT: Ashgate, 2009. http://www.worldcat.org/oclc/311310198
Findlen, Paula, Wendy Wassyung Roworth, and Catherine M. Sarna, eds. Italy’s Eighteenth Century: Gender and Culture in the Age of the Grand Tour. Stanford: Stanford University Press, 2009. http://www.worldcat.org/oclc/225876048
Harris, Ellen T. Handel as Orpheus: Voice and Desire in the Chamber Cantatas. Cambridge, MA: Harvard University Press, 2004. http://www.worldcat.org/oclc/47013295
Holloway, John. “Corelli’s Op. 5: Text, Act . . . and Reaction.” Early Music 24, no. 4 (November 1996): 635–40+642–43. http://www.jstor.org/stable/3128060
Johnstone, H. Diack. “Yet More Ornaments for Corelli’s Violin Sonatas, Op. 5.” Early Music 24, no. 4 (November 1996): 623–24+626–33. http://www.jstor.org/stable/3128059
Joncus, Berta “Private Music in Public Spheres: Chamber Cantata and Song.” In The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe. Cambridge History of Music. Cambridge: Cambridge University Press, 2009. http://www.worldcat.org/oclc/320802718
Marx, Hans Joachim, and Laurence Dana Dreyfus. “Some Unknown Embellishments of Corelli’s Violin Sonatas.”Musical Quarterly 61, no. 1 (January 1975): 65–76. http://www.jstor.org/stable/741685
North, Roger. On Music, being a Selection from His Essays Written during the Years c. 1695–1728, ed. John Wilson. London: Novello, 1959. http://www.worldcat.org/oclc/794543
Olszewski, Edward J. “The Enlightened Patronage of Cardinal Pietro Ottoboni (1667-1740.” Artibus et Historiae23, no. 45 (2002): 139–65. http://www.jstor.org/stable/1483685
Pagano, Roberto. Alessandro Scarlatti and Domenico Scarlatti: Two Lives in One, trans. Frederick Hammond. Lives in Music 6. Hillsdale, NY: Pendragon Press, 2006. http://www.worldcat.org/oclc/71790146
Rosand, Ellen. “Handel Paints the Resurrection.” In Festa musicologica: Essays in Honor of George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera. Festschrift series 14. Stuyvesant, NY: Pendragon Press, 1995. http://www.worldcat.org/oclc/31737723
Spitzer, John, and Neal Zaslaw. The Birth of the Orchestra: History of an Institution, 1650–1815. Oxford and New York: Oxford University Press, 2004. http://www.worldcat.org/oclc/52485404
Strohm, Reinhard. Essays on Handel and Italian Opera. Cambridge: Cambridge University Press, 1985. http://www.worldcat.org/oclc/11210695
Talbot, Michael. “The Italian Concerto in the Late Seventeenth and Early Eighteenth Centuries.” In The Cambridge Companion to the Concerto, ed. Simon P. Keefe. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press, 2005. http://www.worldcat.org/oclc/492928389
Tcharos, Stefanie. Opera’s Orbit: Music Drama and the Influence of Opera in Arcadian Rome. Cambridge and New York: Cambridge University Press, 2011. http://www.worldcat.org/oclc/663441076
Tcharos, Stefanie. “The Serenata in the Eighteenth Century.” In The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe. Cambridge History of Music. Cambridge and New York: Cambridge University Press, 2009. http://www.worldcat.org/oclc/320802718
Zaslaw, Neal. “Ornaments for Corelli’s Violin Sonatas, Op. 5.” Early Music 24, no. 1 (February 1996): 95–116. http://www.jstor.org/stable/3128452la resu
Music in the Baroque: Companion Website by Wendy Heller 