Baldassare Galuppi

535:(1766), the latter to words by Metastasio. In addition to the work for which he had been contracted, Galuppi gave weekly recitals at the harpsichord, and sometimes conducted orchestral concerts. To improve standards he was a hard taskmaster to the court orchestra, but was from the outset enormously impressed by the court choir. He is reported to have exclaimed, "I'd never heard such a magnificent choir in Italy". Galuppi took pride in his prestigious appointments; the title page of his 1766 Christmas mass for St Mark's describes him as: "First Master and Director of all the Music for Her Imperial Majesty the Empress of all the Russias, etc. etc. and First Master of the Ducal Chapel of St. Mark's in Venice." In 1768, as had been agreed, he returned to Venice, detouring again on his journey, this time to visit 482: 415:. The choir probably numbered about 30; but since their posts continued up to death, a fair proportion of the singers were old." However, Daniel Heartz points out that Galuppi's salary eventually increased to 400 ducats per annum, and then to 600 ducats. In addition to the prestige of the position, Galuppi was given a house near the basilica in which he and his family lived rent-free, and as he had very few firm obligations as vice-maestro, the position left him with the flexibility to compose for other venues, including opera houses in Venice, Vienna, London, and Berlin. By the time of his death, Galuppi and Gluck were two of the highest paid composers of the 18th century. (See Heartz, 2003) 850:

approval of the court." It is no surprise that a number of Galuppi's keyboard works should make it into print during his lifetime, including two sets of six sonatas, published in London as opus 1 (1756) and opus 2 (1759) respectively. Felix Raabe mentions the round number of 125 "sonatas, toccatas, divertimenti and etudes" for keyboard, based on Fausto Torrefranca's 1909 thematic catalogue of Galuppi's cembalo works. However, given some of the outrageous assertions on this topic that Torrefranca makes elsewhere (such as that the classical sonata form was created by Italian keyboard composers) the accuracy of this figure must be accepted only cautiously.

33: 725: 380:. The latter believed firmly that the music was there to serve the text rather than vice versa. He grumbled about Galuppi in 1749, "He is, I presume, an excellent composer for violins, for cellos and for voices, but he is an exceedingly bad one for poets. When he writes he thinks as much about the words as you do about being elected Pope ... As far as the public is concerned, he is appreciated by those who judge with their ears but not their souls." Nevertheless, their joint work prospered, and was staged in other countries. In Vienna, their 548: 876: 222: 622: 2819: 2807: 858:

that become more pronounced as the set progresses quartet by quartet. Innovations such as the chromatically raised 5th that Burney singled out in Galuppi's arias of the 1740s appear, and many harmonic features of the late-classical period are foreshadowed, such as the final deceptive cadence in which an augmented sixth chord is substituted before the ultimate resolution.

241:, and from as early as age 22 was known as "Il Buranello", a nickname which even appears in the signature on his music manuscripts, "Baldassare Galuppi, called 'Buranello'." His father was a barber, who also played the violin in theatre orchestras, and is believed to have been his son's first music teacher. Although there is no documentation, oral tradition as related to 2795: 359:, wrote that "Galuppi had had more influence on English music than any other Italian composer". However, in Burney's view Galuppi's skills were still immature during his spell in London. Burney wrote, "He now copied the hasty, light and flimsy style which reigned in Italy at this time, and which Handel's solidity and science had taught the English to despise." 328: 897:, "every poet has the right to evade the prosaic minutiae of fact", and it is impossible to state with confidence that one Galuppi piece has more claim than another to be the inspiration for the poem. The poem inspired a 1989 setting, in modern idiom but with musical quotations from Galuppi's works, by the composer 208:", but this has not helped maintain the composer's work in the general repertoire. Some of Galuppi's works were occasionally performed in the 200 years after his death, but it was not until the last years of the 20th century that his compositions were extensively revived in live performance and on recordings. 410:

of the Doge's chapel, St Mark's. In time this would lead to a large body of religious compositions, but for the present Galuppi was chiefly engaged in operatic work. It is not clear to Denis Arnold why he accepted the post at St Mark's. The musicologist writes, "He was already a very successful opera

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in 1772 made this mention of Galuppi's reputation in Saint Petersburg: "Chamber concerts were held every Wednesday in the antechamber of the imperial apartments, in order to enjoy the special style and fiery accuracy of the clavier playing of this great artist; thus did the virtuoso earn the overall

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of Russia made it known through diplomatic channels that she wished Galuppi to come to Saint Petersburg as her court composer and conductor. There were prolonged negotiations between Russia and the Venetian authorities before the Senate of Venice agreed to release Galuppi for a three-year engagement

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refers to Galuppi and his work. It is not known whether Browning was thinking of any one piece by Galuppi; in Galuppi's time, the terms "toccata" and "sonata" were less clearly differentiated than they later became, and were used interchangeably. A number of pieces have been suggested as Browning's

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are particularly innovative chamber music pieces that foreshadow the development of the classical string quartet. Each of the concerti is a three-movement work for two violins, viola and cello that integrates the counterpoint of the sonata da chiesa with daring chromatic twists and harmonic detours

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previously thought to be by Galuppi was reattributed to Vivaldi. The music of the latter, a generation earlier than Galuppi, had gone out of fashion after his death, and unscrupulous copyists and editors found that Galuppi's name on the title page increased a work's appeal. Three other works in the

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sparingly, and when he felt constrained to write contrapuntal music for the choir he would balance it with a bright modern style for the orchestral accompaniment. His masses and psalm settings for St Mark's exploit all the resources available to a modern composer in the mid-18th century, with choir

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for the church of San Rocco. The largest repository of manuscripts outside of Italy is the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek in Dresden, but manuscripts are also found in collections in Munich, Paris, Prague, Vienna, and New York, among others. In recent years Ines

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He was called "the father of comic opera" by musicians of the generation that followed him. The 21st-century editor and musicologist Francesco Luisi writes that although this description is not strictly accurate, the Galuppi–Goldoni operas were "a genuinely new beginning for musical theatre". In

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Metastasio's claim that Galuppi borrowed from other composers has never been substantiated, and both Burney and Vogler went to great lengths to refute that assertion. However, both Vivaldi and Handel borrowed music from Galuppi's works, as both Michael Talbot and Thomas Goleeke have discovered.

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at the Russian court. The contract required him to "compose and produce operas, ballets and cantatas for ceremonial banquets", at a salary of 4,000 rubles and the provision of accommodation and a carriage. Galuppi was reluctant, but Venetian officials assured him that his post and salary as

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In 1740, Galuppi was appointed "maestro di coro" at the Ospedale dei Mendicanti in Venice, where his duties ranged from teaching and conducting to composing liturgical music and oratorios. In his first year of service at the Mendicanti, he composed 31 works: 16 motets, 13 settings of the

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In June 1764 the senate granted Galuppi formal leave to go. He resigned his post at the Incurabili, made provision for his wife and daughters (who were to remain in Venice, while his son travelled with him), and set off for Russia. He made detours on his journey, visiting

580:)". Burney commented on Galuppi's prodigious workload that in addition to his duties at St Mark's and the Incurabili, "he has a hundred sequins a year as domestic organist to the family of Gritti, and is organist of another church, of which I have forgotten the name". 1720: 745:

Burde, Franco Passadore, and Franco Rossi have all made progress toward a comprehensive catalogue of Galuppi's sacred music, but a complete inventory is still out of reach due to the large number of lost or missing manuscripts, spurious attributions, and forgeries.

568:, became more animated by age. He cannot now be less than seventy years old, and yet it is generally allowed here that his last operas and his last compositions for the church abound with more spirit, taste, and fancy, than those of any other period of his life. 437:

For the next ten years, Galuppi remained in Venice, with occasional sorties elsewhere for commissions and premieres, producing a series of secular and religious works. His operas, serious or comic, were in demand across Europe. Of the British premiere of

422:. Although an established and eminent playwright by the time he worked with Galuppi, Goldoni was happy for his libretti to be subservient to the music. He was as warm in his regard for Galuppi as Metastasio was cold. Their first collaboration was 735:

Among the corpus of Galuppi's authenticated sacred works are at least 284 works: 52 masses and movements pertaining to the mass, 73 settings of psalms and music for the offices, 8 motets, and 26 uncategorized works, including hymns,

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Browning's poem was followed by a few revivals of Galuppi works, and the composer's music was played at memorials for the poet, both in church and in the concert hall. But performances of Galuppi's music remained sporadic.

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to cut back their musical activities. In his later years he wrote more sacred than secular music. His output continued to be considerable in both quantity and quality. Burney, who visited him in Venice, wrote in 1771:

465:. At St Mark's, he set about reforming the choir. He persuaded the Basilica authorities, the Procurators, to be more flexible in payments to singers, allowing him to attract performers with first-rate voices such as 678:

As well as his general contribution to the essentials of comic opera, establishing the music as at least as important as the words, Galuppi's (and Goldoni's) more specific legacy to comic opera was the large-scale

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wrote approvingly that the composer was able to "illumine the personalities of the characters and the situations in which they find themselves by selecting the most appropriate type of voice and style of singing".

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On his return to Venice, Galuppi resumed his duties at St Mark's and successfully applied for reappointment at the Incurabili, holding the post until 1776, when financial constraints obliged all the

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Galuppi's music for his comic operas is described by Luisi as "largely syllabic … designed to enhance the intelligibility of the text … without impairing the fluidity of the melodic lines." In his

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On his return to Venice in May 1743, Galuppi returned to his employment with the Mendicanti, and to composing for the opera houses. The operatic fashion in Venice was on the point of changing from

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Studien zur opera seria von Baldassare Galuppi: Werksituation und Überlieferung, Form und Satztechnik, Inhaltsdarstellung : mit einer Biographie und einem Quellenverzeichnis der Opern.

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After a two-month illness, Galuppi died on 3 January 1785. He was buried in the church of San Vitale, and, much mourned, was commemorated by a requiem mass "solemnized in the church of

372:. Full-length comic operas from Naples and Rome were becoming fashionable; Galuppi adapted three of them for Venetian audiences in 1744, and the following year composed one of his own, 200:'s invasion of Venice in 1797 resulted in Galuppi's manuscripts being scattered around Western Europe, and in many cases, destroyed or lost. Galuppi's name persists in the English poet 683:

finale to end the acts. Hitherto acts had ended in short choruses or ensembles, but the elaborate and substantial finales introduced by Galuppi and his librettist set the pattern for

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100 years later. Like most of his contemporaries, Galuppi did not hesitate to re-use his own music, sometimes simply transplanting it and at other times reworking it substantially.

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Galuppi had to resign his post at the Mendicanti in 1751. By the middle of the 1750s he was, in the words of musicologist Dale Monson, "the most popular opera composer anywhere".

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composer and with his duties at the Mendicanti he must have had enough to do. The salary at St Mark's was only 120 ducats. ... At this time it was not a very distinguished

193:. In these various capacities he composed a large amount of sacred music. He was also highly regarded as a virtuoso performer on and composer for keyboard instruments. 784:

works on Russian texts for the Orthodox liturgy proved to be a watershed. Their Italian, light contrapuntal style joined with native melodic idioms was continued by

2451: 1372: 316:, and two psalm settings. Although he became internationally known as an operatic composer, he maintained a steady output of sacred music throughout his career. 670:

Luisi's view these works fundamentally changed the nature of opera by making the music part of the drama and not merely a decoration. Galuppi's contemporary

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Galuppi was much admired for his keyboard music. Few of his sonatas were published in his lifetime, but many survive in manuscript. Some of them follow the

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From the late 20th century onwards an increasing number of Galuppi's works have been committed to disc. Among the opera recordings on CD or DVD are

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attended one of these productions. Galuppi also attracted attention as a keyboard virtuoso and composer. His contemporary, the English musicologist

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on Radio Vatican Studios own label. In addition, Brilliant Classics released, in 2016, a two-CD set of keyboard sonatas performed on the organ by

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For the empress's court, Galuppi composed new works, both operatic and liturgical, and revived and revised many others. He wrote one opera there,

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Throughout his career Galuppi held official positions with charitable and religious institutions in Venice, the most prestigious of which was

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that developed in Europe throughout the 18th century. He achieved international success, spending periods of his career in Vienna, London and

2729: 2849: 2347: 2745: 591:. Thereafter he continued to compose, despite declining health. His last known completed work is the 1784 Christmas mass for St Mark's. 2296: 778:

Monson notes that the church music composed by Galuppi in Saint Petersburg had a lasting influence on Russian church music: "His 15

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aria, but used it sparingly in his comic works. In performances of his serious operas, leading soloists would as a matter of course

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In 1741 Galuppi was invited to work in London. He petitioned the Mendicanti authorities for leave of absence, to which they agreed.

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From Venice to St. Petersburg and back again the sacred music of Baldassare Galuppi and the mutability of eighteenth-century style

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In his religious works, Galuppi mixed modern and antique styles. It was then the custom to incorporate into new church music the

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followed by four more joint works within a year. They were enormously popular at home and abroad, and to meet the demand for new

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in 1761 Burney wrote, "This burletta surpassed in musical merit all the comic operas that were performed in England, till the

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A historical analysis and performing edition of Baladassare Galuppi's C-minor Miserere for double treble chorus and orchestra

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Arnold (1985, p. 45) says that Galuppi "left the Mendicanti under something of a cloud", but does not say what the cloud was.

1755:"Another Vivaldi Work Falsely Attributed to Galuppi by Iseppo Baldan: A New "Laetatus sum" for Choir and Strings in Dresden" 2433: 616: 112: 2260: 306:, the next year. This, too, was modestly successful, and Galuppi began to receive commissions for operas and oratorios. 2874: 2859: 1365: 481: 2133: 376:, which was only a mild success. He continued to compose serious operas, sometimes in partnership with the librettist 2143: 2114: 462: 2104: 767:

supported by an orchestra of strings and some or all of flutes, oboes, bassoons, horns, trumpets, and organ. In his

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Galuppi, with 109 operas, was the sixth most prolific opera composer. His output was exceeded by his contemporaries

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style. To the succeeding generation of composers, he was known as "the father of comic opera". Some of his mature

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was Galuppi's predecessor as Russian court composer, and may have paved the way for his successor's innovations.

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choral writing, Galuppi generally leaned toward syllabic settings, reserving the technically demanding

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Catalogo tematico delle composizioni di Baldassare Galuppi (1706–1785) – Parte I: Le opere strumentali

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lists sinfonias, overtures, trios and string quartets, and concerti for solo instruments and strings.

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In the latter half of the 18th century, Galuppi's music was largely forgotten outside of Italy, and

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San Marco: vitalità di una tradizione : il fondo musicale e la Cappella dal Settecento ad oggi

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Goleeke, Thomas. 2010. "Baldassare Galuppi Handel, and "Jephtha": evidence of further borrowings".

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Burde, Ines (2008). Die venezianische Kirchenmusik von Baldassare Galuppi. Frankfurt am Main: Lang.

336: 32: 587:, premiered in October 1773. In May 1782 he conducted concerts to mark a papal visit to Venice by 2593: 2403: 2024: 1926: 1343: 688: 440: 123:(18 October 1706 – 3 January 1785) was a Venetian composer, born on the island of 418:

Galuppi was fortunate that when he turned once more to comic opera in 1749 he collaborated with

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Ospedale degli Incurabili, Venice, where Galuppi was in charge of music 1762–1765 and 1768–1776

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He was in England for 18 months, supervising productions for the Italian opera company at the

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Letter of Luigi Ballarini to Daniele Dolfin, Venetian Ambassador in Paris, 12 February 1785,

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single-movement model; others are in the three-movement form later adopted by Haydn, Mozart,

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Storia della musica sacra nella già cappella ducale di San Marco in Venezia dal 1318 al 1797

2844: 2839: 839: 599: 470: 277: 2320: 351:; a fourth was presented shortly after he left London to return to Venice. Rival composer 8: 2641: 2489: 2474: 1725: 985: 797: 630: 536: 492: 485: 151:, but his main base remained Venice, where he held a succession of leading appointments. 132: 2233:

Sacred music of Baldassare Galuppi in the context of eighteenth-century Venetian culture

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Rossi, Franco (2003). "Galuppi: Mass for St Mark's, 1766", Notes to Chandos CD CHAN 0702

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by chance outside of Riga, before arriving in Saint Petersburg on 22 September 1765.

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in the nineteenth century says that the young Galuppi was trained in composition and

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Anderson, Keith (2011). "Baldassare Galuppi (1706–1785)", Notes to Naxos CD 8.572263

1379:, Laboratorio delle Arti, della Musica e dello Spettacolo, accessed 7 September 2011 1276:

Anderson, Keith (2011). "Baldassare Galuppi (1706–1785)", Notes to Naxos CD 8.572490

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Several works long attributed to Galuppi by publishers were shown to be the work of

2799: 2673: 2561: 2521: 2513: 2189: 1039: 996: 898: 517: 466: 148: 2681: 2154: 2085: 971:(2009). Three series of recordings of the keyboard sonatas have been launched, by 659: 2721: 2505: 1376: 1251: 924: 920: 883: 785: 327: 242: 238: 201: 2689: 2537: 2062: 1859: 1053: 967: 789: 712:" – a complete work not to be tampered with – was not the rule in 18th-century 705: 643: 368: 356: 186: 166: 812:

Saxon State Collection have also been reattributed from Galuppi to Vivaldi: a

2833: 2617: 2411: 2210: 2183: 2124: 2095: 1619: 1416: 976: 907: 818: 750: 419: 400: 250: 161: 2175:

Baldassare Galuppi und die Überlieferung seiner Kirchenmusikwerke in Dresden

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Dominick Argento's "A Toccata of Galuppi's": A critical analysis of the work

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Goleeke, Thomas. 1996. ""These labours past": Handel's look to the future".

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In April 1762 Galuppi was appointed to the leading musical post in Venice,

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Storia della musica sacra nella già Cappella Ducale di S. Marco in Venezia

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Galuppiana 1985: studi e ricerche : atti del convegno internazionale

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were great successes, the former breaking all local box-office records.

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Werkverzeichnis zu die venezianische Kirchenmusik von Baldassare Galuppi

2705: 780: 662:; the only composer of later generations who approached his output was 396: 377: 175: 1895:, 5 October 1897, p. 11, and "Robert Browning Commemoration Service", 1863: 1643: 1623: 1585: 1524: 1309: 2325: 1644:"Galuppiana 1985: studi e ricerche: atti del convegno internazionale" 1063: 911:

was revived for the first time at the Venice Music Festival in 1952;

729: 621: 164:, he became famous throughout Europe for his comic operas in the new 281: 262: 197: 2271: 1818:

La Creazione della sonata dramatica moderna rivendicata all'Italia

160:, but from the 1740s, together with the playwright and librettist 804: 772: 700: 598:, paid for by professional musicians, at which the actors of the 457:

of St Mark's, and in July of the same year he was also appointed

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Testament: SBT1195 (1959, reissued 2001) and Bongiovanni GB 2256

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Galuppi's skill as keyboard player is well documented. Hillers

565: 284:. On his return to Venice in 1728, he produced a second opera, 234: 226: 124: 74: 56: 1779:

Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend

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at St. Mark's were secure until 1768 as long as he supplied a

2205:. Los Angeles, California: University of Southern California. 261:, which, according to Caffi, was performed unsuccessfully at 2818: 740:, a setting of St. John's Passion for women's voices, and a 174:, for which his librettists included the poet and dramatist 564:

It seems as if the genius of Signor Galuppi, like that of

1924:. "Commedia dell' Arte atmosphere at the Festival Hall", 2313:

Harpsichord Sonata No. 18 in C minor, arranged for organ

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Edith Woodcock collection of Galuppi material, 1750–1770

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In 1768, Haydn wrote his first full-length comic opera,

796:, his pupil." Marina Ritzarev comments that the Italian 2215:

Music in European Capitals: the Galant Style, 1720–1780

2188:(Thesis). Lexington, Kentucky: University of Kentucky. 1421:

Music in European Capitals: the Galant Style, 1720–1780

2166:.Die venezianische Kirchenmusik von Baldassare Galuppi 131:. He belonged to a generation of composers, including 2783: 1692:(Venezia, 28–30 October 1985). Firenze: L.S. Olschki. 288:, written in collaboration with another Lotti pupil, 276:

From 1726 to 1728, Galuppi was harpsichordist at the

257:. At the age of 15 Galuppi composed his first opera, 154:

In his early career Galuppi made a modest success in

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inspiration, but as Charles van den Borren wrote in

292:; it was well received when it was presented at the 1624:"The Creation of the Buffo Finale in Italian Opera" 1710:Talbot, Michael (2004). Notes to Hyperion CD 66849 861:Among other instrumental compositions by Galuppi, 572:Galuppi told Burney his definition of good music: 2235:. Tallahassee, Florida: Florida State University. 2226:. Tallahassee, Florida: Florida State University. 1230:, Oxford Music Online, accessed 3 September 2011 1009:, to words by Goldoni (2004), and motets (2001). 879:Burano's Piazza Galuppi is named for the composer 658:, and the most prolific of all, with 166 operas, 2831: 2315:, Sibley Music Library Digital Scores Collection 1586:"Studien zur Opera seria von Baldassare Galuppi" 1842:Galuppi, Baldassare, and Horst Heussner. 1981. 1544:Vivaldi, vero e falso: problemi di attribuzione 143:, whose works are emblematic of the prevailing 37:Galuppi by a Venetian artist, bearing date 1751 2087:The Present State of Music in France and Italy 1688:Muraro, Maria Teresa, and Franco Rossi. 1986. 1675:Passadore, Francesco, and Franco Rossi. 1994. 319: 2459: 2341: 1525:"Who composed the greatest number of operas?" 508:for the Basilica's Christmas mass each year. 1794:, Edizioni de I Solisti Veneti, Padova, 2006 1628:Proceedings of the Royal Musical Association 754:with smooth vocal lines in the tradition of 2865:Italian classical composers of church music 1831:Studien zur Geschichte des Streichquartetts 1650:, Vol. 69, No. 2 (April 1988), pp. 257–258 1592:, Vol. 67, No. 2 (April 1986), pp. 202–203 2466: 2452: 2348: 2334: 1542:Fanna, Antonio, and Michael Talbot. 1992. 1001:. Choral works put on CD include the 1766 975:on the Divine Art label, Matteo Napoli on 31: 2297:International Music Score Library Project 1854: 1852: 1764: 1762: 1580: 1578: 1329: 1327: 1304: 1302: 2185:The Vespers Psalms of Baldassare Galuppi 2131: 1908:Thoresby, Christina. "Music in Venice", 1615: 1613: 1444: 1442: 1440: 1438: 1399: 1397: 1395: 1393: 1391: 1389: 1387: 1385: 1300: 1298: 1296: 1294: 1292: 1290: 1288: 1286: 1284: 1282: 1272: 1270: 1268: 1266: 1264: 1216: 1214: 1212: 1210: 1208: 1206: 1204: 1202: 1200: 1198: 1196: 874: 723: 620: 574:vaghezza, chiarezza, e buona modulazione 546: 480: 390: 326: 296:. The collaborators followed it with an 225:Statue of Galuppi in the main square of 220: 2102: 2071:. Vol. 4. London: Charles Burney. 1194: 1192: 1190: 1188: 1186: 1184: 1182: 1180: 1178: 1176: 1029:Metastasio and Galuppi collaborated on 2832: 2355: 2321:Recordings of his concertos on YouTube 2209: 2083: 2061: 1849: 1759: 1575: 1470: 1468: 1458: 1456: 1454: 1324: 1318:, 1 January 1985, pp. 45–47 and 49–50 2447: 2329: 2200: 2181: 2172: 2163: 2152: 2109:. University of Southern California. 1610: 1435: 1382: 1279: 1261: 829: 331:The King's Theatre, Haymarket, London 2434:List of operas by Baldassare Galuppi 2230: 2221: 1891:"Mr. Clifford Harrison's Recitals", 1864:"Round about A Toccata of Galuppi's" 1173: 728:Musicians' gallery in St Mark's, by 617:List of operas by Baldassare Galuppi 2850:18th-century Italian male musicians 2261:Music Division, Library of Congress 1939:Larner, Gerald. "Buxton Festival", 1465: 1451: 1403:Luisi, Francesco (2001). "Galuppi: 476: 13: 1630:, Vol. 104 (1977–1978), pp. 67–78 698:he observed the convention of the 533:La pace tra la virtù e la bellezza 406:In May 1748 Galuppi was appointed 395:Galuppi's best-known librettists, 233:Galuppi was born on the island of 14: 2906: 2303:Free scores by Baldassare Galuppi 2293:Free scores by Baldassare Galuppi 2240: 1820:. Rivista Musicale Italiana, 1910 1805:Galuppi als Instrumentalkomponist 1126:(1760) was a work by Goldoni and 792:and maintained by, among others, 708:written by other composers: the " 625:Arias from Galuppi's 1743 opera, 2817: 2805: 2793: 2135:Eighteenth-century Russian music 2103:Colwitz, Erin Elizabeth (2007). 1858:Borren, Charles van den, trans. 1666:, Frankfurt am Main , Lang, 2008 1407:", Notes to Chandos CD CHAN 0676 2055: 2043: 2034: 2018: 2009: 2000: 1991: 1982: 1973: 1964: 1955: 1946: 1933: 1915: 1902: 1885: 1876: 1836: 1823: 1810: 1797: 1784: 1771: 1748: 1732: 1721:"Vivaldi: Dixit Dominus RV 807" 1713: 1704: 1695: 1682: 1679:. Venezia: Ed. Fondazione Levi. 1669: 1656: 1636: 1598: 1562: 1549: 1536: 1517: 1504: 1495: 1486: 1477: 1426: 1410: 1143: 1133: 1115: 1106: 762:. However, Galuppi applied the 719: 366:to a new style of comic opera, 2870:18th-century Italian composers 1807:. Frankfurt a.d. Oder: Müller. 1358: 1336: 1245: 1236: 1161:, both to libretti by Goldoni. 1023: 915:was revived in 1959, starring 583:The last opera by Galuppi was 542: 265:and equally unsuccessfully in 216: 1: 1012: 930: 853:Galuppi's seven experimental 576:(beauty, clearness, and good 2885:Italian male opera composers 2855:18th-century Venetian people 2307:Choral Public Domain Library 2284:How to use archival material 1167: 211: 178:, were also widely popular. 137:Giovanni Battista Sammartini 16:Italian composer (1706–1785) 7: 2372:Gustavo primo, re di Svezia 2201:Eanes, Christopher (2011). 1310:"Galuppi's Religious Music" 516:in Berlin and encountering 320:London and return to Venice 10: 2911: 2634:Giacomo Giuseppe Saratelli 2168:. Frankfurt am Main: Lang. 2068:A General History of Music 1912:, 21 September 1952, p. 10 1745:, Awards Issue 2005, p. 10 1501:Burney (1771), pp. 186–187 958:Gustavo primo re di Svezia 614: 527:(1768), and two cantatas, 290:Giovanni Battista Pescetti 2875:Italian Baroque composers 2860:Cappella Marciana maestri 2666:Giovanni Agostino Perotti 2485: 2430: 2363: 2266: 2256: 2217:. New York: W. W. Norton. 2153:Caffi, Francesco (1854). 2132:Ritzarev, Marina (2006). 1870:, 1 May 1923, pp 314–316 1604:Wiesend, Reinhard. 1984. 1570:Göttinger Händel-Beiträge 1557:Göttinger Händel-Beiträge 1344:"Galuppi (rev. Gallico), 870: 610: 463:Ospedale degli Incurabili 108: 98: 81: 63: 42: 30: 23: 2546:Giulio Cesare Martinengo 2084:Burney, Charles (1771). 1899:, 14 December 1897, p. 6 1829:Finscher, Ludwig. 1974. 1546:. Firenze: L.S. Olschki. 1530:, 1 August 1911, p. 527 1423:. New York: W.W. Norton. 1017: 923:, and was staged at the 847:Wöchentliche Nachrichten 605: 286:Gl'odi delusi dal sangue 253:, the chief organist at 2880:Italian opera composers 2594:Giovanni Battista Volpe 2404:Il filosofo di campagna 1961:Hungaroton HCD 32538-39 1927:The Manchester Guardian 1872:(subscription required) 1652:(subscription required) 1632:(subscription required) 1594:(subscription required) 1532:(subscription required) 1370:di Baldassarre Galuppi" 1320:(subscription required) 1232:(subscription required) 1069:Semiramide riconosciuta 953:Il filosofo di campagna 913:Il filosofo di campagna 775:passages for soloists. 441:Il filosofo di campagna 271:La fede nell'incostanza 141:C. P. E. Bach 2658:Bonaventura Furlanetto 2602:Gian Domenico Partenio 2138:. Aldershot: Ashgate. 1952:Hungaroton HCD31658-59 1943:, 3 August 1985, p. 11 1833:. Kassel: Bärenreiter. 1035:Alessandro nell' Indie 1007:L'oracolo del Vaticano 889:A Toccata of Galuppi's 880: 732: 633: 570: 552: 488: 461:(choir master) at the 403: 332: 230: 206:A Toccata of Galuppi's 2890:Musicians from Venice 2479:Saint Mark's Basilica 2420:L'inimico delle donne 2194:10.13023/etd.2020.286 2159:. Venezia: Antonelli. 2090:. London: T. Becket. 2031:, October 2007, p. 89 1997:Hungaroton HCD3210304 1979:Bongiovanni GB2422/24 1816:Torrefranca, Fausto. 1777:Hiller, Johann Adam, 1492:Burney (1771), p. 185 1483:Burney (1771), p. 174 1432:Burney (1789), p. 474 1405:Il mondo alla roversa 1355:, October 1982, p. 80 1333:Burney (1789), p. 448 1222:"Galuppi, Baldassare" 963:Il mondo alla roversa 878: 727: 624: 562: 550: 484: 394: 345:Scipione in Cartagine 330: 224: 2231:Knop, Keith (2011). 2222:Knop, Keith (2004). 2182:Buzza, Scot (2020). 2173:Burde, Ines (2010). 2164:Burde, Ines (2008). 1930:, 6 March 1959, p. 7 1803:Raabe, Felix. 1929. 1155:and Mozart composed 937:Il caffè di campagna 471:Gasparo Pacchiarotti 278:Teatro della Pergola 229:, the Piazza Galuppi 2642:Baldassarre Galuppi 2490:Johannes de Quadris 2475:Maestri di cappella 2396:Il mondo della luna 1726:The Daily Telegraph 1648:Music & Letters 1590:Music & Letters 1375:4 June 2011 at the 1346:L'Arcadia in Brenta 1097:La clemenza di Tito 1005:(2007), a cantata, 1003:Messa per San Marco 941:La clemenza di Tito 798:Vincenzo Manfredini 758:and a good deal of 631:Francesco Vanneschi 629:, to a libretto by 537:Johann Adolph Hasse 525:Ifigenia in Tauride 498:maestro di cappella 493:Catherine the Great 486:Catherine the Great 183:maestro di cappella 133:Johann Adolph Hasse 2895:People from Burano 2738:Gastone De Zuccoli 2714:Delfino Thermignon 2650:Ferdinando Bertoni 2554:Claudio Monteverdi 2380:Didone abbandonata 2357:Baldassare Galuppi 2177:. Dresden: Seeman. 2015:Dynamic 33545 2009 1922:Greenfield, Edward 1846:. Wien: Doblinger. 1844:Concerti a quattro 1719:Wigmore, Richard. 1368:Didone Abbandonata 1227:Grove Music Online 1123:La buona figliuola 1045:Didone abbandonata 949:Didone abbandonata 881: 864:Grove's Dictionary 855:Concerti a quattro 830:Instrumental works 733: 672:Esteban de Arteaga 634: 600:Teatro S Benedetto 585:La serva per amore 553: 489: 455:maestro di capella 404: 333: 255:St Mark's Basilica 231: 191:St Mark's Basilica 121:Baldassare Galuppi 103:St Mark's Basilica 25:Baldassare Galuppi 2781: 2780: 2774: 2766: 2758: 2750: 2742: 2734: 2726: 2718: 2710: 2702: 2694: 2686: 2678: 2670: 2662: 2654: 2646: 2638: 2630: 2626:Antonio Pollarolo 2622: 2614: 2606: 2598: 2590: 2586:Giovanni Legrenzi 2582: 2578:Natale Monferrato 2574: 2570:Francesco Cavalli 2566: 2558: 2550: 2542: 2534: 2530:Baldassare Donato 2526: 2518: 2510: 2502: 2494: 2441: 2440: 2289: 2288: 2278: 2277: 2006:Chandos CHAN 0676 1868:The Musical Times 1584:Talbot, Michael. 1528:The Musical Times 1315:The Musical Times 1158:La finta semplice 973:Peter Seivewright 955:(1959 and 2001), 895:The Musical Times 794:D.S. Bortnyans'ky 706:interpolate arias 639:The Musical Times 529:La virtù liberata 424:Arcadia in Brenta 294:Teatro San Angelo 129:Venetian Republic 118: 117: 2902: 2822: 2821: 2810: 2809: 2808: 2798: 2797: 2796: 2789: 2772: 2764: 2756: 2748: 2740: 2732: 2724: 2716: 2708: 2700: 2692: 2684: 2676: 2674:Antonio Buzzolla 2668: 2660: 2652: 2644: 2636: 2628: 2620: 2612: 2604: 2596: 2588: 2580: 2572: 2564: 2562:Giovanni Rovetta 2556: 2548: 2540: 2532: 2524: 2522:Gioseffo Zarlino 2516: 2514:Cipriano de Rore 2508: 2500: 2498:Pietro de Fossis 2492: 2468: 2461: 2454: 2445: 2444: 2350: 2343: 2336: 2327: 2326: 2274: 2254: 2253: 2245: 2244: 2236: 2227: 2218: 2206: 2197: 2178: 2169: 2160: 2149: 2128: 2099: 2080: 2050: 2049:Virgin VC5450302 2047: 2041: 2040:Hungaroton 32252 2038: 2032: 2022: 2016: 2013: 2007: 2004: 1998: 1995: 1989: 1986: 1980: 1977: 1971: 1968: 1962: 1959: 1953: 1950: 1944: 1937: 1931: 1919: 1913: 1906: 1900: 1889: 1883: 1880: 1874: 1873: 1856: 1847: 1840: 1834: 1827: 1821: 1814: 1808: 1801: 1795: 1788: 1782: 1775: 1769: 1766: 1757: 1752: 1746: 1739:"For the Record" 1736: 1730: 1717: 1711: 1708: 1702: 1699: 1693: 1686: 1680: 1673: 1667: 1660: 1654: 1653: 1640: 1634: 1633: 1617: 1608: 1602: 1596: 1595: 1582: 1573: 1566: 1560: 1553: 1547: 1540: 1534: 1533: 1521: 1515: 1514:in Arnold (1985) 1508: 1502: 1499: 1493: 1490: 1484: 1481: 1475: 1472: 1463: 1460: 1449: 1446: 1433: 1430: 1424: 1414: 1408: 1401: 1380: 1362: 1356: 1342:Salter, Lionel. 1340: 1334: 1331: 1322: 1321: 1306: 1277: 1274: 1259: 1252:Caffi, Francesco 1249: 1243: 1240: 1234: 1233: 1220:Monson, Dale E. 1218: 1162: 1147: 1141: 1137: 1131: 1119: 1113: 1110: 1104: 1040:Adriano in Siria 1027: 1000: 989: 981:Marcella Crudeli 899:Dominick Argento 518:Giacomo Casanova 477:Saint Petersburg 467:Gaetano Guadagni 374:La forza d'amore 269:under the title 259:Gli amici rivali 149:Saint Petersburg 70: 52: 50: 35: 21: 20: 2910: 2909: 2905: 2904: 2903: 2901: 2900: 2899: 2830: 2829: 2828: 2816: 2812:Classical music 2806: 2804: 2794: 2792: 2784: 2782: 2777: 2762:Roberto Micconi 2722:Umberto Ravetta 2506:Adrian Willaert 2481: 2472: 2442: 2437: 2426: 2359: 2354: 2270: 2243: 2146: 2117: 2063:Burney, Charles 2058: 2053: 2048: 2044: 2039: 2035: 2025:"In the studio" 2023: 2019: 2014: 2010: 2005: 2001: 1996: 1992: 1987: 1983: 1978: 1974: 1969: 1965: 1960: 1956: 1951: 1947: 1938: 1934: 1920: 1916: 1907: 1903: 1890: 1886: 1881: 1877: 1871: 1857: 1850: 1841: 1837: 1828: 1824: 1815: 1811: 1802: 1798: 1789: 1785: 1781:(Leipzig, 1772) 1776: 1772: 1767: 1760: 1753: 1749: 1737: 1733: 1718: 1714: 1709: 1705: 1701:Ritzarev, p. 83 1700: 1696: 1687: 1683: 1674: 1670: 1661: 1657: 1651: 1641: 1637: 1631: 1618: 1611: 1603: 1599: 1593: 1583: 1576: 1567: 1563: 1554: 1550: 1541: 1537: 1531: 1522: 1518: 1509: 1505: 1500: 1496: 1491: 1487: 1482: 1478: 1474:Ritzarev, p. 88 1473: 1466: 1462:Ritzarev, p. 81 1461: 1452: 1447: 1436: 1431: 1427: 1415: 1411: 1402: 1383: 1377:Wayback Machine 1363: 1359: 1341: 1337: 1332: 1325: 1319: 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1125: 1124: 1118: 1109: 1102: 1098: 1094: 1093:Il re pastore 1090: 1086: 1082: 1078: 1077:L'eroe cinese 1074: 1070: 1066: 1065: 1060: 1056: 1055: 1050: 1046: 1042: 1041: 1036: 1032: 1026: 1022: 1010: 1008: 1004: 998: 993: 992:Luca Scandali 987: 982: 978: 974: 970: 969: 964: 960: 959: 954: 950: 946: 945:La diavolessa 942: 938: 928: 926: 922: 918: 914: 910: 909: 908:La diavolessa 902: 900: 896: 891: 890: 885: 877: 868: 866: 865: 859: 856: 851: 848: 843: 841: 837: 827: 825: 821: 820: 819:Dixit Dominus 815: 810: 807:. In 2003, a 806: 801: 799: 795: 791: 787: 783: 782: 776: 774: 770: 765: 761: 757: 753: 752: 746: 743: 739: 731: 726: 717: 715: 711: 707: 703: 702: 697: 692: 690: 686: 682: 676: 673: 667: 665: 661: 660:Wenzel Müller 657: 653: 649: 645: 641: 640: 636:According to 632: 628: 623: 618: 603: 601: 597: 596:Santo Stefano 592: 590: 586: 581: 579: 575: 569: 567: 561: 558: 549: 540: 538: 534: 530: 526: 521: 519: 515: 509: 507: 503: 499: 494: 487: 483: 474: 472: 468: 464: 460: 456: 451: 449: 448: 443: 442: 435: 433: 429: 425: 421: 420:Carlo Goldoni 416: 414: 409: 402: 401:Carlo Goldoni 398: 393: 389: 387: 383: 379: 375: 371: 370: 365: 360: 358: 354: 350: 346: 342: 338: 329: 325: 317: 315: 314: 307: 305: 301: 300: 295: 291: 287: 283: 279: 274: 272: 268: 264: 260: 256: 252: 251:Antonio Lotti 248: 244: 240: 236: 228: 223: 209: 207: 203: 199: 194: 192: 188: 184: 179: 177: 173: 169: 168: 163: 162:Carlo Goldoni 159: 158: 152: 150: 146: 142: 138: 134: 130: 126: 122: 114: 111: 107: 104: 101: 99:Organizations 97: 90: 87: 86: 84: 80: 76: 66: 62: 58: 45: 41: 34: 29: 22: 19: 2698:Pietro Magri 2432: 2418: 2410: 2402: 2394: 2386: 2378: 2370: 2356: 2309:(ChoralWiki) 2232: 2223: 2214: 2202: 2184: 2174: 2165: 2155: 2134: 2105: 2086: 2067: 2056:Bibliography 2045: 2036: 2028: 2020: 2011: 2002: 1993: 1984: 1975: 1966: 1957: 1948: 1941:The Guardian 1940: 1935: 1925: 1917: 1910:The Observer 1909: 1904: 1896: 1892: 1887: 1878: 1867: 1843: 1838: 1830: 1825: 1817: 1812: 1804: 1799: 1791: 1786: 1778: 1773: 1750: 1742: 1734: 1724: 1715: 1706: 1697: 1689: 1684: 1676: 1671: 1663: 1658: 1647: 1638: 1627: 1605: 1600: 1589: 1569: 1564: 1556: 1551: 1543: 1538: 1527: 1519: 1511: 1506: 1497: 1488: 1479: 1428: 1420: 1412: 1404: 1367: 1360: 1350: 1345: 1338: 1313: 1255: 1247: 1238: 1225: 1156: 1150: 1145: 1135: 1121: 1117: 1108: 1100: 1096: 1092: 1088: 1084: 1080: 1076: 1072: 1068: 1062: 1058: 1052: 1048: 1044: 1038: 1034: 1030: 1025: 1006: 1002: 966: 965:(2007), and 962: 956: 952: 948: 944: 940: 936: 934: 917:Ilva Ligabue 912: 906: 903: 894: 887: 882: 862: 860: 854: 852: 846: 844: 842:and others. 833: 824:Laetatus sum 823: 817: 813: 809:Nisi Dominus 808: 802: 779: 777: 768: 764:stile antico 763: 760:counterpoint 751:stile antico 749: 747: 741: 737: 734: 720:Sacred music 713: 710:opus integer 709: 699: 695: 693: 680: 677: 668: 637: 635: 626: 593: 589:Pope Pius VI 584: 582: 573: 571: 563: 556: 554: 532: 528: 524: 522: 510: 505: 501: 497: 490: 458: 454: 452: 445: 439: 436: 431: 427: 423: 417: 412: 408:vice-maestro 407: 405: 385: 381: 373: 367: 363: 361: 348: 344: 340: 334: 323: 313:Salve Regina 311: 308: 303: 297: 285: 275: 270: 258: 232: 195: 182: 180: 171: 165: 155: 153: 145:galant music 120: 119: 69:(1785-01-03) 18: 2845:1785 deaths 2840:1706 births 2730:Matteo Tosi 2388:L'Olimpiade 2248:Archives at 1152:Lo speziale 1099:(1760) and 1054:L'Olimpiade 995: [ 984: [ 968:L'Olimpiade 714:opera seria 696:opere serie 543:Later years 539:in Vienna. 531:(1765) and 514:C.P.E. Bach 432:opere serie 399:, top, and 364:opera seria 299:opera seria 247:harpsichord 217:Early years 189:'s chapel, 172:opere serie 157:opera seria 82:Occupations 2834:Categories 2706:Giulio Bas 2029:Gramophone 1743:Gramophone 1572:. 171–183. 1559:. 109–114. 1352:Gramophone 1089:Ipermestra 1073:Demofoonte 1013:References 931:Recordings 814:Beatus Vir 781:a cappella 773:melismatic 756:Palestrina 578:modulation 397:Metastasio 378:Metastasio 176:Metastasio 49:1706-10-18 2800:Biography 2746:Luigi Vio 2125:450110261 2096:557488154 1897:The Times 1893:The Times 1168:Citations 1064:Artaserse 927:in 1985. 840:Beethoven 836:Scarlatti 742:Baccanale 730:Canaletto 664:Offenbach 656:Guglielmi 652:Paisiello 386:Artaserse 212:Biography 2257:Location 2213:(2003). 2077:83511874 2065:(1789). 1419:. 2003. 1373:Archived 1128:Piccinni 1095:(1758), 1091:(1758), 1087:(1757), 1083:(1754), 1079:(1753), 1075:(1749), 1071:(1749), 1067:(1749), 1061:(1748), 1059:Demetrio 1057:(1747), 1051:(1746), 1049:Antigono 1047:(1741), 1043:(1740), 1037:(1738), 1033:(1737), 1031:Issipile 961:(2005), 951:(2007), 947:(2004), 943:(2010), 939:(2011), 886:'s poem 738:versetti 648:Piccinni 557:ospedali 413:cappella 382:Demetrio 341:Penelope 282:Florence 263:Chioggia 198:Napoleon 88:Composer 2786:Portals 2305:in the 2299:(IMSLP) 2295:at the 1258:(1854). 1103:(1762). 1101:Viriate 805:Vivaldi 786:Traetta 701:da capo 602:sang". 349:Sirbace 304:Dorinda 267:Vicenza 237:in the 185:at the 127:in the 2773:(2000) 2765:(1981) 2757:(1954) 2749:(1939) 2741:(1937) 2733:(1926) 2725:(1921) 2717:(1900) 2709:(1899) 2701:(1898) 2693:(1894) 2685:(1871) 2677:(1855) 2669:(1811) 2661:(1808) 2653:(1785) 2645:(1762) 2637:(1747) 2629:(1740) 2621:(1736) 2613:(1702) 2605:(1692) 2597:(1690) 2589:(1685) 2581:(1676) 2573:(1668) 2565:(1644) 2557:(1613) 2549:(1609) 2541:(1605) 2533:(1590) 2525:(1565) 2517:(1563) 2509:(1527) 2501:(1491) 2493:(1463) 2423:(1771) 2415:(1755) 2407:(1754) 2399:(1750) 2391:(1747) 2383:(1740) 2375:(1740) 2364:Operas 2267:Source 2142: 2123: 2113: 2094: 2075: 1512:quoted 979:. and 871:Legacy 822:and a 689:Mozart 644:Draghi 627:Enrico 611:Operas 566:Titian 504:and a 502:Gloria 353:Handel 235:Burano 227:Burano 139:, and 125:Burano 75:Venice 57:Burano 2824:Opera 1081:Siroe 1018:Notes 999:] 988:] 977:Naxos 790:Sarti 769:tutti 685:Haydn 681:buffo 606:Music 506:Credo 109:Works 2140:ISBN 2121:OCLC 2111:ISBN 2092:OCLC 2073:OCLC 1085:Ezio 919:and 816:, a 788:and 687:and 469:and 430:and 384:and 347:and 187:Doge 64:Died 43:Born 2477:at 2190:doi 450:." 280:in 249:by 2836:: 2119:. 2027:, 1866:, 1862:. 1851:^ 1761:^ 1741:, 1723:, 1646:, 1626:, 1622:. 1612:^ 1588:, 1577:^ 1467:^ 1453:^ 1437:^ 1384:^ 1349:, 1326:^ 1312:, 1281:^ 1263:^ 1254:, 1224:, 1175:^ 997:nl 986:it 901:. 826:. 716:. 691:. 654:, 650:, 646:, 473:. 343:, 302:, 273:. 135:, 2788:: 2467:e 2460:t 2453:v 2349:e 2342:t 2335:v 2196:. 2192:: 2148:. 2127:. 2098:. 2079:. 1366:" 1130:. 51:) 47:(

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Baldassare Galuppi

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